Drama Theory Flashcards

1
Q

To hold a brainstorm about a possible scenario (framework) for your
production by asking the following questions:

A

WHAT: What happens in your story? Which aspect
of the theme/issue will you focus on?
WHO: Who are the characters?
What is your relationship to one another?
What is your function in the play?
WHERE: How will this affect your team’s
performance? Where does the story take place?
WHEN: When does the story take place? In the
past, the future?
TO WHOM: Who is the audience? Is it friends,
parents, the community?

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2
Q

What is “Hot Seating”?

A

This is an exercise to deepen understanding of character.
An actor sits in the hot-seat and is questioned in role, spontaneously
answering questions they may not have considered before.

Hot-seating helps an actor become more familiar with their role.

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3
Q

What is Linear narrative?

A

when the story is told in the order in which events happened
(chronological order).

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4
Q

What are flashbacks?

A

when the character and action goes back to an earlier time

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5
Q

What is circular narrative?

A

Circular narrative when the drama begins at the end.

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6
Q

What is episodic narrative?

A

when the drama is broken up in separate episodes/ events.
This would allow you to jump in time. A narrator/ commentator may be useful announcing a new episode.

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7
Q
A
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8
Q

A storyline must have:

A

a beginning
middle
end

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9
Q

What are the elements of drama?

A

Characters
place / space
time
plot

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10
Q

What are the 3 different acting skills?

A

listening and concentration
action and reaction
cause and effect

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11
Q

What is a Proscenium stage?

A

the most common type of stage:
The audience faces the stage and views it from only one side (end-on).

There are wings on either side of the stage.
There may also be a crossover or passageway behind the stage where actors can move around.
Above the stage there is an area that is used for curtain and scenery rails and for the lights.
The front curtain can be closed before, during and after the performance to hide the stage.

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12
Q

What are the wings of a Proscenium stage?

A

The areas that are hidden from the audience, on the left and right of the stage

They are used to store props and sets, and actors wait in the wings before they go onstage.

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13
Q

What is the small area infront of the curtain of a Proscenium stage called and what is it used for?

A

The small area in front of the curtain is called the apron.
There may be an orchestra pit below the apron for musicians.

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14
Q

What is a Thrust Stage?

A

It is similar to an end-on stage, but the performance area extends into the house.
The audience sits on three sides of the stage.

The actors can enter and exit through the upstage area or through the audience.

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15
Q

What is an Arena Stage?
(What else is it called)

A

“Theatre in the round” is where the audience is seated on all sides of the action.
the acting space may be circular, square or any other shape.

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16
Q

How does one rid themselves of tension before you perform?

A

Standing in neutral: stand in a relaxed position with your feet apart, arms at your sides and head in a balanced position at the top of your neck.

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17
Q

How do you warm your hands and fingers before performing?

A

Start with one hand, and shake out the fingers as though you are shaking off water. Then wriggle all the fingers as though you are typing or playing a piano very quickly. Then stretch the fingers out and curl them in one after the other.
Do this with both hands.
Call someone towards you with your hands. Gesture them away from you.
Indicate that they should move to the left or the right.
With your hands, make pulsing stars all over the sky above your head and behind and in front of your body.

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18
Q

How do you warm you arms and shoulders before performing?

A

Swing an arm easily in the arm socket.
Swing it forwards and backwards, rocking with the motion.
Make circles with the arm until it feels loose and free in the shoulder socket.
Repeat on the other side.
Push your shoulders up towards your ears, and release while breathing out.
Roll your shoulders backwards and forwards.
Roll them together and alternately.

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19
Q

How do you warm your neck before performing?

A

Let your head drop down towards your chest. Let it gently nod like you are saying ‘yes’. Then shake it gently like you are saying ‘no’. Let it hang again in centre. Feel the stretch up the back of the neck. Then raise the head slowly, lift up the chin, and opening your mouth, look at the ceiling (feel the stretch up the front of the neck). Make sure that this movement is gentle as necks are delicate areas and need to be warmed up with care.
Facing front, drop your head to the left shoulder and then to the right.

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20
Q

How do you warm your face before performing?

A

Squeeze your face up very tightly. Then stretch it out as widely as you can.
Make the biggest smile that you can. Imagine that there
is an annoying mosquito flying around your face, and you can’t use your hands to get rid of it. Move facial muscles instead to flick it away.

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21
Q

How do you do vocal warm ups before performing?

A

Making realistic drum, synthesiser, and other instrument sound effects with your mouth.

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22
Q

What warm ups should you do before performing?

A

Release the body of tension
Hands and fingers
Arms and shoulders
Neck
Face
Vocals

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23
Q

A few tips before going on stage….

