Theater is thought to have started in the 6th century BC in Athens, as a form of classical entertainment (Goldhill 54). At this time, it was predominantly for entertainment, and also to create a catalogue of historical events, or depiction of mythology. This evolved into plays that were categorized as tragedy, comedy and drama, each in forms that we would readily recognize today, were all born out of that early tradition. However, over time, different countries adapted the western art form, to create formulas that more directly address their social concerns, or meet the social need for expression. In America, this includes political elements, and the modernization of drama to create a form of the theater that includes a more American form of comedy, a greater level of diversity in setting and character, and more. Although drama has ancient classical roots, the Modern American Drama has become a distinct form, which focuses on American issues, and takes on a different format, and pacing than traditional European theater.
Staging
One area in which the difference between American theater and Classical western theater is most visible is in the staging and the theater styles. The original theaters, or those most commonly associated with famous western plays like those written by Shakespeare, were not like modern theaters today. These theaters, like the Globe, placed the poor in the “pit” directly surrounding the stage, and the rich in boxes, high (Nagler 23). In contrast, however, today, the most expensive seats are on the floor nearest the stage, and the cheapest seats are high up, in the back of the theater, where the views are most obscured by distance (Tripney 1).
Further, the actual stage in the Globe theater was known as an “apron stage” which, like a thrust stage, allowed the audience to stand on three sides of the stage at any time, with all actor entrances and exits occurring through small doors at the back of the stage, which entered and exited from the backstage area (Nagler, 23). While the thrust stage is still occasionally used today, modern plays are more often performed on a proscenium stage (Mays 1182). This is a modern stage where the actors perform, essentially inside a room, with the audience sitting on the open side of the room, acting as a “fourth wall” (Mays 1182).
This change in the stage also altered staging, and how actors were directed. The classical format, like Shakespearean plays, allowed for a high level of audience participation. The actors were encouraged to directly address the audience. This was, in part, because the stage was centered within the audience, and so the audience was directly involved with the action occurring on the stage. Today, however, the actors interact solely with one another, and almost never with the audience. The audience is observatory, rather than participant. The audience is supposed to practice the art of watching, and recognize something that they identify with, within the performance, rather than becoming directly involved in the performance itself (Woodruff 142).
This has also changed the way that sense of place is determined within the play (Mays 1183). While in classic theater, the playwright would directly assign the space, by allowing the chorus, or the narrator, to state the scene, the sets were often less elaborate. For example, in the play Oedipus the King, the whole play took pale before the palace of Thebes (Mays 1183). In contrast, however, modern plays take place in a greater variety of locations with a greater number of sets and set changes, for more elaborate surroundings. This allows for a greater diversity in settings.
Further, while classical plays were almost entirely historical in nature, today’s plays take on a wide variety of space and time, including futuristic plays, as well has historical, and current modern settings (Mays 1183). More specifically, American plays have taken on American realism, moving away from depicting courtly scenes in the upper class, and instead focusing on creating a realist setting, that includes the living rooms of middle-income families, and attempt to show American life as it is (Butler 1; Jones 1).
Writing Style and Structure
This move toward modern realism also directly impacts the plot of plays. In Shakespeare’s day, every play was broken into 5 Acts. However, it is important to note that it was acted out without a division, into these acts, and in most cases was divided into act and scene much later, by editors who were dividing the work for printing. Rather, in classical theater, the plays were performed without any interruption (Dessen 95).
Yet, in modern plays, they are generally divided into two acts with an intermission for audience comfort. This also allows for the building of tension between the first and second acts, more major change of scenery and costumes, and adherence to a standard modern format which the audience can anticipate (Pavis & Shantz 187; Goodridge 85). While classical plays totaled about 90 minutes, audiences can now anticipate a 90 minute first act, and a slightly shorter, 45 to 60 minute second act.
Historically, the earliest dramas were said to have a simple beginning, middle and end (Aristotle 1). However, this was later revised to a five part structure, which included a exposition, rising action, climax, falling action and denouement (Freytag 1). It is this five part structure that is typically used today. Each act is defined by the kind of action occurring within it. Generally, the first act is comprised of the rising action and climax (Sherlock 150). The intermission then occurs directly after the climax, creating increased tension. The second act, then focuses on catharsis and resolution. Within this structure, then, the scenes act as smaller elements, which help define the character, and the way in which the characters are changing, through the story arch (Sherlock 150).
Characterization
The shift toward realism has also changed the characters that are present in modern drama, and the way that they are developed. Characters in the Shakespearean period were predominantly upper-class or upper middle class. Consider, for example Romeo and Juliet, which focuses on two wealthy families, or King Lear, which focuses on a royal household. In contrast, however, modern drama focuses to a larger degree on the everyman, or a mixture of characters from different backgrounds.
In fact, Broadway has been praised for leading increased diversity, in terms of both social and ethnic diversity in representation. Of the 15 new musicals that premiered in the 2015-2016 season, 11 featured major cast members of color, and none focused on upper class white social characterizations (Weinberger 1). This is significantly tied to the realism of modern theater, which attempts to depict the world as it is. Just as the world is not made up of the upper class alone, so also modern drama depicts people more diversely.
Character development is also more natural, or more real. Shakespeare’s characters follow a predictable character arch, in which tragedy can be expected to end in death, and comedy in resolution (Boas 344). However, modern characters’ end in a variety of ways. Their stories can take place over a greater time span, for many years, and can end in a greater variety of ways (Mays 1184). As such, the dramatist can explore a greater realm of human emotions, and social issues, through the character development and use of realism.
Finally, this use of realism and change in characters has changed the way that actors are used. In classic and Shakespearean theater, all of the actors were adult men (Astington 91). However, in modern theater, a mixture of genders and ages are used to represent various characters. More specifically, actors and actresses are generally cast, according to the characteristics that they share with the characters that they portray. Similarly, blackface makeup was once used to depict individuals of color on the stage, but today a growing number of colored, or minority characters are cast a actors who are members of the minorities (Weinberger 1).
Overall, the increased realism which is specific to modern American theater have led to a significant number of changes in the theater business. This is significant because it makes the characters relatable, and allows the theater to make shows that are relatable to a variety of audience members. This has also made the theater more socially significant because it contains elements that allow it to provide social commentary, and to make statements of political significance. Overall, this means that the theater is more integrated into modern life, and more tied to what people are going through. Rather than providing strict entertainment, as was provided by Shakespeare’s plays, these plays work to help the public deal with and address current events and major topics of the day.
Conclusion
It is clear that plays have long been socially significant, as they have provided audiences a way to view the world, and to consider important topics. However, as the expectations of audiences, the needs of society, and the patrons of the arts have changed, so have what the theater delivered to audiences. As a result, modern American theater looks and feels very different than historical forms of theater, like Elizabethan and Shakespearean theater, or the classic theater of ancient Greece. More specifically, modern theater has changed the way that plays are staged, to fit modern theater stages, and setting arrangements, changed staging and sets to represent a greater number of time periods and settings, and increased the realism of productions to include characters and issues that affect all social classes. In essence, while there are still elements of the modern theater experience that can be traced back to the Although drama classical roots of the art form, the Modern American Drama has become a distinct type of theater experience, which focuses on American issues, and takes on a different format, and pacing than traditional European theater. As a result, it is better able to express the frustrations, desires, and motivations of American society, and serve as a platform for the American conversation.
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