Final Flashcards

1
Q

Dionysus

A

God of wine, fertility and revelry. Later drama was presented in hot of Dionysus. Some historians believe that drama originated out of the dithryambic chorus praising him

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2
Q

What roles do puppets play?

A

And individual play an extension of the performer, a co actor, a design element

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3
Q

3 categories of art (+time and space)

A

Literary, visual performing:
Literary occupies time
Visual occupies space
Performing occupies both time and space

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4
Q

Main Characters of Medea

A

Meda, Jason, Creon (ruler of Corinth), Aegueus (king of Athens) Nurse of Medea, Two children. Chorus, Glauce daughter Creon

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5
Q

Theatre vs. Literary

A

Theatre versus literary. literary only occupies time theatre incorporates literary but adds visual to occupy time and space.

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6
Q

Theatre vs Visual

A

Visual only occupies space where theatre uses visual and add literary to occupy both

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7
Q

Theatre vs performing

A

Theater is considered a performing art

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8
Q

What is puppetry? Manipulation of ____

A

inanimate

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9
Q

Thespis

A

credited with transforming songs into drama in the sixth century. he stepped out of the chorus and became an actor. where the term thespian came from

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10
Q

Chorus

A

group that commented in song and dance on the action of the main plot and reacted to it

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11
Q

Plot of Medea

A

Jason and Medea return from their journey. Jason leaves Medea to marry Clauce Princess of Creon. Medea runs into Augeus, king of Athens, to help Medea get away but she says no. Medea goes crazy and plots to kill both Clasue (which she achieves) and Jason. She does not kill jason but kills her two children and flies away on a chariot led by dragons.

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12
Q

Choregus

A

Equivalent of modern day producer. for Each playwright he was an Appointed official city state who would choose which plays would be presented at City Diyonysia festival eleven months before a festival.

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13
Q

City Dionysia Festival

A

Spring festival honoring the god Dionysus incorporated tragic drama in 534 B.C.E and comedy in 487 B.C.E Lasted several days three days devoted to tragedies and had time set aside for five comedies. Satyr plays also performed. Awards were given.

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14
Q

Satyr Plays

A

one of there types of classical greek dramas ribald takeoff on greek mythology with a chorus a satyrs. where satire came from.

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15
Q

Types of Puppets (7)

A

Marionette, glove or hand, hand and rod, shadow puppet, table top or rear rod, kite puppets

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16
Q

6 elements of Theatre

A
  • Audience (most important)
  • Performers
  • Text or script
  • Director
  • Theatre space
  • Design Elements
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17
Q

Medea author

A

Euripides

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18
Q

Diversity

A

Striking in contemporary theatre. Artists who reflect multicultural landscapre of our global society
Can see revivals of plays dating back to Greek Times, or can see multiethnic performances

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19
Q

Tragedy

A

App. 900 written in Greek times, of which third one have survived, from Aeschylus Sophocles, and Euripedes

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20
Q

Aeschylus

A

525-456 first import greek dramatist first important western dramatist. raised chorus to fiftyHe was the first to call for a second actor, playing different parts with different masks. Known for the trilogy Oresteia

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21
Q

Oresteia

A

458 Aeschylus sag of Agmemnon, hero of trojan war who when returns home is murdered by his wife Clytemenstra. She in turn is killed by her children Electra and Orestes.

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22
Q

Sophocoles

A

496-406 raised chorus fifteen men and a third actor. Known for King Oedipus

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23
Q

Euripedes

A

484-406 considered most “modern” of greek times. sympathetic portrayal of female characters increased realism and mixture of triage and melodrama and comedy. skeptical treatment of the gods. Known for Medea

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24
Q

King Oedipus (oedipus rex)

A

Plague has hit and play begins. Takes place in one day and and one place; the front of the palace at Thebes. Many twists and turns. and ups and downs. Prophecy made that the plague will not end until murderer of the last king is murdered. Oedipus vows to find out who it was. He tells Jocasta he killed a man at the crossroads where the king died. Oedipus puts his eyes out and Jocasta kills herself. Raised questions about fate, pride, and ironic nature of human events.

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25
Q

pattern of greek tragedy

A

opening scene chorus enters, episode between characters then first choral song. then alternation between episodes of characters and choral songs until final episode. where everyone exits.

