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directing > Ch 1-5 > Flashcards

Ch 1-5 Flashcards

0
Q

Four drives that guide directors…

A

a vision of the play
comprehensive knowledge of the dynamics of the play
skills in communication
a strong desire to entertain

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1
Q

Director

A

The leader (not a dictator) of multiple craftsmen, all with individual skills who are open to the energy of new ideas.

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2
Q

Director’s primary work is done through…

A

the actors and the designers. He is a communicator of the highest order.

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3
Q

Directors must trust their feelings to react….

A

primitively and vigorously to what they help make on the stage

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4
Q

Director’s leading purpose

A

to entertain ( to turn the audience on with their capacities for empathy and involvement ) .

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5
Q

The director’s primary tool…

A

the playscript

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6
Q

The playwright’s “dream-flight,”

A

the improvisation that takes shape within the writer’s mind.

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7
Q

jHe described a play as “interrupted silence…”

A

Jean-Louis Barrault…

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8
Q

This process is physical and disturbing, and only secondarily intellectual

A

The playwright process

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9
Q

Play-analysis

A

the director’s objective support for his feelings about a playscript and his imaginative responses to it.

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10
Q

Five major ares to examine in taking a play apart

A

1) given circumstances
2) dialogue
3) dramatic action
4) characters
5) idea
6) tempos
7) moods

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11
Q

Doing in directing

A

lies in absorbing terms and concepts thoroughly so that he realizes them in all the contexts.

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12
Q

Intention of actors in improvisation

A

to release each other through full concentration on each other and the situation.

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13
Q

given circumstances and dialogue _____ the play, just as deeply rooted pilings and a covering of glass and steel ____ a modern skyscraper.

A

frame

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14
Q

the dialogue as the façade

A

It is the transparent encasement covering the activities that will go on inside.

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15
Q

the real guts of the play reside in…

A

dramatic action and characters

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16
Q

Given Circumstances

A

concerns all material in a playscript that delineates the environment – or he special “world” of the play

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17
Q

given circumstances includes…

A

1) environmental facts
2) previous action
3) polar attitudes

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18
Q

playwright’s setting =

A

given circumstances

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19
Q

Environmental facts of the play

A
  1. Geographical location
  2. Date
  3. Economic Environment
  4. Political environment
  5. Social environment
  6. Religious environment
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20
Q

Present action

A

what an audience sees happening immediately in front of it.

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21
Q

previous action

A

what an audience discovers happened before the present action begins

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22
Q

Polar attitudes

A

prejudices, tolerances and intolerances, assumptions… etc. Sets up the inner environment in a play (conflicts and the problems)

23
Q

Attitudes of characters should be…

A

general statements… “men are foolish and romantic and can be manipulated easily.”

24
Q

Dialogue

A

Not just the things people say, but also what they DO. Its primary function is to “contain” the dramatic action.

25
Q

Dialogue always exists in the ______ tense

A

present

26
Q

The nature of dialogue is its built-in characteristic of ______ or _____ something from the other person

A

forcing or getting

27
Q

Dialogue is _____ rather than denotative….

A

connotative… weighted with feeling and meaning

28
Q

Usually the important phrase (point of each line) should be…

A

at the end of the line

29
Q

The basis for all dramatic meaning is the ______ - the inner quality of the line

A

subtext

30
Q

dramatic action

A

the clash of forces in a play

31
Q

characters

A

human beings who engage in action and receive action from others and are thus forced to take action yet again in what becomes a chain reaction of forcing and a contest or struggle for a desired outcome.

32
Q

plot

A

the sequential arrangement of the conflict incidents that compose the action

33
Q

Dramatic action provides…

A

the life-giving force to the play

34
Q

An activity is the context for the _____ _____

A

dramatic action.

35
Q

All action causes

A

counteraction

36
Q

The cycle action reaction continues until …

A
  1. A or B is destroyed
  2. an outside force interrupts the progression
  3. The playwright arbitrarily concludes the action (end of scene)
37
Q

Unit

A

a sequence of actions that are more or less about the same thing

38
Q

Every line of every character throughout the play contains a ___ ____

A

dramatic action.

39
Q

Emotion can emerge and the audience can be moved only when….

A

reciprocation takes place. A must do to B and B must do to A.

40
Q

4 Types of action

A

tragic, comic, melodramatic, farcical

41
Q

Character…

A

a summary statement of specific actions

42
Q

Techniques of Character Description

A

Desires; Will; Moral Stance; Decorum; Summary adjectives; Character-mood-intensity

43
Q

The IDEA of a play is…

A

the Core meaning of what it has to say. The sum total of the playscript.

44
Q

2 useful guides in finding the idea

A
  1. a play’s title

2. philosphical statements in the dialogue by the play’s characters

45
Q

The idea is the result of characters battling through….

A

the incidents in the action

46
Q

Focus on the ______ the outcome of the struggle in the action

A

ending

47
Q

The rhythm-mood beats comprise the playwright’s “music” in a play… its ____ and ____

A

moods and tempos

48
Q

Moods and beats derive from….

A

1) the qualities of the dramatic action in each unit

2) the juxtaposition of these activities

49
Q

Collectively, the mood changes of a play determines…

A

tone

50
Q

Character-mood-intensity

A

a character enters a unit of a play at a certain physical (nervous) pitch– this changes as the action unfolds.

51
Q

A play moves us forward in a _____ - _____ progression.

A

cause effect

52
Q

Moods can be recorded in words in two different ways:

A

1) through mood adjectives

2) through mood metaphors

53
Q

The words that can best describe moods fall into “_____” categories.

A

sensation

54
Q

Atmosphere

A

the meaning of the mood of the given circumstances.

55
Q

Tempos

A

the changing rates or beats of the dramatic action in a play

directing (1 decks)

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