Brainstorming Presentation Topics

SUBJECT: Some suggestions on presentation #2

The purpose of the second presentation (a group presentation) is to address some significant theory, practitioner, or movement in 20th century (or contemporary) theatre in sufficient detail that the class can (a) obtain some sense of that theory or artist's significance to theatre history and (b) retain a clear sense of what might be of interest to them for further research and why.

The suggestions I propose here should not be approached comprehensively, but rather as the starting points for research. The presentations themselves should make a point of being selective and concise, illustrating through concrete and specific examples a key segment of the larger subject.

For example, a presentation on Psychological Realism (or the Stanislavsky System) would be best focused on a particular practitioner, teacher, actor, or the method itself, but not all of these; hence, any one presentation should NOT attempt to describe both Stanislavsky's life AND his system. It would be quite sufficient to try to articulate the system itself - particularly since that system changed over the course of Stanislavsky's career.

Choose a subject that interests you sufficiently that you and your collaborators will have reason to make yourselves (within the span of time available) experts.

Some suggestions (specific examples are not comprehensive or exclusive):

Particular directors (e.g. Anne Bogart, Trevor Nunn, JoAnne Akalaitis)
Particular artist/theorists (e.g. Peter Brook, Eugenio Barba, Augusto Boal)
Particular teachers (Jerzy Grotowski, Sanford Meisner, Stella Adler)
Genres (Performance Art, Political satire, Farce, Improv)
Venues (Vaudeville, Burlesque, The Little Theatre movement, Regional theatres)
Trends (Historical reconstruction, interpretations of Shakespeare, marketing schemes)
Innovations (psychology and theatre, computers and theatre, virtual reality)
Technology (theatre design, architecture, lighting/sound control)
Business (government funding, corporate sponsorship, audience response/development)
Government (censorship, national theatres, agitprop)
Culture (theatre of cultural/racial identity, cultural appropriation)

I realize I've thrown the doors wide open - the range of choices may seem overwhelming. I'm more than happy to discuss prospects with you to help you narrow your focus considerably.