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CSET Subtest Three > Domain Three - Theatre > Flashcards

Domain Three - Theatre Flashcards

1
Q

Acting

A

Development and communication of characters in formal or informal productions or improvisations

Techniques include: physical and vocal warm-ups - pantomime and mime - improvisations - voice and diction exercises - theatre games - performance - monologues - script reading

Sensory elements = movement, sound, spectacle
Expressive qualities = mood, emotion, ideas, dynamics

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2
Q

Theatre

A

Formal presentation of a scripted play - incorporates elements such as acting, directing, designing, and managing

Organizational principles:

  • plot and conflict
  • setting
  • character
  • language
  • rhythm and unity
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3
Q

Drama

A

The reenactment of life situations for entertainment and human understanding

**does not necessarily require a live-formal audience

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4
Q

Improvisation

A

Creative, cooperative, spontaneous, and flexible response to changing and unexpected dramatic stimuli

Embraces problem solving without preconception of how to perform, and allows anything within the environment to be used during the experience

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5
Q

Scriptwriting

A

Based on culture, imagination, literature, and personal life experiences - can apply to theatre, film, tv, or electronic media

Classroom activities can include reading and analyzing scripts, outlining dramatic structure, and working together in groups to plan scenarios

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6
Q

Technical Support Tools

A

Costumes, sets, lights, props, makeup, and sound

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7
Q

Stage

A

Structure where all drama and theatre takes place - many structures have similar components - offstage spaces can also be adaptable

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8
Q

Intent

A

Involves the objective, purpose, theme, or basic idea of a work of drama

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9
Q

Structure

A

Involves the interaction of all elements

includes but is not limited to design, rhythm, climax, conflict, balance, and sequence

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10
Q

Effectiveness

A

Involves the degree to which a dramatic work succeeds

includes the evaluation of the work’s success in such things as entertaining, informing, illuminating, persuading, inspiring, amusing, engaging, shocking, and instilling awe

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11
Q

Worth

A

Involves a value judgment

Includes assessment of the knowledge, insight, wisdom, or feeling imparted by a work

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12
Q

Ancient Greek Theatre (600-400 BC)

A
  • amphitheaters (open air, sides of mountains, semicircular, orchestra, chorus/dance)
  • playwrights - Sophocles (tragedy) and Euripides
  • violence took place offstage
  • Thespis was the first actor
  • Dionysus festivals; plots came from legends
  • influence of central actors and dialogue; masks used to show age and emotion
  • women were barred from acting but could spectate
  • Greek tragedy was not associated with theatre staging today
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13
Q

Roman Theatre (300 BC-AD 500)

A
  • Latin versions of Greek plays - less influenced by religion
  • introduction of subplot
  • women are allowed minor parts
  • spectacles of the coliseum
  • mass appeal / impressive theatres
  • raised stage replaced the Greek semicircular amphitheater - stage built at ground level with a raised seating area
  • later Roman period - Christians disapproved of low comedy and pagan rituals
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14
Q

Medieval Theatre (500-1400)

A
  • Theatre buildings were not permitted, minstrels, traveling groups, and jugglers from Greek-Roman period, open stage areas
  • church / liturgical dramas: written in Latin/bible stories; intended to educate regarding religious events, not to entertain
  • dramatic form to illustrate religious holidays to an illiterate
  • genres: passion play, miracle play, and morality play with themes of religious loyalty
  • theatre groups evolved into town guilds
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15
Q

Renaissance and Reformation Theatre (1400-1600)

A
  • rebirth of Classical Greek and Roman art, culture, literature
  • theatre reemerged with professional actors and set design
  • open stages, “apron stages” to proscenium arch
  • emphasis on the performer
  • Protestant Reformation - away from Catholic teachings - secular works
  • state licensed official theatre companies
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16
Q

Elizabethan Theatre

A
  • playwrights included Christopher Marlowe and Ben Johnson
  • theatre supported by Queen Elizabeth; patronage; raucous, open-air theatre; language of the educated; satire
  • William Shakespeare (late 1500s-early 1600s) wrote comedies, histories, tragedies
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17
Q

Restoration England: 1660s

A
  • 1642: Parliament closed theatres in England; allowed French ascendancy in theatre mechanics
  • theatre architecture: France introduced new tech for scenery and set changes; artificial lighting; theatres began to be roofed in; drama moved indoors, and the stage was raised
  • proscenium stage architecture/royal theatre (enclosed/arches); scene changes slid by on panels
  • baroque period: French playwrights Racine and Moliere influenced theatre
  • women began to appear onstage in the roles of boys and young men
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18
Q

Eighteenth Century

A
  • changes in economics, society, and ruling powers determined direction of playwrights
  • acting began to mareo closely mimic life
  • art oof acting became prominent
  • plays more often dealt with ordinary people
  • commercial theatre evolved
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19
Q

