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Theatre Appreciation > Exam 1 > Flashcards

Exam 1 Flashcards

1
Q

Interdisciplinary

A

a process of answering a question, solving a problem, or addressing a topic that is too broad or complex to be dealt with adequately by a single discipline or profession and that draws on disciplinary perspectives and integrates their insights to (produce) a more comprehensive understanding

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2
Q

What does thinking in interdisciplinary terms mean?

A

ability to make conscious connections to seek different perspectives; its about making connections and discovering the value of relationships among disciplines

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3
Q

Script Analysis

A

you must examine the text section by section

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4
Q

Creativity

A

the ability to generate new ideas

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5
Q

Abraham Maslow’s Hierarchy of Needs

A

theory argues that humans have a series of needs, some of which must be met before they can turn their towards others; certain universal needs are pressing while others of “acquired” emotions are secondary importance

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6
Q

Hierarchy

A

a system or organization in which people or groups are ranked one above the other according to status or authority

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7
Q

What is the order of the Hierarchy of Needs?

A

1) biological and physiological needs; 2) safety needs; 3) love and belongingness needs; 4) esteem needs; 5) self-actualization needs

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8
Q

Who created divergent/convergent thinking?

A

Psychologist J.P. Guilford

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9
Q

Divergent Thinking

A

the process of generating multiple related ideas for a given topic or solutions to a problem; occurs in a spontaneous, free-flowing, ‘non-linear’ manner

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10
Q

Convergent Thinking

A

the ability to apply rules to arrive at a single ‘correct’ solution to a problem such as the answer to an IG test problem; systematic and linear process

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11
Q

What does divergent thinking equal?

A

creative thinking

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12
Q

Alternative Uses Task Test

A

naming all the uses of a brick; the number of different responses or the number of responses given by no one else has provided a measure of how creative a person is; scoring comprised of four components

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13
Q

What are the four components of the Alternative Uses Task Test?

A

originality- how common is the use; fluency- total number of uses found; flexibility- different categories; elaboration- amount of detail

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14
Q

Imagination

A

the fuel for creativity

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15
Q

Howard Gardners Multiple Intelligences

A

verbal/linguistic- using language to present your ideas, to express your feelings or persuade others; logical/mathematical- reasoning, logical thinking, handling mathematical problems; visual/spatial- creating and interpreting visual images, thinking in three dimensions; bodily/kinesthetic- feeling and expressing things physically, doing hands on work; musical/rhythmic- creating and feeling a rhythm to expess a mood, detecting and analysing musical themes; intrapersonal- within the self, understanding your own interior thoughts and feelings in a very clear way; interpersonal- between people, understanding the feelings needs and purposes of others

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16
Q

Inspiration

A

the process of being mentally stimulated to do or feel something, especially to do something creative

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17
Q

Muse(s)

A

9 muses in Greek mythology; inspirational goddesses of literature, science and the arts; considered the source of knowledge embodied in the poetry, lyric, songs, and myths that were related orally for centuries

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18
Q

PLaywright

A

their words are the skeletal beginning of what will become a fully embodied three dimensional theatrical form; responsible for the initial vision of the play; basic awareness of the physical aspects of theatre necessary

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19
Q

The Western “Canon”

A

a body of book, music, and art that scholars generally accept as the most important and influential in shaping western culture; by studying their plays we will have both a window to the past and gain insight into what it is to be human

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20
Q

The Human Condition

A

what it is to be human

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21
Q

What happened in the 1970’s?

A

scholars began to work to give credit to female and african american playwrights; objective was to introduce people to works of playwrights that were dismissed because of prejudices regarding race and gender

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22
Q

How did you write a play/ideas to get started

A

Henrik Ibsen wrote an outline; Shakespeare adapted his plays from stories already in existence; Inspiration- current events, personal experiences, historical figures

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23
Q

Devised Theatre

A

it is a group effort

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24
Q

What is the value of rehearsal?

A

see and hear the play “on its feet”; use this experience to continue shaping the play; new plays are developed in small theatres before they are produced on the main stage

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25
Q

Previews

A

are productions that often play for weeks with a paying audience at a somewhat reduced ticket price before the opening; critics are NOT invited

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26
Q

What is Aristotle’s six elements of a play?

A

plot, character, thought, language, music, spectacle

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27
Q

Exposition

A

gives the audience a preview of the events to come and gives us insight into the characters, setting, and background. A great deal of information is typically conveyed in the first few scenes

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28
Q

Inciting Incident

A

an event that hooks the viewer into the story and sets everything else that happens into motion; this moment is when an event thrusts the protagonist into the main action of the story

29
Q

Rising Actions

A

small units of action are dramatized that build in emotional intensity

30
Q

Climax

A

the emotional high point of the action; the conflict has reached a critical stage; everything in the play has been leading up to this moment

31
Q

Falling Action

A

emotional intensity drops

32
Q

Resolution

A

AKA denouement; loose ends are tied and balance is restored

33
Q

What are the 7 things that every play must have?