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26
Q

What happens before Oedipus rex

A

climatic structure story begins long before play starts. Oedipus is born, and sent away because he is prophesied to kill his father and marry his mother. He is then raised in Corinth. Oedipus hears this prophecy and thinks the king queen of Corinth are his parents so he flees to thebes. he encounters a man and kills him, who ends up being his father. he correctly answers the riddle of Sphinx and becomes king of Thebes, and marries his mother, then a plague hits Thebes. This is when play begins

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27
Q

Raisin in the Sun Characters

A
Ruth Younger, Travis Younger, Walter Lee younger (brother) beneatha younger
Lena younger (mama) Joseph Asagai George Murchison
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28
Q

Old comedy

A

old comedy- comedy from the city of dionysia festival. Only surviving ones are from Aristophanes. Makes fun of social political or cultural conditions and has recognizable characters i.e. Socrates Modern day version would be saturday night live. underlined by fantastic and improbable plots. usually not climatic structure. avon

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29
Q

New comedy

A

end of the fourth century. dealt with romantic and domestic problems (more so considered roman comedy)

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30
Q

agon

A

debate between two forces representing opposite sides of political or social issue

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31
Q

parabasis

A

addressed directly to the audience makes fun of the spectators in general

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32
Q

Three tools of the actor

A

control of mind, body, and voice

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33
Q

Digital age

A

The digital age has pushed some theatre companies to try to push the boundaries and be as much like television or film as possible. Sometimes it works very well, Newsies, other times it does not work as well, Spider Man.

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34
Q

Three challenges of Acting

A

Believeilability, physical/vocal demand, combining inner and outer aspects to create credibility

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35
Q

The Poetics

A

Written by Aristotle (greek philosopher). sifnigacant work of dramatic criticism of Sophocles. loosely organized and incomplete, and the version we may have been based on a series of lecture notes. single most important piece of dramatic criticism in existence. describes six elements of drama.

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36
Q

A raisin in the Sun plot

A

The father of a black family has died and they are waiting on the death insurance check to come in. Each member has different goals on what the money should happen, MAMA wants to move to a new house, and a white man tries to stop them but they eventually move

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37
Q

six elements of drama

A
  1. plot-arrangement of dramatic incidents
  2. character-people represented in the play
  3. thought or theme-ideas explored
  4. language-dialogue or poetry
  5. music
  6. spectacle-scenery and other visual elements
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38
Q

outer vs inner

A

outer-outer aspects of character, posture, walk, vocal delivery
inner-feelings and emotions of a character

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39
Q

Theatricality in our lives the similarities/ differences

A

We use theatre terms to describe daily activity in life. Example, someone being melodramatic. But no one, at least no one sane, rants into a monologue on how they are feeling in front of a crowd of people
Theatrical elements can be combined in life events such as weddings or graduations, but are not considered theatre.

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40
Q

Raisin in the Sun Playwright

A

Lorraine Hansberry

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41
Q

theatre vs event

A

While events can have theatrical elements, they are usually missing one of the six components of theatre. It could be argued that many events are very close to being theatre

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42
Q

theatre vs spectacle

A

Again, they have theatrical elements but are missing a component to be considered theatre. In a spectacle such as a fireworks show, there is a generally consensus that there is not a performer.

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43
Q

theatre vs experience

A

This is similar to an event. They are very closely related to theatre and could be argued that experiences are in fact theatre, as long as there is a theatre space in which they are performing.

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44
Q

Responsibilites and and skills of the actor

A

assuming the role onstage. doing warm ups, taking dance classes if needed, doing vocal exercises, keeping body in shape

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45
Q

Greak Theatre

A

skena-stage house pardos-entrance audience-curved area orchestra-altar

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46
Q

August Osage county

A

Beverly Weston (father), Violet Weston (mother of weston family), Barbara Fordham (oldest weston daughter), Ivy Weston (middle daughter of Weston family), karen Weston (youngest of weston family), Bill Fordham (barbaras estranged husband) Jean Fordham (bill and barbers 14 year old daughter) Steve Huberbrecht ( Karens fiancé) Mattie Fae Aiken (violets sister) Charlie Aiken (married to mattie far) Little Charles (son of mattie fae and charles having an affair with ivy the plan to move to new york)

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47
Q

Ludi Romani Festival

A

Dedicated to Jupiter (roman counterpart of Zeus) first major roman festival to incorporate theatre.