Nineteenth Century

A
  • industrial Revolution changed the way that people lived
  • tech changed the theatre
  • growth of melodrama
  • actor predominated over the author; serious drama
  • Late 1880s-1920 in the US: Golden Age of American theatre - mass appeal - more sophisticated plots and staging - moving away from hero character - Vaudeville
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20
Q

Twentieth Century

A
  • social upheaval from WWI and WWII
  • early: new movements such as realism, naturalism, symbolism, and Impressionism
  • commercial theatres
  • serious drama
  • comedy
  • actor’s studio
  • experimental theatre
  • community theatre and ensemble theatre (group)
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21
Q

Action

A

In a character-character interaction, the total array of purposeful activity, both external (physical) and internal (psychological), by which characters attempt to achieve their objectives

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22
Q

Antagonist

A

An element, usually a character, that resists the protagonist. conflict results from the efforts of the protagonist to achieve his or her objectives in spite of the obstacles introduced by the antagonist

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23
Q

Arena staging

A

Physical configuration of audience and actor in which the audience essentially surrounds the playing area - AKA “theatre in the round”

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24
Q

Aristotelian theatre

A

Includes clear, simple plotting - strong (not necessarily complicated) characters - high level of intellectual content - a minimum of spectacle

During renaissance, other criteria will be added:
three unities (unity of one main action, unity of one physical space, and unity of time)
Be written in five acts
avoid violence
Not mix comedy and tragedy

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25
Q

Block (verb)

A

To decide upon the gross movements of actors upon the stage - assign the physical relationship of actors and the locations of entrances and exits - create stage “pictures”

**early rehearsals often are devoted to blocking

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26
Q

Broadway theatre

A

Dominated the American theatre from the end of the 19th century until shortly after WWII

Profit-making enterprise in which shares of a production are sold to investors with the expectation that after meeting the initial expenses of production, they will receive a substantial return on their investment

to enhance profits, aspires to very long runs of a single play, frequently using star performers appearing in vehicles with the widest possible audience appeal

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27
Q

Center stage

A

Exact center of the floor of the stage

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28
Q

Character

A

Figure portrayed in the play

Sum total of the actions that define a person so portrayed

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29
Q

Chorus

A

Greek/Roman drama — a group of characters in a play who comment on the action, often speaking directly to the audience
often an intermediary between the audience and the major characters in the play
often given a collective role - usually don’t have separate names
detached from the dramatic action and can react to the action of main characters - can participate in multiple ways

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30
Q

Chronological time

A

Linear experience related to cause and effect - theatre often takes liberties with this —> led to flashbacks and flash forwards

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31
Q

Climax

A

The point of the play that completes the rising action - contending forces have raised the conflict to the highest point possible, face each other in confrontation so that only one emerges victorious

often a new piece of information is made public that tips the balance one way or another

Followed by the dénouement

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32
Q

Comedy

A

Any play that ends happily. genre of dramatic literature that is lighter in tone than drama, but more serious than farce

characters are less developed, theme is less weighty, language is wittier, ending is invariably happy

Farce = humor is more physical, characters are more broadly drawn, plots more contrived

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33
Q

Company

A

All of the people associated with producing a play, including the designers, technicians, directors, stage managers, and actors

Narrowest sense- confined to actors only

34
Q

Connotative meaning

A

The meaning conveyed by connotative symbols, symbols that are vague in terms of strict definition, but rich in poetic meaning. off evoke an emotional rather than intellectual response

35
Q

Content

A

What is portrayed in theatre - the interaction of at least one character with some aspect of his or her environment

Character - character interaction

36
Q

Conventions

A

Temporary “rules” of the performance

specific to particular cultures, styles of theatre, and even individual productions

37
Q

Creative drama

A

Form of entertainment in which students improvise scenes for their own growth and edification, not that of an audience

sometimes, the aim is to learn subjects other than theatre ( history, psychology, literature, etc) sometimes, to learn about theatre itsel

38
Q

Dénouement

A

The portion of action that immediately follows the climax of a play

last remaining loose ends are “tied up”

reestablishment of stasis (balance and harmony)

39
Q

Director

A

Major interpretive figure, whose job it is to bring life to the vision of the playwright or otherwise provide artistic meaning to the theatre experience

40
Q

Downstage

A

Portion of the proscenium stage that is closest to the audience

41
Q

Drama

A

Category of literature intended for the stage

42
Q

Dramatic criticism

A

Work of a drama critic

Consists of commentary on a play or script intended to enrich the experience of seeing the play or reading the script by others

can be written or in public talks

43
Q

Dramatic question

A

First and most important element in rising action

conflict established —> “How will this turn out?”

raises the issue of which of the conflicting parties will prevail and begin to develop suspense

44
Q

Environmental staging

A

Form of physical relationship between the audience and performers in which there is little or no clear definition between the space dedicated to each; dictate the audience and performers use the same space during the course of the experience

