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Theatre Appreciation > Exam 2 > Flashcards

Exam 2 Flashcards

1
Q

Theatre vs. Film

A

going to see a live performance on stage is NOT like going to see a film; theatre requires an audience that is present the moment the performance begins; theatre is LIVE; there is not pause button

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2
Q

Guidelines for Attending the Theatre

A

no cell phones, put all devices away and turned off; no filming period; be on time ( at least 15 mins till); go to the restroom before you sit down or during intermission NOT during the performance; no food; no talking during performance; take off hats because it may block someones view; stay awake; be appreciative (clap if you enjoyed or a standing ovation)

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3
Q

Managing Director - FOR PROFIT

A

aka “Theatrical Producer” or “General Manager”; responsible for the financial health of a company or single production; a producer seeks to make as much money for investor (aka “angels”), which is why broadway tickets are so expensive; must know the Actor’s Equity Association (for actors and stage managers) rules and regualtions, it is their job to ensure union rules are understood and adhered to even if it means loss of revenue

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4
Q

Managing Director - Not-For-Profit

A

almost exactly the same responsibilities as “for profit” except there is a Development and Education Outreach program usually for children and aspiring young artists; usually focus their financial efforts on securing corporate sponsorships and private donation in order to supplement ticket sales (translation: cheaper ticket prices);

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5
Q

Not-For-Profit Theatres Must Haves

A

a mission statement; written by-laws; board of trustees or Board of Directors ; must file with the IRS to gain a special exemption known as section 501C3; a 501C3 allows the theatre to conduct a range of charitable and educational activities

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6
Q

Who does the Managing Director Answer to?

A

Not-for-Profit Theatre: Board of Directors; Commercial Theatre: directly to Investors (angels); a managing director must comprehend the overall Artistic Vision and special needs of the actors designers and directors; in not-for-profit this often means working closely with the Artistic Director

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7
Q

Artistic Director

A

serves as the Artistic Leader for the mission of the organization, usually not-for-profit; has a strong sense of aesthetic Vision; attends fundraisers/meets prospective donors; contributes to Grant seeking/writing; works closely with the Artistic Staff- Directors, designers, and actors; leads the process of material selection for a theatre’s seasons; most importantly, is charged with maintaining aesthetic standards and seeking high quality material, performers, and designers

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8
Q

Theatre Companies

A

ideally; all theatres function with a regular cast of performers, designers, and technicians

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9
Q

How did theatres in the 5th Century BC and English Renaissance function?

A

had a regular cast of performers, designers and technicians; playwrights could write roles with a specific actor in mind and interact with performers during rehearsal process; familiarity produces an authentic ensemble relationship

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10
Q

Board of Directors

A

in order to gain Not-For-Profit status/501C3, a theatre company must identify a functioning board of directors; a select group of people (usually from different backgrounds) charged with everything from providing advice to supplying funds; some are volunteers, some are paid; Board Memebers must have a true commitment not only to the theatre, but to the arts

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11
Q

Stage Manager (SM) Responsibilities

A

develops the production calendar; prepares the prompt book; compiles audition material; takes notes for al Production Meetings and rehearsals; runs rehearsals; prepares rehearsal space; records the blocking;

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12
Q

Blocking

A

actor’s movement on stage

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13
Q

Stage Manager Responsibilities Continued

A

sweeps the stage and checks that its safe (especially during Tech Week); instruct the running crew during tech and dress rehearsals; communicates what happened during rehearsals to all the designers (lighting, set, costume, sound designers, and prodperties master); takes careful notes during Production Meetings and rehearsals, then distributes them to everyone involved

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14
Q

Running Crew

A

there people move scenery and help with costume changes

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15
Q

Who is in charge once the show opens (or Opening Night)

A

The stage manager- the director is no longer in charge

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16
Q

Prompt Book

A

The Manual for the SM; includes contact sheet with the names and numbers of everyone involved in the production; a copy of the script (for blocking and cues); set designer’s ground plan; pertinent research; detailed breakdown of characters by scene; record of all rehearsal reports; production meeting notes; costume and scene changes; includes all cues to be called

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17
Q

Cue

A

a command to execute an action

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18
Q

Calling Cues

A

a cue signals that something technical should happen: lights change, sound plays, sets move; actors receive cues right before an entrance

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19
Q

Production Meetings

A

an important tool of the production process as they keep everyone focused on the goal, which is to present a cohesive, engaging,and entertaining story to the audience; SM takes careful notes during Production Meetings and rehearsals, then distributes them to everyone involved in the production (except actors they get different notes); and the notes go in the Prompt Book

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20
Q

Who attends production meetings?