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48
Q

Dominus (vs Greek Choregus)

A

Dominus was similar to choregus but was hired by local government official. Still in charge of making financial arrangements, bought dramas from playwrights, hired musicians, and obtained costumes.

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49
Q

Greek New comedy in Rome

A

Seneca was a playwright who based his plays of greek new comedy dealing with domestic situations

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50
Q

Plautas

A

254-184. almost all domestic greek new comedies. recurring stock characters. courtesans, lovers, and overbearing parents. most dialogue meant to be sung. Usually were farces, like to use mistaken identity. The meaechmi.

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51
Q

Terrence

A

Followed Plautas. 185-159. more literary and less exaggerated. but still complicated. Phormio (one of his plays) less slapstick and more verbal wit.

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52
Q

Seneca

A

most notable tragic dramatist of Roman period. 4-65 b.c.e his chorus is not integral to the dramatic action. emphasized violence on stage (greeks did not allow this)

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53
Q

Horace

A

Called the “Roman Aristotle” outlined correct technique in ARs Poetica. Argued that tragedy and drama must be distinct genres and tragedy should deal with royalty, whereas comedy should deal with common people. He also thought drama should teach a lesson.

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54
Q

Basics of a rehearsal process

A

Read through, script is learned, blocking, tech rehearsal, dress rehearsal, preview, opening night

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55
Q

Realism

A

drama that closely resembles what people could identify with and verify from their own experiences

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56
Q

Stanislavksy system

A

a technique of realistic acting

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57
Q

most important part of theatre?

A

the audience

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58
Q

relationship between audience and performer

A

of utmost importance. varies on how the relationship will be from space to space.

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59
Q

how audience can affect the performance

A

They can affect in many ways. Generally, a performer feeds of the energy that the audience is giving. If it is a dead crowd, it takes extra work to still give a good show knowing that your audience does not seem to be caring.

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60
Q

role of the audience

A

To achieve aesthetic distance, and suspension of disbelief, and become part of the world that is created in the theatrical play.

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61
Q

how is role decided

A

The role is decided by what type of theatrical play that is occurring. In a standard play they are just a spectator. In other plays such Sleep no More, and Spring Awakening, the audience becomes more part of the show. And in theater for political change they become specactors

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62
Q

August Osage county plot prologue and act 1

A

Prologue-Beverly hires a new house cook to take care of Violet who is diagnosed with mouth cancer. He tells her he is an alcoholic and she is addicted to drugs.
Act 1- It has been several weeks and Beverly has gone missing. Day by day different parts of the family begin to show up to help soothe Violet, even though she doesn’t seem to care. Ivy fights with her daughters over many different things. Barbara fights with her husband. Act ends with the sheriff telling the family that Beverly has killed himself.

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63
Q

reviewer vs critic

A

Reviewer- Gives opinions on how they believe the play went, but usually does not have extensive training in theatre
Critics- Usually have more of an impact if an audience is going to come, because audiences know that critics have had many years of training in theatre.

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64
Q

What must be considered when presenting an audience?

A

Reasons an audience attends
• To be entertained. Whether it be a tragedy or comedy, the whole purpose of theatre is to be entertained.
Desired response of audience
• Everyone hopes that all the work that they have put in will receive a positive reaction
Specific role of the audience/physical relationship
• The have a relationship that is a vicarious one. They respond through the mind and the heart.
Audience etiquette/expectations
• Depends on what type of theatrical event is happening. Typically it is to be quiet and respectful of the performers and give your utmost attention. If you are at a play that is intended for participation then this changes.
Evolution of the audience’s role
• The role of the audience becoming a specactor has been added, creating a more holistic experience

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65
Q

through line (objective) director/actor

A

director-the overall super objective or theme of the play

actor- the super objective of the character. what and what are they doing what they are doing

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66
Q

Given circumstances

A

what is my space? what is my relationship to my space? the moment before. action and place. who, what, when, where, why, and how

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67
Q

the moment before

A

what moment is driving the character

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68
Q

innovations in roman theatre

A

freestanding buildings, tiered audience connected to the stage house to form a single unit. orchestra was a semicircle. rarely used for staging rather for seating. stage house was two to three stories high and used storage and dressing space. facade of the stage house, the scare frond was elaborate. in between thrust and proscenium style stage.

