Theatrical Influences in Our Town

At an early age, Thornton Wilder was exposed to world literature and theatre, due in part to his well-read and well-traveled parents. His father’s appointment to U.S. consul general to Hong Kong and Shanghai further exposed Thornton to world theatre while living abroad at a Chinese mission school. Wilder continued his lifelong learning through advanced degrees from some of the top universities in the country and from personal observations from his travels throughout Europe.

Below are some of the theatrical styles and movements that are reflected in Wilder’s work from his lifelong learning quest. Which of these do you think have the strongest influence on his writing of Our Town? Can you site some examples of these styles in the play? [TH.C.1.4 and TH.E.1.4]

Theatrical Expressionism. Started as a term to include any departure from realism, expressionism seeks truth in humanity’s spiritual qualities rather than externalities; it opposes realism and naturalism on the basis that these movements focus too much on surface details and that external reality is alterable.

Epic Theatre. Primarily developed by German playwright Bertolt Brecht in the 1920’s, he called it “epic” to indicate its wide sweep and mix of narrative and dramatic elements. He wanted audiences to be active participants rather than passive viewers. To help with this, he developed the concept of “alienation” by making the action, stage setting and technical elements foreign enough to prompt the audience to question what was happening. Some of his theatrical devices to alienate the audience were visible, simple scene changes and “scenes” or episodes that are separated by songs or narration. The alienation effect was to lead the audiences to relate what they saw on stage to conditions in their society.

Greek Drama. One of the predominant elements of Greek drama that is still utilized in many contemporary plays is the use of the chorus. The chorus was used to represent the perfect audience, reacting to events in the scene the way the playwright hopes the spectators will. It traditionally offers opinions and advice (whether as a group or individuals) and asks questions. Greek drama also relied on music to evoke specific emotions or themes.

Noh Drama. A traditional Japanese theatre style, Noh is characterized by simple stage setting, no scenery, and very limited use of props. It was influenced by Zen Buddhism (a belief that peace is attained through union with all beings and that nothing in earthly life is permanent) and was marked by suggestion, subtlety, and restraint. Like Epic Theatre, Noh relies on audiences to be engaged not only by the story but through reflection on the past as evoked through a certain mood or emotion. Noh relies on the presence of ghosts (particularly those who come back to earth) and a chorus. A stage attendant is always present in these performances to help with costume or prop changes, but is not considered a character in the story.

Chinese Theatre. Certain elements of Our Town can also be found in the theatrical styles developed in Beijing Opera. This Chinese theatre form is marked by the importance of costumes and speech, but no scenery. Pantomime is important as are the limited number of props—the only permanent props are usually a table and chairs which are used to represent everything from a wall to a bridge to even hills and clouds. Like Noh Drama, Beijing Opera also utilizes a stage assistant who helps actors with costume changes and moving props. Music is also a predominant element and upon actors’ entrances, we typically hear them describe their character and his or her background.

Humanism. Not just a theatrical movement, humanism marked the main ideas of the Renaissance, when humanity and life on earth became important again…literally a rebirth of classical studies (Roman and Greek). Wilder’s novel, The Woman of Andros was inspired by a Greek Myth. His work also contains other elements of classical studies.