A

Producers, directors, technical directors, set designer, lighting designer, costume designer, Props/Properties master, sound designer, stage manager, publicity, concessions

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21
Q

The Designers Job in the theatre

A

control the environment (the world of the play); communicate information to the audience; influence the audience’s emotional involvement with the play; establish time and place (when and where the play takes place); designers must give considerable attention to the ways in which theatrical space affects the audience experience

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22
Q

Theatrical Space

A

what kind of stage

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23
Q

What are the different types of Designers?.

A

set (aka scenic or scenographer); lighting; costume; makeup; sound; media

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24
Q

What is the designers process?

A

read the play several times; meet with the director to discuss ideas/concept (the thematic and visual emphasis of the time and place of the play; share images/ideas with Director; set designers use elements of visual design to create the world of play

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25
Q

Elements of Design in Set Design

A

line, mass, texture, color

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26
Q

Line

A

direction and movement; refers to the contour of a set, an onstage structure, or linear effects as a result of scenic painting; lines have direction: vertical, horizontal, oblique, etc; direction evokes emotion

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27
Q

What do oblique lines and zigzags connot?

A

action, danger, suddenness

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28
Q

Smooth, soft lines are often…

A

heroes

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29
Q

Jagged lines are often…

A

villains

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30
Q

Mass

A

the size of the elements on stage; on stage, mass relative to the actors body is important; does the scenery dominate the actor or is it in-scale with the actor

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31
Q

Texture

A

the apparent of actual quality of the surface: grainy, furry, bumpy, sleek; can either be felt (tactile), seen (visual) or both; in a drawing (rendering), texture can be created by varying light and dark strokes or lines, which can also imply depth

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32
Q

Color

A

the phenomenon created when the human eye reacts to the energy and frequency of light; is said to have value; may connote emotion (excitement, rage, peace) and stimulate the brain (action, relaxation, concentration)

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33
Q

Value

A

refers to the lightness or darkness of the color; aka hue

34
Q

Set Designers

A

aka Scenic or Scenographers; create the visual world of the play; work visually to evoke a period, mood, or style; provide visual images that communicate the meaning of the play

35
Q

What are the set designers reliant upon?

A

the dramatic needs of the play; the directors concept; the budget for the scenery; the space in which the play will be performed; the skills of their staff; equipment/machinery

36
Q

Rendering

A

a larger scale drawing

37
Q

Model

A

set designer also builds a three-dimensional miniature model of the set; model helps the director and actors visualize the world of the play and helps actors understand spatial relations; in other words the actors will know where to go once the real set is built

38
Q

Who are the Top Technicians?

A

props designer (properties master); technical director; costume shop coordinator; master electrician

39
Q

Props Designer

A

aka Properties Master; must be skilled researchers for authenticity; props can be built, borrowed, or bought; props are crucial to the plot of the play; UWG students in Theatre Program take on the position of props designer as part of degree requirements

40
Q

What is props short for?

A

properties

41
Q

Technical Director (TD)

A

builds the set in accordance with the set designers plan and specificiations; calculates how much lumber, paint and hardware is needed; must be knowledgable in both construction and design; works to ensure the safety of the cast and crew; UWG Technical director is Drew Patton

42
Q

Costume Shop Coordinator

A

supervises the building of costumes; schedules those who work in the shop; maintains the budget; purchases fabrics and other materials needed to construct costumes; detail oriented and organized; maintains and repairs costumes during performances; UWG shop coordinator Nan Stephens

43
Q

Master Electrician

A

aka Lighting Supervisor; work in tandem with the lighting designer; get the Light Plot from the Lighting designer and prepare the lights for the show; they hang, focus, the lights and program the light cues; maintain and repair lighting equipment; UWG students do this as part of their Degree requirements

44
Q

Costume Designer

A

envisions the clothing worn by the actors in a play; creates/design costumes that reveals details about a character; reinforces the directors concept; draw renderings for each costume; creates the Costume Plot; UWG costume designer Alan Yeong-Marcello

45
Q

Costume Plot

A

this document shows when each actor wears a particular costume and notes if /when a fast change is needed (also know as a quick change) ; fast/quick chagnes happen off stage

46
Q

Renderings- For Costume Designer

A

renderings are done for every costume of every character; when costume designer and director meet, the costume desginer will show the director their renderings and ttach fabric swatches so that the director can feel the fabric and have a better idea of how it will look on the actor

47
Q

What the Lighting Designer Does

A

works to illuminate the stage and actors; directs the audiences focus; sets the mood; reinforces the plays style (lighting needs to work in harmony with set and costumes); reinforces the directors concept; establishes the pace and rhythm of a show; (speed of blackout/light up/fade)

48
Q

How do Lighting Designers begin?