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69
Q

August: Osage county author

A

Tracy Letts

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70
Q

what caused church to ban/close theatre

A

suppressed it because they wanted life to be fully based around going to church. and theatre had no part in that.

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71
Q

Why brought back?

A

liturgical dramas brought it back by Hildegard de Bingen and later vernacular dramas.

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72
Q

liturgical vs vernacular

A

liturigacal- in latin, short dramas, usually sung. honored saints and the virgin mary. written for religious days. presented on church steps
vernacular-everyday speech. more elaborate and were usually presentes as a series of one act dramas. presented in town squares.

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73
Q

5 m’s of medieval drama

A

Mystery, morality, miracle, mummings, and manners

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74
Q

mystery

A

vernacular play. (cycle play) dramatized a series of biblical religious events that could stretch from adam and eve all the way up to jesus christ. The second shepards play

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75
Q

morality

A

used religious characters and themes to teach a moral lesson. generally short and equivalent to a one act play today.

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76
Q

mummings

A

a theatrical drama in which people represent the order of vegetation. Many of the performers dressed in costumes that signified that they were a plant of some sort. performed in the dark part of the year. meant to be humorous

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77
Q

miracle

A

presents a real or fictitious account of the life, miracles, or martyrdom of a saint.

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78
Q

manners

A

the first secular dramas. These dramas were the beginning of breaking the tradition of keeping a religious purpose in the theatre world during the Medieval time period

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79
Q

upstage

A

part furthest away from audience

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80
Q

downstage

A

closest to audience

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81
Q

stage left

A

the part of the stage to the left of a performer facing the audience

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82
Q

stage right

A

the part of the stage to the right of a performer facing the audience

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83
Q

center stage

A

center stage

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84
Q

script vs text

A

Text is any type of theatrical activity presented onstage. The script is what the actors use a blueprint to learn how to perform their part.

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85
Q

specactor

A

when a spectator is used during theatre for political change

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86
Q

catharsis

A

release of emotional tension. tension usually caused by play

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87
Q

alienation effect

A

A type of production that hopes to distance the audiences emotions from the play

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88
Q

aesthetic distance

A

When the spectator tells themselves that they are watching a play and while they may not enjoy a character, they do not dislike the person who is playing it.

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89
Q

Willing suspension of disbelief

A

When a spectator willingly gives up the idea that what is happening on stage could not happen in real life, but still enjoys the play

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90
Q

emotional recall

A

brining back a memory to convert the emotions needed for the character

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91
Q

magic if

A

giving context, spawns emotional recall, playing a rolse as if you were that person

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92
Q

warm up excercises

A

exercises to warm up actors body and voice. designed to relax the body and the voice

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93
Q

responsibilites and skills of the director

A

pre-hearsal- reading anyalsis of the script, spine of the play, casting.
Parallel to this-collaborating with design team for design process.
Rehearsal period- meet and greet, table read, blocking, props rehearsal, run/clean throughs, tech runs, preview, dress rehearsal, opening night

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94
Q

directing process

A

determine spine of the play, collaborate with design team to determine the vision the director has from the playwright. lead actors in rehearsal to properly portray characters

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95
Q

style of the play

A

the distinguishing characteristics of a play that reflect conventional practice

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96
Q

Sanskrit theatre

A

Indian theatre. language of noble classes. to be performed in various court circles. fifty to sixty plays that reliably assigned to this period. each on had a leader (sudtradhara, chief actor) combined voice body emotions costume and makeup in an integrated whole. typical stage was a ninety six feet long and forty eight wide stage, divided equally into stage and auditorium. no scenery. most productive was Bhasa

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97
Q

Beijing/Peking Opera

A

form of traditional Chinese theatre which combines music, vocal performance, mime, dance, and acrobatics. It arose in the late 18th century and became fully developed and recognized by the mid-19th century. extremely popular in the Qing Dynasty court and has come to be regarded as one of the cultural treasures of China. four main types of performers.

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98
Q

Kabuki

A

Japanese theatere early 17th century. combined elements of no, bunraku, and folk theater. became most popular. dance was the basis of kabuki. actors are trained from childhood in vocal technique, dancing, acting, and physical versatility. revolving stage, and walkway to stage with audience on either side.

