Ch. 1, 2, 3 Test

Question 1

Greek theatre sites were chosen for what reason?

Answer 1

The audience could see the intersection of the sea, “mountains, plains and sky: the physical universe in which Greeks assumed that gods, humans and nature interacted. From this spot spectators could… take in the human-sized drama … [and] sense its cosmic reach.” (Pg4)

Question 2

What kind of perspective were use in Greek theatre?

Answer 2

intuitive perspective - they had an innate sense of such techniques as diminution, in which objects are rendered smaller and smaller as they approach the horizon line. There was no standardized technique for execution though. (Pg6)

Question 3

Name 6 different modern day countries where there were ancient Greek theatres built. (Figure 1.10 on pg 12)

Answer 3

Modern Countries:

• Albania
• Crete
• Cyprus
• Egypt
• Greece
• Italy
• Libya
• Turkey

Ancient City Names

• Abdera
• Argos
• Athens
• Chersonesos
• Corinth
• Delphi
• Delos
• Dion
• Dodona
• Elea
• Ephesos
• Epidauros
• Eretria
• Halikarnassos
• Histria
• Kos
• Kyrene
• Lokroi
• Massilia
• Megalopolis
• Metapontion
• Mytilene (Lesbos)
• Pergamon
• Piraeus
• Priene
• Rhegion
• Rhodos
• Samothrake
• Segesta
• Sikyon
• Sparta
• Syrakussai
• Taras
• Tauromenion
• Thebes
• Thera
• Thorikos
• Vergina (Aigai)

Question 4

Name 6 different physical pieces/elements of the Greek theatre.

Answer 4

Pg 13

• Diazoma
• Klimakes (stairways)
• Paraods
• Skene
• Logeion
• Thyromata
• Proskenion
• Parados
• Kerkis (section of seating)
• Orchestra
• Prohedria benches

Question 5

What activities were Roman amphitheaters used for?

Answer 5

• Dances
• Gladiatorial contests
• water ballets
• mock sea battles

Question 6

What are the (2) fundamental elements of stage settings?

Answer 6

• Mansions (or Sedes or Domi): small structures used to establish the place of the action
• Platea (place or playne): the space adjacent to a mansion.

Question 7

Once performances moved outdoors, what were the (2) forms of staging?

Answer 7

• Processional Staging: mansions were mounted on wagons that moved from place to place within a town.
• Fixed Platform Staging: the mansions were mounted at a single location.

Question 8

Wagons or carts are called _________.

Answer 8

Pageant Wagons

Question 9

There was one specific location that was more important than the others of the story telling process. What is it and why is it more important?

Answer 9

Hellsmouth?

Question 10

Pictures on Pg51. What is the importance of them and how do they relate to contemporary theatre?

Answer 10

The pictures show the interrelation of physical scenery and single point perspective drops. We still use perspective drops today to feel people into believe a space is physically different than it is.

Question 11

What elements are believed to be part of a rhetoric stage. Describe each element.

Answer 11

• Large Platform - Raised about 6’ above ground level. Is main playing area.
• Fixed Facade (back wall) 1st level: Backs the large platform and had two or more entrances/exits. These openings could be established as a specific are by dialogue and then the rest of stage could be used as platea.
• Discovery Space: one opening in the facade that was used to conceal objects/people and reveal them (typically by use of curtains).
• Facade 2nd level: one or more entrances/exits. Typically used as a window, balcony, mountain, crow’s nest of ship, or merely an observation point of one character of other characters. Sometimes used as musician space.
• Facade 3rd Level: similar functions as 2nd level.
• Floor traps: used by devils and ghosts or as graves.
• Stage covered by roof with zodiac signs painted underneath: often referred to as “the Heavens”. Stage leve=this world. Beneath stage is associated with Hell.

Question 12

Parts of Elizabethan Theatre

Answer 12

• Discovery Space
• Tiring Rooms
• Traps door
• Main stage
• Pit
• Gallery
• hut
• Wardrobe
• Storage
• FLAG

Question 13

what kind of perspective was used in the Renaissance?

Answer 13

Mathematical (or linear) Perspective.

Question 14

What other kind of perspective is represented in figure 3.3 on p64?

Answer 14

Atmospheric or Aerial Perspective - Background was painted with grayish or bluish tones to enhance the illusion of depth.

Question 15

Talk about the chariot & pole system.