A

read the play a bunch; do research: plays time period and location for accuracy (not all plays are concerned with accuracy: research images for the right “feel” for scenes

49
Q

Light Plot

A

reveals where the lights are hung and where the lights are to be focused on the stage

50
Q

What are some of the tools that Light Designers use?

A

gels, GoBos, practicals, Color

51
Q

Gels and Color

A

lighting gels are colored transparent sheets used to alter the color of a light source; they are called gels because for years gelatin was used in their manufacture

52
Q

GoBOs

A

acronym for Goes Before Optics; metal or glass accessories that can be inserted into theatrical lights which create pattern in the beam of light; manipulate the shape of the light cast over a space or object (ex- to produce a pattern of leaves on the floor); can be literal or abstract

53
Q

Where are abstract light patterns used?

A

to help with texture of the environment, either more naturalistically or more abstractly

54
Q

Practicals

A

any on stage light source that acts as a practical part of the physical environment of the play; includes table and floor lamps, wall scones, chandeliers, streetlights and other ‘furniture/architectural’ style lighting fixtures

55
Q

Sound Plot

A

lists all the sounds

56
Q

Motivated Sound

A

occurs due to the circumstances in the play; required by the play/included by the playwright; example- an actor plays the piano or radio meaning the playwright put these actions in the script

57
Q

Unmotivated Sound

A

sound that may be coming from the characters mind or ambient music meant to reinforce the mood of the scene; often more for the audience and may not be acknowledged by or influence the characters on stage

58
Q

What is Media Design?

A

incorporates “projections” into a production; content can come from cinema, television, video games, moving graphics, computer interfaces, sensors, and virtual reality; display of content can range from projections on screens, the set, the performers, or other two and three dimensional items to television screens to monitors, smart phones, speakers, and virtual reality glasses

59
Q

Media Designer

A

works closely with the lighting and set designers to ensure proper positioning of the projectors and projections; projections can reinforce or change the message spoken by the actors

60
Q

What are the elements of design?

A

line, mass, texture, ornament, and color

61
Q

What is the intention of the elements of design?

A

intended to have both a conscious and subconscious effect on the audience

62
Q

What is the purpose of line in visual design?

A

create boundaries and suggest shape; predominant direction, character, and length can create a specific mood and communicate subtle information

63
Q

Straight lines

A

can suggest a sense of stability

64
Q

Curved Lines

A

can suggest grace or sophistication

65
Q

Broken or Slanted Lines

A

can suggest conflict

66
Q

Color

A

defines character; can create moods and impressions; has a strong emotional impact

67
Q

What does the “pigment” and “light” colorwheel apply to

A

pigment- painters; light- lighting designer

68
Q

Complementary Colors

A

colors across from each other on the color wheel; tend to suggest conflict when used together on stage; ex) putting the montegues in red and the capulets in green

69
Q

Analogous Colors

A

colors next to each other on the color wheel; can create a sense of unity; ex) putting Romeo and Juliet in analgous colors with respect to their family colors

70
Q

Cool Colors

A

can create a sense of remoteness or liveliness

71
Q

Warm Colors

A

can create a sense of security or passion

72
Q

Tall, Slender Shapes

A

suggest grandeur

73
Q

Low Horizontal Shapes

A

can suggest oppression

74
Q

What type of shapes are used for realism?

A

3-D

75
Q

Texture

A

the roughness or smoothness of a surface; painting techniques can create the illusion of texture; ex) “dry brushing” can create the texture of a wood surface

76
Q

Rough Texture

A

can suggest simplicity or poorness or lack of character in a costume design

77
Q

Smooth Texture

A

can create a sense of grace or refinement

78
Q

Ornament

A

an extension of the basic desgin; used to embellish design

79
Q

Lack of Ornament

A

can suggest simplicity or poorness

80
Q

Abundance of Ornament

A

can suggest grace or sophistication or “over-the-top”

Theatre Appreciation (3 decks)

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