99
Q

Noh

A

fourteenth century japan. roving troupes of actors who performed in a variety of style. single, total experience. actors (there were no actresses) trained from childhood to be adept at singing ,acting dancing, and miming. remarkably sophisticated in language and content with clear organization. audience sits L shape to stage with chorus right back side and there is a rear stage and a bridge.

100
Q

Bunraku

A

sixteenth century japanese theatre. puppet theatre. chanters perform all voices in the play. as well as narration and set the generally mood. bunraku puppets usually controlled by three people. chief handler is usually elaborately dressed

101
Q

Butoh

A

form of Japanese dance theatre that encompasses a diverse range of activities, techniques and motivations for dance, performance, or movement. After word war II. playful and grotesque imagery, taboo topics, extreme or absurd environments, and is traditionally performed in white body makeup with slow hyper-controlled motion

102
Q

Revolutionary Operas

A

chinese in cultural revolution. (model operas) originally only 8 were made but 18 was the final number. considered revolutionary and modern in terms of thematic and musical features when compared with traditional operas told stories from China’s recent revolutionary struggles against foreign and class enemies. They glorified the People’s Liberation Army and the bravery of the common people They were performed or blasted from loudspeakers in schools, factories, and fields by special performing troupes

103
Q

shadow plays

A

Southeast Asia theatre. Thailand, malaysia, indonesia, uses flat puppets made of leather. intricately carved to create patterns of light and shadow when their image is projected on a screen. the puppets are manipulated by sticks attached to the head, the arms, and other parts of the body. the manipulator is also the narrator. usually take place at night.

104
Q

Proscenium

A

Storybook like. Audience is raked. Advantage- can have elaborate staging, blocking, and scenery, disadvantage- audience is further from the actor

105
Q

thrust

A

spectator is on at least three side of the stage. advantages. audience is very intimate with actors. disadvantage- limited blocking and scenery

106
Q

arena

A

theatre in the round. advantage depending on big the arena stage can have grandiose effects. audience is either very close to actors or very far away

107
Q

blackbox

A

space that can be manipulated to create differ stage space for however a play needs it to be. advantage-intimate with audience. disadvantage- similar to thrust

108
Q

found or created

A

theatrical event that happened in a space that is found or created. advantage- spectators are right with the actors. disadvantage- found spaces can easily be disrupted

109
Q

playwright responsible for

A
  • Selecting the specific subject of the play
  • Determining focus and emphasis
  • Establishing purpose
  • Developing dramatic structure
  • Creating dramatic characters
  • Establishing point of view
110
Q

what are the five essential elements of dramatic structure

A
  • Plot
  • Action
  • Conflict
  • Opposed Forces
  • Balance of forces
111
Q

difference between plot and story

A

• A story is a full account of an event or series of events. A plot is a selection and arrangement of scenes in a story for presentation on stage.

112
Q

responsibilites and skills of producer

A

Directors counterpart in the business and management side of theatre. Raise money to finance production. Securing rights to the script.
Dealing with theatrical unions. Renting the theatre space. Supervising the advertising. Overseeing the budget and the week-to-week financial managements of the production.

113
Q

How producers are alike and different to director

A

Alike- Both work with playwright. Both collaborate with the design team. Different- Producers deal more with the business side and not with the actors, while directors deal more with the actors and not the business side.

114
Q

House

A

Space that houses all of the audience sits

115
Q

orchestra

A

main floor where audience sits in a proscenium stage setting. In greek times it was the circular acting area at the base of a hillside amphitheater

116
Q

orchestra pit

A

Space that houses where the orchestra plays. Generally in front of proscenium arch in a proscenium stage.

117
Q

skene

A

oblong painted backdrop. Where we got the word scene.

118
Q

rake

A

Portion of set is on an incline

119
Q

vanishing point

A

Make a scene in perspective, the point where scenery converges to help create 3d space for scenery

120
Q

Vomitoriums

A

In circle in the round, entrance for actors that can come from within where the audience sits

121
Q

Traps

A

anything an actor can fall or hide in. Not all stages have them. First used in Victorian England

122
Q

Apron

A

Proscenium stage, portion of the stage that is downstage of proscenium

123
Q

Responsibilities of stage manager

A

Coordinates all the rehearsals, and actual running of the performance. Calls rehearsals, lets performers know their schedule. Makes all important announcements concerning technical rehearsal nd other events involving performers.

