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COM 102 > Exam 1 review > Flashcards

Exam 1 review Flashcards

1
Q

Realism/Naturalism

A

Broad, still theatre-not completely real, attempting to present people, places, and events corresponding to everyday life

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2
Q

Non-realism

A

All types of theatre that depart from observable reality, a departure from realism

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3
Q

Expressionism

A

An attempy to depict the subjective (based on feelings/opinions) state of a character through nonrealistic tendencies, e.g. distortion, striking images, poetics

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4
Q

Heightened Realism

A

AKA selective realism, plays in which characters (and their actions) resemble real life, but there is some parts that do not

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5
Q

Collective Mind

A

A group must assemble at one time and one place, sharing a common experience while focusing on one activity

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6
Q

Immersive Theatre/Participatory Theatre

A

Audience members play an active role in some way, audience is acting/participating with the actors

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7
Q

Aesthetic Distance

A

A physical or psychologyical separation/detachment of audience from dramatic action, sometimes considered necessary,

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8
Q

Flashback

A

Abrupt moments from the present to the past and back again, used to show a scene or event

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9
Q

Anachronism

A

Placing a character or event outside its proper time sequence

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10
Q

Symbol

A

A sign, token, or emblem that signifies something else. EX: single image -> an indea/larger concept, flag -> a nation

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11
Q

Metaphor

A

Used to draw a connection between two seemingly not similiar things. EX: “all the world’s a stage”

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12
Q

Soliloquy

A

The speech in which a character onstage steaks their inner thoughts outloud, either alone on stage or with others who are keeping quiet

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13
Q

Pantomime

A

A form of theatrical presentation that relies on dance, gesture, adn physical movement without speech, acting without words-the art of silence

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14
Q

Theatre of Fact

A
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15
Q

Willing Suspension of Disbelief

A

To purposefully put aside most thoughts about reality, to not take what you’re watching legitamately, there’s no need for skepticism, knowing what you’re watching is not real but chosing to believe it for the time being

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16
Q

Broadway

A

The oldest professional theatre in NYC, plays being performed in large theatres in the district near Times Square

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17
Q

Off-Broadway

A

Started in 1950s, located outside of the Times Square area, less expensive, smaller theatres

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18
Q

Off-off-Broadway

A

Small independent groups, produced a large variety of productions wherever inexpensive space was available , wx: churches, lofts, warehouses, basements

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19
Q

Regional Theatre

A

AKA Resident Professional Theatre, presentation of high-quality professional productions to local residents, all high-calibre (performers, directors, designers),

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20
Q

Community Theatre

A

AKA Amateur Theatre, semi-professional/non-professional theatres serving local communities, the actors/directors/designers/crew may have professional training but are not pursuing it as a full-time career, often include amateurs

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21
Q

Critic

A

Someone who observes theatre and then analyzes and comments on it, they serve as a knowlegeable audience member, can share information from the POV of a spectator , write serious articles in newspapers/magazines/books

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22
Q

Reviewer

A

Reports on what has occured at the theatre, usually works for newspaper/magazine/TV station, describes the plot/whether or not the show is worth seeings, often restricted by time, space or both

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23
Q

Dramaturg / Literary Manager

A

The “Dramatic Advisor”, to discover and research promising new plays, gets the historical context of the play, researches the critisisms and interpretations of other showings of that play

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24
Q

Proscenium

A

The frame or arch surrounding the stage oppening in a box or picture stage, it is shaped in such a way that the audience watched the play as it would regard a picture

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25
Q

Arena Stage

A

AKA circle theatre/theatre-in-the-round, A stage that is entirely surrounded by the audience

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26
Q

Thrust Stage

A

Stage space that thrusts into the audience space, a stage surrounded on 3 sides by audience seating. EX: set up for Everybody (performed on stage last year)

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27
Q

Black Box

A

A theatre space that is open, flexible, and adaptable, typically without fixed seating, audience configuration can be rearranged to how the individual requirements see fit

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28
Q

Fourth Wall

A

In a proscenium-arch Theatre, the feeling that the auidence is looking through an invisible fourth-wall

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29
Q

Front of House

A

The portion of the reserved for the audience, sometimes known just as ‘the hosue’

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30
Q

Rake

A

the upward slope of the stage floor OR positioning the scenery at an angle other than parallel or perpendicular to the curtain line

31
Q

Orchestra

A

A circular playing space in ancient Greek theatres, (mondernly) the ground-floor seating in the auditorium

32
Q

Box

A

A small private compartment for a group of spectators built into the walls of theatres. EX: part on back wall of Olin Theatre, entrance is door to steps in Olin lobby)

33
Q

Created / Found Space

A

Non-theatrical Areas that are converted into theatre spaces, the ability to effectively create a theatre in any context

34
Q

Site-Specific Theatre

A
35
Q

Street Theatre

A

Performance in outdoor public spaces without a specific paying audience

36
Q

Multifocus Theatre

A

An evironment in which there is more than one performing area, can contain different lighting for each/different sets/characters. EX: The getting ready for Prom song (The Night of Nights) in High School Musical when the stage is turning to the different areas

37
Q

Imitation

A

To stimulate or copy the behavior that is observed in real life, to act like someone/something

38
Q

Magic If

A

Constantine Stanislavski’s acting exercise that requires the actor to ask, “How would I react if I were in this character’s position?”