A

Before you go onto the stage, you need to make sure that all the actors are ready and that everything has been prepared.
 Check to see that the acting space is prepared and that everybody knows what needs to be brought onto the stage and at what time.
 Make sure that everybody knows where they enter and exit the stage.
 Make sure that everybody is sure of their positions on the stage.
 Check that all the props are ready.
 Remind the group that they should not talk about being nervous. It is natural to feel a bit nervous,
but they should not excite the other members of the group.
 Breathe deeply and focus before you go onto the stage.
 Enjoy your performance! You work very hard to reach this point and the hard work will ensure a
brilliant and enjoyable performance!

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24
Q

The state of being free of tension is called

A

relaxation

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25
Q

To make voices strong so they can be heard …

A

Projection

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26
Q

A performer acting as a person in a story …

A

Character

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27
Q

he formation of clear and distinct sounds in speech.

A

Articulation

28
Q

created spontaneously or without preparation.

A

improvise

29
Q

the placement of the voice and where the sound resonates

A

resonance

30
Q

using sensory words and phrases to paint pictures in a reader’s mind so s/he can vividly imagine what is written

A

imagery

31
Q

a group of people who participate in a show or encounter a work of art, literature (in which they are called “readers”), theatre, music (in which they are called “listeners”), video games (in which they are called “players”), or academics in any medium.

A

Audience

32
Q

a genre of dramatic performance having a light or humorous tone that depicts amusing incidents

A

comedy

33
Q

comic dramatic piece that uses highly improbable situations, stereotyped characters, extravagant exaggeration, and violent horseplay

A

Farce

34
Q

a representation of a dramatic scene by a person or group, posing silently without moving.

A

tableaux

35
Q

encompass any effort at commemorating an event or person

A

Monument

36
Q

a low-to-medium risk image work activity in which students quickly shape their own bodies individually and independently to create a frozen “statue” that represents a person, feeling, or idea.

A

statue

37
Q

Name one career in the field of drama.

A

Actor,
Screen Writer
Make up Artist
choreographer
Casting Director
Costume Director

38
Q

Name one example of vocal development in drama.

A

pitch, pace, tone, volume, emphasis, intonation, age, dialect, speech pattern, and personality.

39
Q

Name a person who operates the lights on the stage.

A

Lighting technicians

40
Q

The part of the theatre that is not seen by the audience.

A

Backstage

41
Q

When the whole group speaks together at the same time

A

Unison

42
Q

A story that is made up to teach a lesson

A

Fable

43
Q

A style that a play is written in

A

Genre

44
Q

What do we call a person that is writing plays?

A

Playwright

45
Q

Differentiate between: actor and audience.

A

Actors share experience or information and audiences become expressive.
Audiences also recall their experiences at the same time to watch the theatre.

46
Q

What is the function of the director?

A

the director is responsible for shaping every aspect of the final performance—from the actors’ performances to the setting and design choices.

47
Q

What is the function of the Costume Designer?

A

tell a story through clothing, using the language of fashion to help express aspects of a play or opera’s setting, mood, and characters.

48
Q

What is the function of the choreographer?

A

A choreographer works with dancers to interpret and develop ideas and transform them into the finished performance.

49
Q

What is the function of the producer?

A

creates, builds on and oversees the budget, sets ticket prices, chooses performance dates and times, and develops a marketing and advertising strategy for the production. Hiring a publicist and marketing team is one of the most important responsibilities of the producer.

50
Q

What is a choral verse

A

a group of people narrating a poem or a dramatic piece

51
Q

What is a folk tale?

A

focus on how the character(s) confront a challenge or series of obstacles to solve a problem, they also demonstrate moral lessons and illustrate the core values that a culture holds in common. These aspects of folktales combine to reinforce a culture’s core values and traditions.

52
Q

What is the importance of Sound effects

A

It engages audiences: it helps deliver information, it increases the production value, it evokes emotional responses, it emphasises what’s on the screen and is used to indicate mood.

53
Q

What is narration -

A

technique whereby one or more performers speak directly to the audience to tell a story, give information or comment on the action of the scene or the motivations of characters.

54
Q

the purpose of characterisation

A

helps you understand your characters, and how each character’s personality and perspectives can help drive the plot forward

55
Q

What is

call and

response

A

a form of interaction between a speaker and an audience in which the speaker’s statements (“calls”) are punctuated by responses from the listeners.

56
Q

What is the meaning of echo in drama

A

The participants pair up and recieve a pair of lines. They must devise a scene in which the lines repeat.

57
Q

modulation: pitch / pace / pause / volume / emphasis / tone colour –

body percussion - body language – movement

A

when you control or adjust something, for instance, when you lower your voice to a loud whisper in order to make what you’re saying more dramatic and mysterious.

58
Q

What are the 6 elements to drama

A

plot, character, thought, diction, spectacle and song

59
Q

What is the most important aspect of choral verse

A

speak exactly at the same time. Voices must have a rhythm. Voices must convey the meaning of what is read. Each word, line or thought must be brought to life by the voices.

60
Q

Why are Folk tales so important?

A

used to help children develop strong reading skills, study other cultures, and discover a love of stories.