124
Q

Prompt Book

A

copy of a production script that contains the information necessary to create a theatrical production from the ground up. It is a compilation of all blocking, business, light, speech and sound cues, lists of properties, drawings of the set, contact information for the cast and crew, and any other relevant information that might be necessary to help the production run smoothly and nicely

125
Q

which four areas in renaissance?

A

italy, england, spain, and france

126
Q

renaissance was rebirth of ______

A

awakening of the arts and learning in the western world

127
Q

what led to this rebirth

A

Kings and other nobility arose, this lead to more money for lavish things such as putting on theatre and having time to learn. also the church was not as prevalent

128
Q

commedia del’arte

A

improvisational theatre, acting troupe. comedy of professional artists. usually 10 performers. stock characters. venetian, pantalone, dot tore, capitano, zanni, harrlequin

129
Q

neoclassical ideas

A

unity of time place and action. this needed to happen so that theatre was true to life. dramatic action should not exceed 24 hours, place restricted the action to one locale, only one central story.

130
Q

iambic pentameter

A

Marlowe first used it. five beats to a line with two syllables to each eat and an accent on the second beat

131
Q

Acting Companies

A

England- twenty five member on a sharing plan. three categories, shareholders, hirelings, and apprentices. Shareholders elite member received percentage of the tropes profits. Firelings were actors contracted fora specific period of time and fora specific salary. apprentices young perfumers training for the profession. Rarely perform the same play two days in a row. Had to revive repertoire on short notice.
Spain-sixteen to twenty performers (females were allowed) if women were in it they had strict rules some times

132
Q

inciting action

A

what started the play to get it going i.e. Party in Romeo and Juliet and can happen before the play starts

133
Q

obstacles

A

Outside forces that introduced that a blocking a characters path

134
Q

crises

A

The process of overcoming the obstacle

135
Q

climax

A

Final and most significant crisis

136
Q

subplot

A

Used in episodic drama, to have another plot, sometimes called the parallel plot, that is not as important as the main plot but still provides action for the play. Subplots often support and contrast the action.

137
Q

Climatic vs episodic

A

Climatic-few scenes, short time passes, few locales, action begins chronologically close to the climax, dues ex machine appears
Episodic- many scenes, considerable time passes, multiple locations, uses devices such as subplots. Subplots often support and contrast the action.

138
Q

Protagonist vs antagonist vs foil

A

Protagonist-good guy or main character
Antagonist-bad guy or opposing force
Foil-Someone who we compare that character to

139
Q

Dramatic characters

A
  • Extraordinary- “larger than life”, usually kings of queens or other figures important to society. Generally represent extreme of human behavior. Example, Lady Macbeth. Now in theatre any one can be an extraordinary character as long as they are exceptional at their best and worst. Usually one dimensional.
  • Chorus-Greek drama used them to comment in song and dance on the action of the main plot and reacted to it.
  • Representative- Three dimensional character and highly individual character. They embody characteristics of an entire group.
  • Dominant trait- When a character is named after the dominant trait they are supposed to be portraying.
  • stock characters- Appear particularly in comedy and melodrama. Bold relief of a particular type of person. Derived from commedia dell’arte, comic improve group in Italy in the medieval and renaissance ages.
  • minor characters- Play a small part in the overall action. Usually appear briefly to further story
  • non-human- When actors play non-human character the playwright usually still wants to draw parallels with the human experience. Are animals human like, or are humans animal like.
  • Narrator- Usually speaks directly to the audience, commenting on the action. Can be an outside force not involved in the play, but sometimes is also a character in the play. Example: Our town, Into the Woods.
140
Q

tech rehearsal

A

When actors do the first run through of a show combing in all the design elements.

141
Q

dress rehearsal

A

Finally rehearsal before show opens. Sometimes the public is allowed. Used to make sure the play is completely ready to be performed.