Answer 15

• Mechanization of changing wings and shutters.
• Fabrizio Carini Motta (1627-1699) provided some of the earliest plans
• Chariots worked in pairs, moving pieces across the stage from each other simultaneously.
• Controlled by turning a capstan (or central drum)
• reciprocating counterweights used to make turning possible by fewer people.
• located under floor
• Earlier systems were not speed controlled, making backstage very dangerous

Question 16

What technique and object(s) did Renaissance scenic artists use to transfer drawings?

Answer 16

• Grid out scaled version on large sheets of parchment to create cartoon
• back of parchment was rubbed with charcoal or black powder, laid onto canvas and nailed to framework.
• Drawing then traced through transparent paper with iron stylus, transferring image to set piece.
• Modern Day: Layout the lines on paper and use fabric wheel tracer to trace the lines (creates perforations). Then “Pounce” the back with chalk bag which transfers chalk through the holes and onto the drop.

Question 17

Scenic Painting Methods

Answer 17

• Artists worked from architect drawings
• Architect often painted the scene himself if satisfactory artists were not available
• Lines of transferred image should be filled in first with high values (light colors) and low values (dark colors).
• Fill in the Medium values
• lights and medium tints are added on top
• When painting shadows, pretend the light source is to the side, giving the audience the greatest visibility of details.

Question 18

What is the intermezzi, what was it used for? Any other pertinent info.

Answer 18

• Intermezzi: Scese that took place between the acts of a play
• Had a unifying theme, told a story related to the play, and had a single author.
• Eventually became more popular than the plays and were performed independently.
• Integral to the development of opera as its variety and spectacle increased through the 17th century.
• Multiple theories about the origin.
• Began as mythological interludes between acts of court plays and other kinds of entertainment
• Possibly the descendants of the various entertainments offered between the courses of banquets.
• ## Possibly attempts to create something comparable to the choral interludes between episodes in Greek plays.

Question 19

Where in the Renaissance theatre is the vanishig point?

Answer 19

?? Can’t really find anything specific in the book besides the picture on pg92.

Way way back in front of the back wall. About a stage’s distance behind the last set of curains/scenery.

??

Question 20

How did renaissance lighting work?

Answer 20

• For auditorium, Chandelier candlewicks were soaked in aqua vitae to ensure easy ignition.
• Fuses made of flaxen wick and iron dipped in coal oil or aqua vitae allowed for quick lighting of entire chandelier.
• Performers lit by top, back, side and foot lights.
• Strongest light source should be placed hanging above the middle of the stage.
• Chandeliers between borders in he heavens
• Rows of lamps between curved borders above stage
• Use of many oil lamps on upstage side of festoons/proscenium arch
• Lamps attached to backs of wings and/or walls at side of stage.
• Lamps set on tall, freestanding candelabra

Question 21

What new renaissance lighting innovations were used, and what were they used for?

Answer 21

• Tinsel reflectors used on battens to angle beams from oil lamps downward.
• Candelabra sometimes mounted on poles coming through holes in floor.
• “Standing Light Box”: trapezoid-shaped tin box, open at top and front. Lined with etched gold. Light was intensified by reflective material, turning box into floodlight.
• Used standing light boxes in multiples as modern strip lights
• Footlights positioned in inner stage pit(s) and on the downstage edge of stage. Masked by a low board.
• Candles above audience fitted with bowls/plates at bottom to catch falling wax.
• Oil lamps more efficient and less maintenance
  Oil lamps had 2 drawbacks: smelled when extinguished, & produced haze or smoke when lit.
• Reflectors reduced number of lights needed.
• Early reflectors were barber basins
• some reflectors were tin covered in gold tinsel and scored in a diamond pattern. Mica laid on top of tinsel, and all layers were bound together w/ tin.
• Dimming: tin cylinders, arranged in groups, which coul dbe lowered over flames using a system of cords & Pulleys.

Question 22

How did they change color of light in the renaissance?

Answer 22

• Colored windowpanes (glass, paper or cloth)
• ## bottles of water, colored with different things were lit from behind (Pg98 has color ingredients)

Question 23

What are periaktoi?

Answer 23

• 3 sided flats.

- Some designers advocated up to 6 sided flats

Question 24

Why did they use periaktoi?

Answer 24

Shifting scenery

Question 25

How were periaktoi used?

Answer 25

Instead of wings/legs, they were lined up in a row going back in perspective and rotating simultaneously to create different scenes/looks.