45
Q

Exposition

A

Playwriting device of providing information to the audience

retrospective exposition = occurs early and gives insight to what happened before the play
current exposition = information about events offstage happening during the play

46
Q

Flashback

A

A manipulation of time in the plot in which a scene from earlier in the story is shown after those that occur later - more common in films than a traditional playwriting

47
Q

Form

A

Relationship of all the parts of plays of a certain type considered apart from any single example of that type in

48
Q

Full-length play

A

Single play that typically fulfills the expectation for a complete theatrical experience

western = one play, three to five acts, usually 2-4 hours

49
Q

Gallery

A

One of a tier of alcoves surrounding the interior - those who could afford the greatest comfort sit here

Balconies/boxes

50
Q

Illumination

A

The act of casting light upon an otherwise darkened stage

51
Q

Improvisation

A

Acting without a script or prepared text

52
Q

Inciting incident

A

Rising action - throws the world of play into disequilibrium - can be seemingly simple

53
Q

Kabuki

A

Japanese - colorful song and dance, flamboyant characters, extravagant plots in a popular art that is widely popular

54
Q

Lighting plot

A

Plan of the stage showing the location of each lighting instrument, its size and characters, and the area of the stage where its light will fall

55
Q

Melodrama

A

Genre of theatre that is normally placed between tragedy and drama and has characteristics of both

Largely serious in tone, placing its major figures in great jeopardy, but saves them from destruction in the end

Mora lo stance is clear = good - very good, bad - very bad

56
Q

Mood

A

Place on the humorous-serious scale that a play is e

57
Q

Multiple plots

A

More than one story line is presented, usually simultaneously - usually kept separate until they come together towards the end

58
Q

Neoclassic drama

A

Plays from or modeled after the neoclassic period - aided by application of certain rules of playwriting such as the unities, the enforced use of rigid verse forms, general concern for decorum on the stage

59
Q

One-act play

A

Play of short duration (usually less than an hour) that can be presented without an intermission and without major changes in scenery

60
Q

Orchestra

A

Open dancing area in front of the stagehouse (ancient Greece) lowest and usually most expensive array of seats directly in front of the stage (modern)

61
Q

Pastoral play

A

Extinct genre - Italian Renaissance - persistently upbeat in tone and gave courtiers a chance to indulge a taste for dressing as peasants, singing, and dancing

62
Q

Pit

A

Elizabethan theatre - portion immediately n front of the stage - occupied by those who paid lowest admission and were willing to stand

63
Q

Playscript (script)

A

Detailed, written description of a play intended to give the reader as clear a sense of the produced work as possible - gives enough info so that a group of performers can mount a production of the play

64
Q

Plot

A

Series of incidents that make up the action of a play

65
Q

Proscenium arch

A

An opening in the wall between two rooms - one room = actors performing, one room = audience

66
Q

Proscenium staging

A

Form of physical configuration between actor and audience encouraged by the proscenium arch - consists of a fairly narrow array of audience members gathered on one side of the stage only - clear distinction between the areas occupied by the actors and audience

67
Q

Protagonist

A

Major figure in traditional theatre and the person around whom the action of the play turns

68
Q

Restoration comedy

A

Comedy of the English restoration (1660-1700) - glittering language, salacious plots, frequently debauched characters

69
Q

Revolving stage

A

Portion of the stage constructed so that it rotates around a pivot

70
Q

Rising action

A

Portion of the plot that begins with the inciting incident and continues until the climax

71
Q

Satyr play

A

Greek drama - ridiculing the gods and heroic legends, using the bawdiest language, dance, and song to do it

72
Q

Stage left

A

Side of the stage to the left of an actor facing the audience - “audience right”

73
Q

Stage right

A

Side of the stage to the right of an actor facing the audience - “audience left”

74
Q

Stereotyped character

A

One based on the assumption that all members of a given group possess certain simple behavioral traits

75
Q

Stock company

A

Form of resident company in which actors were hired according to lines of work and large numbers of plays were prepared usually with very short rehearsal periods and for relatively short runs

76
Q

Storyboard

A

Visual display of the plot of a play or film in which each scene is represented by a single picture or short description - arranged to depict flow of plot

77
Q

tempo

A

Speed with which incidents that make up the action that take place

78
Q

Thrust staging

A

Physical configuration of audience and performers in which at least some part of the stage extends into and is surrounded by the audience. beyond surrounding 270 degrees, called arena staging

79
Q

Upstage

A

Portion of the acting area that is farthest from the audience

80
Q

Vomitoria

A

Roman theatre - tunnels that allowed the audience to enter and exit the theatres with ease
contemporary theatres - tunnels that allow the actors to reach the downstage portions of a thrust stage by passing through the audience

81
Q

Conflict

A

Central feature of a dramatic action - arrangement of the objectives of two or more strong characters in such a way that those objectives are competing and mutually exclusive

CSET Subtest Three (10 decks)

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