39
Q

Superobjective

A

What the character(s) wants to acheive overall, above all else in the play, their own final/end of play goal

40
Q

Relaxation

A

Constantine Stanislaski’s form of describing that an actor should always be as mindful of their own body as possible when performing/about to perform, that actor must always be relaxed or they may messed up/get disctracted/lose their place

41
Q

Inner Truth

A

To use the “Magic If” in practice, thinking of the psychology of the character, putting yourself into the mindset of the character you are performing as, asking yourself, “What if I were…”

42
Q

Through Line

A

Developed by Constanting Stanislavsky, A way of analyzing the action of a play through beats and superobjectives

43
Q

Emotional Recall

A

Contantine Stanisklavsky, an exercise that helps the performer present realistic emotions, the actor recalls the emotion needed in a scene by thinking back to a moment in their real life when they felt the same way

44
Q

Ensemble Playing

A

The acting that stressed the total artistic unity of a group performance rather than the individual performance

45
Q

Constantine Stanislavski

A

Developed a system of how different styles of acting are taught, System includes: Relaxation, Concentration and Observation, Given Circumstances, Inner Truth (Magic If), Action Onstage, Throught-line, Ensemble Playing

46
Q

“The Poetics” by Aristotle

A

Known as one of the foundations of Greek tragedy, has 4 parts: 1) Plot - The action 2 )Character - People doing the action 3) Theme - What the play (in order of importance) is about 4) Language - how the theme is worked out 5) Music 6) Spectacle - Costumes. Characters with noble/high-status, the tragic hero and the tragic flaw, a climactic structure, well-made plays

47
Q

Aristotle

A

Greek Philosopher, 4th century BCE, educator, Wrote the book “The Poetics”, brings ideas of Climactic plot structure and well-made plays

48
Q

Plot

A

The arrangement of events of the selection and order of scenes in a play, arranged for maximum dramatic impact, the action of a play

49
Q

Obstacles

A

That which delats or prevents the achieving of a goal by a character, it creates a complication and a conflict, one part of Through-line

50
Q

Complications

A

Introduction of a new force which creates a new balance of power and entails a delay in reaching the climax

51
Q

Crisis

A

A point ina play when events and opposing forces are at a crucial moment, and when the course of further action will be determined

52
Q

Climax

A

The highpoint in the development of a dramatic plot

53
Q

Episodic Structure/Drama

A

Expands the action of the play, at a range of locations, opposite of climactic sturcture. EX: the Star Wars universe)

54
Q

Climactic Structure

A

Has specific guidelines, there are no loose ends at the end, smaller # of characters, limited # of longer segments, a clear beginning middle and end, “well-made plays”

55
Q

Exposition

A

Information necessary for an understanding of the story, not covered by onstage action, must be introduced so the audience can understand the characters/plot

56
Q

Well-made plays

A

19th & 20th c, clear/linear structure, a build-up of ssupense, a climactic scene where all problems are solved and a happy ending

57
Q

Subplot/Parallel Plot

A

A secondary plot that reinforces or runs parallel to the major plot. EX: Young snape relationship with Harry’s mother being shown while the rest of the movie is about Harry and the Half-Blood Prince

58
Q

Stock Characters

A

Two-dimensional, the stereotypical characters. EX: a dumb blonde, a mean step-parents, the loyal servant, etc.

59
Q

Extraordinary Characters

A

Characters that are: larger than life, noble, historically significant, hereos, etc.

60
Q

Representative Characters

A

These are characters with everyday life types, ‘normal’ people, typical

61
Q

Protagonist

A

The principal character in a play, the one who is drama is about. EX: The soccer team in The Wolves, Harry Potter in the movies, Frye in Futurama

62
Q

Antagonist

A

The opponent of the protagonist, can be a single person/an idea/an obstacle

63
Q

Genre

A

Meaning category, into which a play falls. EX: Tragedy, comedy, tragicomedy, etc.

64
Q

Tragedy

A

Greece 5th c BCE, Aristotle descsribes them in “The Poetics”, a serious drama in which there is a downfall to the primary character

65
Q

Modern Tragedy

A

late 19th c, focused around everyday families/conflicts, conflicts come directly from the characters adn their lives rather than law/divine power/nobles. EX: La casa de Bernarda Alba-conflicts between the daughters and their relation with each other as well as their mother

66
Q

Domestic Drama

A

mid 19th c, the start of when the middle class start going to theatre productions, focused on the family (hence the domestic), it is realistic (believeable, represents real life)

67
Q

Domestic Comedy

A

The counterpart of domestic tragedy, rather than focusing on the sad/upsetting side of life, it focuses on lighter subjects

68
Q

Melodrama

A

1802, plays with dialouge that has been set to music, NOT a musical, the music tends to highlight actions/emotional moments, characters aren’t that complex, easily defined as good/bad. EX: Shark music from Jaws, The Imperial March for Darth Vader.

69
Q

Comedy

A

Will end happily, almost no death, there is a Suspension of Natural Law (a character can fly/can survive a large fall), shows the worst of humanity, has physical and verbal humor, contains plot complications

70
Q

Farce

A

A subclass of comedy with emphasis on exaggerated plot complications

71
Q

Satire

A

A form of comedy, uses irony and exaggeration to attack and expose

72
Q

Tragicomedy

A

The Renaissance: has tragic themes and noble characters but with a happy ending. Today: in which serious and comedic elements are integrated, a comedic/ironic treatment of a more serious theme

73
Q

What are the actor’s primary tools?

A

The Mind/Imagination, Body, Voice

74
Q

Steps in the process of preperations for a theatre productions. (taken by actors)

A
  1. Making the characters believable- the inner truth 2. The physical acting- the use of the voice and body 3. Synthesis and Integration-combining all skills into one, inner and outer

COM 102 (2 decks)

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