Module 7: Theatre Now: Steps Toward Diversity Chapter Questions Read Chapter 9 “Musicals of the Twenty-First Century” (pages 244 to 246) and Chapter 10 (pages 247 to 260) in your textbook. Choose only 5 of these questions to answer. Write your answers in your own words; if you choose to quote from the textbook, remember to identify the source. Question # Chapter Questions 1 9 Explain how Broadway musicals have changed in the
21st century.
2 9 Explain why HAMILTON is considered “a cultural monument?”
3 10 Identify the current focus/topics of the American theatre’s social awareness.
4 10 Give an example of how current theatre is addressing inequality in each of these areas: (a) gender and sexuality (b) racism (c) access to theatre for people with disabilities
5 10 How has theatre moved from its pre-1960s attitude that plays must not be open about the Love that dare not speak its name? [This expression was first used by Lord Alfred Douglas in his 1894 poem, “Two Loves” written in reference to his intimate relationship with Oscar Wilde.]
6 10 How has race affected black, Latinx, Asian, and Native American playwrights, and how has their theatre work impacted social understanding?
7 10 How have Theatre Breaking Through Barriers and The National Theatre of the Deaf expanded theatre opportunities for performers and audiences?
8 10 Define intersectional theatre in 21st century America, and explain why this is significant
Equestrian Monument of Bartolomeo Colleoni and Judd’s Untitled (Stack), differ in process and material. Donald Judd wrote an essay titled Specific Objects, where he described a tendency among artists to make objects that are neither painting or sculpture. Judd’s Untitled (Stack), is an example of the specific objects that are described in his essay. Untitled (Stack), is on the wall like a painting, but pops out of the wall like a 3-D sculpture. Judd uses galvanized iron and lacquer to create Untitled (Stack). Whereas in Equestrian Monument of Bartolomeo Colleoni, Verrocchio wanted to build a monument of himself in Piazza San Marco. Verrocchio was a sculptor from the Italian Renaissance. Equestrian Monument of Bartolomeo Colleoni, abandons the concept of of earlier equestrian monuments. The sculpture has a three-quarter twist of the body, which is used to give the work more energy as if the figure is commanding the surrounding space. Equestrian Monument of Bartolomeo Colleoni is made out of bronze material. The process of these two works differ because one of them is a sculpture of a monument, and the other is neither painting or sculpture.
In Untitled (Stack), the material chosen was galvanized iron and lacquer. Judd is using industrial materials that have no history in sculpture. The lacquer chosen was the kind that was used to paint cars at the time. When you get up close to Untitled (Stack), you can see a seductive sheen, which Judd had industrially fabricated. He chose this material to make Untitled (Stack) more precise and uniform. Equestrian Monument of Bartolomeo Colleoni, the material chosen was bronze. Bronze equestrian monuments like this one looked back to an ancient tradition of depicting great leaders and commanders on horseback. Verrocchio’s monument is different from earlier models. Unlike the static equestrian figure of the classical world, Verrocchio’s work is infused with dynamism.
I relate more to Untitled (Stack), because it is a unique piece of work and is different from the traditional artwork that we have seen. There is nothing else like it like there is of Equestrian Monument of Bartolomeo Colleoni, because it is a monument.
(2)
After watching the videos and reading the lectures for module 8, one of the main points that the Equestrian Monument of Bartolomeo Colleoni and Judd’s Untitled (Stack) piece do not have in common is that the Equestrian is a monument and a sculpture, and the Stack is neither a sculpture nor a painting. The Stack seems to be a sculpture, but it was not considered one mainly due to the use of three-dimensional space. Judd chose to use galvanized iron and lacquer paint to create color for this particular piece. His choice of using lacquer was in part because it was a popular paint material commonly used to paint automobiles. Judd’s work was also in cue to the minimalist art movement. Judd also used mathematical precision as well as spontaneity with his own artistic twist. In the Equestrian piece the artist chose to use bronze as a material for the art piece. This particular material was molten into molds which is known as the casting method. This method dates back to the Greek and Roman era where they used this method for life size figures.
The decision by each artist to use different materials complements each piece and was carefully chosen by each artist. As for the Equestrian piece, the artist chose bronze in order to visually achieve his ideas. First, for this method, a mold would have to be created consisting of soft materials. This idea by the artist was inspired by an ancient lost-wax method. For the Untitled Stack) piece, Judd’s piece was incorporated by nine equal boxes. These stacks were carefully placed in exactly nine inches apart which was a repetitious pattern. Analyzing the Equestrian piece, the artist, after completing all the pieces for this art carefully placed the pieces after the molding process in a particular space. For example, this piece was an actual monument of the artist. The body was carefully placed with a three-quarter twist to the body. As for the horse, he is turning in the opposite direction as the rider. These positioning concept methods gives this piece more of a realistic pose and feel.
Of the two pieces, I could relate the most to the Equestrian Monument of Bartolomeo Colleoni. My decision was mostly because of the size of the sculpture and the techniques used to complete this work. The positioning of the horse, and the rider makes this piece more realistic. As for the Stack piece, I had a difficult time relating to the perfectly placed pieces manufactured by someone other than the artist.
IN 4-5 LINES, RESPOND TO THIS TWO DISCUSSION BOARD
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