This Thesis is an adventure in my process for the production of "Peer Gynt".
Non-naturalistic forms of theater are key to effectively representing psychic states onstage. Judith Thompson’s "Lion in the Streets" dramatizes the experience and recollection of trauma by blending reality, memory, and fantasy so the three become indistinguishable. Combining expressionism with a memory play, Thompson’s writing manifests internal states through external means to present the fractured, fragmented, and flexible ways in which the psyche recalls the past.
Using my production of "Lion in the Streets" (UC Santa Cruz, Experimental Theater, Winter 2017) as a case study, I argue the necessity for an expressionistic approach to directing that embraces the semiotics of the stage. I begin with an analysis of how Thompson’s script operates, explaining the relationship between expressionism and memory. Through an in-depth dramatic analysis of my choices as a director, regarding both design and direction, I prove the relevance of my stylistic approach to the medium in presenting narratives of trauma.
My process of approaching the role of Karen Wright in The Children’s Hour, directed by Danny Scheie, serves as my practice as research; this document is a further component of this process. In this document, I will explain the process of this production, which will include, but not be limited to, the table work done with the script, the process of creating a backstory for my character, the staging of the play, conversations with the director and actors, and the performances. These examples will provide context for my work on this play as I explored what it meant to be an embodied actor in a play with a director influenced by Stanislavski, surrounded by other actors with a variety of training.
I will specifically touch on my acting technique and explain how my training and involvement in experimental theater aided me in this production to develop Karen Wright. The direction from Scheie on the acting itself was within the naturalistic approach of psychological realism. I observed others and trained myself how to work within the Stanislavski acting technique and naturalism, while also using my prior training as an embodied actor to produce the best work I could, combining these techniques. I believe it is beneficial to expand your toolkit to gain new insights and methods of approaching a play or production.
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