A

inciting incident, protagonist, antagonist, a beginning, a middle/the journey, climax, an end

34
Q

Inciting Incident

A

event or moment that introduces the protagonists want

35
Q

Protagonist

A

character who wants something so badly that they will take whatever action necessary to get it; traditionally this is the character the audience should most identify with/want to win

36
Q

Antagonist

A

character who creates obstacles for the protagonist getting what they want and who wants something just as badly; sometimes the antagonist has the same want

37
Q

A Beginning

A

where we find out what the protagonist wants and why they must have it; introduces main character, allies and enemies; incites the journey

38
Q

A Middle/The Journey

A

where we see the protagonist trying different ways to get what they want, with the antagonist continually getting in the way

39
Q

Climax

A

moment where the protagonist has only one option left for getting what they want; most intensity; biggest turning point of the main characters/protagonist

40
Q

An End

A

where we see the protagonist either get or not get what they want and how that has changed them

41
Q

Deus ex Machina

A

implausible concept or a divine character is introduced into a storyline for the purpose of resolving its conflict and procuring an interesting outcome; sudden unexpected; must be shown that the problem solved by the Deus is one that is unsolvable or hopeless

42
Q

Aesthetic Distance

A

an audiences emotional involvement in a story; gap between a viewers conscious reality and the fictional reality presented in theatre; allows us to separate the world of play from reality

43
Q

Close Aesthetic Distance

A

when the audience become fully engrossed in the world of the play; at least one character with whom the audience identifies with (usually the protagonist); as if the audience was living through it themselves

44
Q

Opposite of Close Aesthetic Distance

A

some playwrights will deliberately increase the aesthetic distance between the audience and the characters as a means of focusing the audiences attention on other aspects of the story

45
Q

Willing Suspension of Disbelief

A

refers to one of aristotles principles of theatre in which the audience accepts fiction as reality so as to experience a catharsis; empathy is heightened

46
Q

Catharsis

A

releasing of tensions to purify the soul

47
Q

Without Aesthetic Distance…

A

we might feel compelled to take action to stop the progression of the play

48
Q

Without Willing Suspensions of Disbelief…

A

we are unable to become absorbed into the world of the play, to fully experience it and to empathize with the characters

49
Q

Style

A

is dictated by language; identified by character movements and social manners, by changes and fashions in architecture, clothes, furniture, and decoration; expressed by music, painting, and dance; heavily reliant on the period of history

50
Q

What does the director do?

A

provide Artistic Vision for the play AKA directors concept; role of director is fairly new; masterful at interpreting plays and convincing actors to take direction in order to coordinate the stage effects and acting ensemble

51
Q

Who was the first director?

A

Duke of Saxe-Meiningen, George II

52
Q

Saxe-Meiningen

A

all leading actors were required to take walk-on roles; insisted on long rehearsals; insisted on authentic sets and costumes; set a new standard- directors worked to provide a unified production

53
Q

Genre

A

relates to the kind of emotional response a play creates in the audience; blending of genres can occur

54
Q

What are the types of Genre?

A

tragedy, comedy, tragicomedy, and melodrama

55
Q

Tragedy

A

serious in nature and ends unhappily; Aristotle believe tragedy evoked pity and fear; protagonist faces ethical/moral issue; genre where catharsis is felt the most

56
Q

How did Aristotle define tragedy?

A

form of drama in which the protagonist has a tragic flaw (such as excessive pride); flaw causes protagonist to make a choice that leads to a series of unfortunate events which then leads to their own downfall

57
Q

What is the greatest example of a Tragedy?

A

Hamlet

58
Q

Comedy

A

based on humor, lacks emotional involvement; portrayals society irreverently; consequences are dealt with lightly

59
Q

Comic Relief

A

action created to ease emotional tension or contrast with a major event

60
Q

What are the variations of Comedy?

A

farce, satire, comedy of manners, romantic comedy, and parody

61
Q

Farce

A

light dramatic work; highly improbably plot situations; exaggerated characters; and slapstick elements

62
Q

Slapstick

A

boisterous form of comedy marked by chases, collision, and crude practical jokes

63
Q

Satire

A

works to make a political point

64
Q

Comedy of Manners

A

makes fun of the cultural conventions of a society, usually high society

65
Q

Romantic Comedy

A

boy meets girl, boy loses girl, boy gets girl back; unites two lovers who belong together

66
Q

Parody

A

makes fun of the content and the form of a work

67
Q

Tragicomedy

A

tragic and comic equally mixed; characters are exaggerated; occasionally ends happy with a series of unfortunate events

68
Q

Melodrama

A

follows tragicomedy but focuses more on what happens rather than how; overemotional; fast paced action and suspense; audience concerned with what will happen next rather than how the characters will react; soap opera

Theatre Appreciation (3 decks)

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