Summary of Theatre/Theory/Theatre: The Major Critical Texts from Aristotle and Zeami to Soyinka and Havel by Daniel Gerould

Embark on an intellectual journey through the world of theatre with Daniel Gerould's 'Theatre/Theory/Theatre', a rich exploration of critical texts.

Ah, Theatre/Theory/Theatre. The ultimate buffet of theatrical thought, served up by Daniel Gerould, who's basically the culinary master of dramatic theory. This book takes you on a rollercoaster ride through the minds of some of the finest thinkers in theatre-from Aristotle, who's like the granddaddy of drama, to Soyinka, who brings some spicy Nigerian magic to the table, and Havel, who throws in his existential musings for good measure. Buckle up!

Let's start at the beginning. Aristotle kicks us off with his Poetics, a text so revered that if you applied for a PhD in theatre studies, it's like having the secret password. He defines tragedy, character, and that magical "catharsis" moment that feels like you just had a good cry at an emotional rom-com. Spoiler alert: he doesn't mention Netflix.

Next, we shimmy our way to Zeami, who was basically the Shakespeare of Noh theatre in Japan. His ideas about the "flower" (not the kind you'll find in a garden, people) and the aesthetics of Noh become deeply philosophical here. He's all about the performance being a blend of form, emotion, and a dash of Zen-like mystery.

Then we have Bertolt Brecht, who dressed up in his best anti-bourgeois attire and proclaimed that theatre should be a place of social critique. He invented the concept of the "alienation effect," which basically means making audiences think, "Wait, I shouldn't be feeling comfy right now. This play is trying to change the world!" Brecht was like the original hipster of theatre-too cool for mainstream comfort.

Not to be outdone, Anton Chekhov rolls up with his gun, which, if mentioned at the start of the play, better get fired by the end. Chekhov's use of subtext is legendary; his characters may seem like they're just sipping tea, but trust me, there's always a secret longing simmering beneath the surface. It's like looking at a beautifully wrapped present and realizing someone put a dead fish inside. Surprise!

Oh, and did I mention Samuel Beckett? Yes, dear reader, the king of existential dread and absurdism. Beckett's Waiting for Godot is one of those plays that makes you wonder if life is just a glorified waiting room-where no one shows up, and everyone has a lot of philosophical banter while staring at the sky. He makes waiting fashionable.

As we dive deeper, the text touches on Wole Soyinka, bringing African perspectives into the mix, and let's just say, he has some tea (not the cozy kind) to spill about colonialism and cultural identity. It's profound and also, probably, at some point, makes you want to rethink your entire life.

Then there's Vaclav Havel, who perfectly embodies the theme of using theatre as a political weapon. He's the guy you'd definitely want on your team if you were staging a coup against an oppressive regime-or just wanting to throw a really good party while making a statement.

And as we wrap it all up, Gerould ties these threads with finesse, creating a tapestry that showcases the evolution of theatrical thought. The book is a must-read for anyone who wants to engage with the existing dialogues that have shaped theatre throughout history-and perhaps for those who just need a reason to justify their dramatic tendencies!

So, there you have it, a delightful and slightly sarcastic stroll through Theatre/Theory/Theatre. Just remember: the next time you sit in the theater, you're not just watching a show; you're part of a grand intellectual feast that has been served up by some of history's greatest minds. Bon appétit!

Maddie Page

Classics, bestsellers, and guilty pleasures-none are safe from my sarcastic recaps. I turn heavy reads into lighthearted summaries you can actually enjoy. Warning: may cause random outbursts of laughter while pretending to study literature.