• Join over 1.2 million students every month
  • Accelerate your learning by 29%
  • Unlimited access from just £6.99 per month

The kitchen, a 'realist text' is written by Arnold Wesker, a 'naturalistic writer'.

Extracts from this document...

Introduction

The Kitchen - documentation Text and Performance 3 'Realist art or literature is seen as simply one convention among others, a set of formal representations...' (Strindberg 1976) 'Naturalism alone corresponds to our social needs; it alone has deep roots in the spirit of our times; and it alone can provide a living, durable formula for our art...' (Emile Zola 1881) The kitchen, a 'realist text' is written by Arnold Wesker, a 'naturalistic writer'. These terms have been used for many years now in conjunction with theatre. Their meanings have changed and very easily overlap with each other, just as the above quotes suggest; because of this the task of performing in the form of realism as opposed to naturalism is impossible. This suggests that in performance there is a real possibility of creating the desired effect without having to justify whether it is naturalistic or indeed realistic. Performing a section of the kitchen requires at least a basic understanding of these terms. Arnold Wesker gives a lengthy explanation of what he wants to see on stage, he goes to great detail to explain his restaurant and the people in it: 'The quality of food here is not so important as the speed with which it is served (Wesker 1960). Wesker continues to give character notes on each of his main 15 characters that are also accompanied by specific actions for many of them. ...read more.

Middle

Maniacal is something that is a clear desire for Wesker in this play. The popular representation of chefs and cooks even now is that they are all slightly insane and putting them in a kitchen excites this factor. Wesker even makes testimony to this within the text of 'the kitchen' when Dimitri comments: 'Listen, you put a man in the plate room all day... what else there is for him to do - he wants to fight.' As a performer this theme is certainly achievable just by use of voice. Varying a regular pace and volume level is just two ways in which to change the way lines are said to sound more crazy. However this we found was no where near enough to produce an atmosphere that was right for this performance. We looked at everything the pace of the movements, the sounds that are created through mime. We even added to mime real cooking utensils; this gave another variable that could be affected. The final performance consisted of these utensils that acted as an instrument that could be manipulated to yield a more rampant effect. The bashing of a saucepan with a wooden spoon holds a certain quality that can be used to build a beat. We had already decided to use a tape recording of an oven fumigator to set a permanent noise that would indeed be heard in a real kitchen. ...read more.

Conclusion

They are on their toes and shouting out orders which of course the cooks have to respond to vocally and physically. There were high intensity moments, for instance: Violet: I've never worked like this before, never never. Peter: Too old, too old my sweetheart. Go home old woman - for the young this work - go home. At this point we used our performance time to show a rehearsal technique, and carried on performing but as improvisation reacting to waitress orders. The more orders the faster and more frantic it got. The Kitchen is a text that is as much a compositional piece as an accurate representation of a fully operational kitchen and we tried to show this. The character's and their personal description given by Wesker is important but not nearly as much as his comments and detailing of atmosphere and general running of the 'Trivoli' restaurant. Obviously what our group created was working progress and to improve it would be to add more detail and choreography to everything including set and character exchanges. Our task was to create a realist performance, 'A play should be written in which people arrive, go away, have dinner, talk about the weather, play cards. Life must be exactly as it is and people as they are.' (Chekhov, A.). The problems we occurred are summed up with Wesker's comment: 'the artist is dealing with what is absurd in reality in a naturalistic form' (Wesker, A. ...read more.

The above preview is unformatted text

This student written piece of work is one of many that can be found in our University Degree Music section.

Found what you're looking for?

  • Start learning 29% faster today
  • 150,000+ documents available
  • Just £6.99 a month

Not the one? Search for your essay title...
  • Join over 1.2 million students every month
  • Accelerate your learning by 29%
  • Unlimited access from just £6.99 per month

See related essaysSee related essays

Related University Degree Music essays

  1. The Haas Effect - Echoes and Location

    As the head grows with age, sound location does not suffer, therefore the human brain must be capable of adjusting these limits over time. This simple phenomenon uses basic mathematical instinct to find sound direction. As it was stated earlier, all that is required is some simple trigonometry.

  2. "A notation should be directed to a large extent towards the people who read ...

    It arises that performers must be cautious of the primacy of the score, handling it (and the composer) with 'kid gloves'. It leads to narrow scope for, and range of, interpretation "...a state in which the interaction of compulsive exactitude and permissive freedom could result in simultaneous attitudes of carelessness

  1. The Works of W. A. Mozart for the Basset horn: An Annotated Bibliography ...

    Oliver Kraft, who assisted and helped while studying abroad. Thanks are given to Daniel L. Leeson, Dr. Kyle Coughlin, and Dr. Jay Niepoetter who helped pose ideas of where to find information and other sources. Most importantly thanks is given to Professor Mitchell Estrin who was the faculty advisor who

  2. Depiction of character through music and words

    musical theatre was "a light diversion, usually with a domestic narrative", the genre progressed to being "something that may include overt analysis and social comment, often encompassing psychological and symbolic focuses" (Snelson). This describes the style of this musical. Snelson also states that early musical theatre "principally interpolated popular songs

  1. Research Dissertation:how is the live events industry dealing with negative impacts effecting the enviroment?

    There are many pioneers acting within the industry and their waste management methods are effective and getting better year by year. One question that needs to be answered is, is being green a negative for promoters because they might have to sacrifice potential revenue or charge more for the ticket and would the punters pay?

  2. A Critical Review on the Publication of Ethnicity, Identity and Music(TM)

    invited on a weekly basis to form an informal discussion group as part of the project to investigate the notions of locality in relation to music and music making. Participants were asked to consider if there was such a thing as the 'Liverpool Sound' and if so what it was

  1. Historical Methods and the Issues relating to Popular Music

    Explaining the advent of rock music' in Popular Music (Peterson, R. 1990). However as Peterson suggests Rock 'n' Roll was created before 1955 by black African artists not realising they were creating a new genre. Just because it did not have notable status in the Western world until the mid

  2. Short Analysis of "Five Pieces for Orchestra op. 16, mvt. 1" by Arnold Schoenberg

    This section is primarily used as a development for (0156). While fragments of both themes appear quickly, they disappear just as fast. At measure 57, we meet a large percussion hit, which triggers an even thicker ostinato in the strings.

  • Over 160,000 pieces
    of student written work
  • Annotated by
    experienced teachers
  • Ideas and feedback to
    improve your own work