61
Q

What are props

A

object used on stage or screen by actors during a performance or screen production.

62
Q

difference between a monologue and a dialogue.

A

A monologue is a speech delivered by one person or a long one-sided conversation.

A dialogue is 2 or more characters

63
Q

What elements do cultural rituals and social rituals have in common?

A

a wide variety of expressions and physical elements: special gestures and words, recitations, songs or dances, , special food.
variety of forms: birth, wedding and funeral rituals; food traditions,
seasonal ceremonies

64
Q

Mention 1 traditional rural performance space and explain the type of
performance that takes place there. (5)

A

Three marks for showing an understanding of the performance itself and what it
means to the performers themselves. Discussion on performances such as praise
poetry (Basotho’s dithoko, Zulu’s izibongo), Basotho’s Pina tsa Mokopu, folk
storytelling, Intsomi, tsomo.) Also consider learners’ knowledge of the space and
the reasons why some performances took place at such spaces.
e.g.
Inside a hut3: Storytelling. 3When an old woman performs stories.3 The elder
are respected and women are revered as sacred wisdom givers and creation of
life. 3 Stories are the way that traditions and histories are transferred from one
generation to another.3
Courtyard3: Men and boys perform historical performances3 that relate to the
male experience of hunting and battle 3while the women will accompany with
clapping and ululating. 3 This is linked to the harvest, rain, war rituals that have
specific meaning. 3
2SHQVSDFHV3: Hunters come together3 to tell their stories over a fire3 and in
the veld3, men will highlight and exaggerate their prowess and have movements
to illustrate the event.3 Masks and song may also be used.3
/HDUQHUVPD\DOVRGLVFXVVWKHLURZQFXOWural rituals and the different stages
where it can be performed – just ensure the factual correctness thereof.

65
Q

You have won a performance award and you need to write a speech.
In your speech include answers to the following: (5)
x what you have learnt that was enriching and would add value to your life
x aspects you want to celebrate and/improve on and/change
x why it is important to be exposed to the arts (Drama) at school
x advice to fellow learners studying Drama

A

Practice

/HDUQHUDEOHWRDQVZHUFRPSUHKHQVively with relation to Creative
Arts concepts and skills acquired during the year. The language
(terminology) of the arts is used with exceptional skill. The
paragraph is a detailed rendition of the learner’s critical reflection
on his/her Creative Arts experiences.
/HDUQHUDEOHWRDQVZHUZLWKUHODWLRQWRYDULRXV&UHDWLYH$UWV
concepts and skills acquired during the year. The language
(terminology) of the arts is used. The paragraph is a rendition of
the learner’s reflection on his/her Creative Arts experiences.
/HDUQHUDEOHWRDQVZHUE\VWDWLng general experience in Creative
Arts and using some reference to Creative Arts concepts and
VNLOOV/LPLWHGDUWVWHUPLQRORJ\LVXVHG7KHSDUDJUDSKLVD
rendition of the learner’s reflection on some of his/her Creative Arts
experiences.
/HDUQHUDQVZHUVDWVXSHUILFLDOlevel, rewriting the question and
making general and at time vague comments. The paragraph lacks
unity and consists of a series of statements. Experiences in
Creative Arts are listed to an adequate extend, but lacks depth.
/HDUQHUDQVZHUVE\UHZULWLQJTXHVWion. Reference to Creative Arts
experiences is vague and not accurate. Weak writing skills, not
coherent.

66
Q

What would you regard as the most important aspect of a performance of either
the choral verse or the folktale to ensure that the performance is successful?

Choral Verse

A

x Focus3- listening and responding to cues3
x Vocal modulation and expression 3(pitch, inflection, pace, pause, volume,
emphasis, tone-colour) in harmony with others3
x Choral verse techniques (e.g. speaking in unison3, antiphon3, using
cumulative methods3, solo lines3, sharing lines)3
x Group movement 3(consider working as one3, using body percussion3,
point of focus3 storytelling techniques)3

In choral verse one has to listen carefully to the other members in the group.3
Concentration is also important, 3as well as focus otherwise the required unity
may not be achieved. 3

67
Q

hat would you regard as the most important aspect of a performance of either
the choral verse or the folktale to ensure that the performance is successful?

Folktale

A

x Versatility3: narrative and dialogue3
x Vocal modulation and expression3: pitch, inflection, pace, pause, volume,
emphasis, tone-colour – any one3
x Movement3, using the body as a tool to tell the story3: body language3,
facial expression3 and eye contact3
x Vocal characterisation3 and physical characterisation3: expressing the
characters through body and voice3
x Using vocal sound effects3 as background sounds or as a sound track:
integrating songs where appropriate3
x Reflection and feedback3: discussion on learners’ experience and
exploring ways for improvement3

In the performance of a folktale it is important to work well together3; also to
listen to fellow actors and to react appropriately3, to use the voice and body in a
motivated manner 3and to make sure there is variety between dramatisation and
narration. 3