142
Q

Preview

A

Dress rehearsal with an audience invited

143
Q

spike mark

A

used to show the correct position for set pieces, furniture, actors and other items which move during the course of a performance and are required to stop or be placed in a specific location

144
Q

dry tech

A

working without actors on stage. Get light and sound cues, technical elements together

145
Q

paper tech

A

Design team sits down with stage manager and goes over cues in Prompt book

146
Q

comedies of manners

A

best known restoration comedies. poked fun of social conventions of the upper class of the time and satirized the preoccupation of English aristocrats with reputation. Innuendo, Double Entendre, Satirizing Aristocracy

147
Q

women onstage

A

allowed in restoration theatre. and they could write plays. breeches roles, where women played men playing women

148
Q

restoration theatres

A

indoor proscenium arch building. lighting was a mix of italian and english stage practices

149
Q

comedy of intrigue

A

Romance, Swashbuckling, Adventure, Complex Plots

150
Q

drame

A

new french form in the 18th century serious play that dd not fir the neoclassical definition of tragedy. bourgeois tragedy of domestic tragedy fit into this category. sentimental and melodramatic.

151
Q

ballad opera

A

satirical. popularized by the Beggars opera. by John Gay.

152
Q

sentimental comedy

A

similar to comedy of manners but it reaffirmed middle class morality. The rivals, The school scandal. the Contrast.

153
Q

Sturm and drang

A

german movement dramatists patterned their works on shakespears extensive episodic structure his mixture of genres and onstage violence. Woflganga von Goethe the Robbers.

154
Q

angular or multipoint perspective

A

innovation by Bibienes in the 18th century. eye was attracted to various vanishing points and the set seemed to extend beyond the proscenium. generally grandiose.

155
Q

bombastic

A

predominant approach to acting in the 18th century. emphasizing the performers oratorical skills. performers addressed lines to audience rather than character they were speaking to.

156
Q

emergence of director

A

The modern theatre director can be said to have originated from the staging of elaborate spectacles of the Meininger Company, large scale theatre productions staged by Georg II, Duke of Saxe-Meiningen.

157
Q

Tragedy

A

• Serious drama, important people heinous cicumstances, evokes pity and terror.

158
Q

traditional vs modern tragedy

A

Traditional-tragic heroes (kings, queens, royalty) trapped in a fateful web. Tragic fate, and written in verse. It asks why this is happening to the character.
Modern-Main characters are everyday people. Written in prose. Still asks why.

159
Q

comedy

A

Comedy-light in tone, concerned with issues that are usually not serious, has a happy ending, is designed to amsue.

160
Q

indvidual vs social order

A

Individual vs social order- ridiculous people thrust into a normal world. Normal person thrust into a ridiculous world

161
Q

Heroic drama

A

• Serious but makes basically optimistic drama. Written in verse or elevated prose. Noble or heroic characters in extreme situations or unusual adventures. Happy or at least optimistic ending

162
Q

melodrama

A

• Emphasized action and spectacular effects. Used music and stock characters. Clearly defined villains and heroes. Suspenseful plot.

163
Q

Domestic drama

A

• Drama that concerns an everyday family, in their own homes. Can have an optimistic or unhappy ending.

164
Q

tragicomedy

A

• Fusion of the serious and the comic. The two are so intertwined that it is hard to tell whether a play is serious or comic.

165
Q

Theatre of the absurd

A

• Anything crazy can happen, people metamorphose happens. Rationality is usually gone in these plays.

166
Q

Who does scenic team collaborate with?

A

director, reads script, researches, design meetings, may meet with producer, usually meets with prop designer and costume designer.

167
Q

What is Scenic design?

A

Design meetings, research, images, prelims, final designs

168
Q

Things to be considered through process

A

Directors concept, mood, style, period, locale, physical limitation of the performance space, time, budget, crew size

169
Q

Soft goods

A

Any prop made of Fabric

170
Q

Ground Plan

A

how the scenic design is going to be laid out on stage

171
Q

Section

A

shows a section of the set

172
Q

Model

A

three dimensional model of set in 1/4 or 1/8 in scale

173
Q

popular 19th century entertainment

A

musuems, msuic halls, circuses, P. T. Barnum. minstrel shows, burlesque, variety, wild west shows, medicine shows. some people were so into theatre there were riots in 1809 and 1849.

174
Q

Romanticism

A

19th century drama influenced by the german storm and stress movement.. revolutionary literary trend of the first half of the century. most noted dramas are Goethes Faust and Hugo Hernania. rejected all artistic rules, the genius creates his own rules. romantic hero was usually a social outcast.

175
Q

Melodrama

A

came to light in 19th century. song or music drama reference background music that accompanies the play. emphasis was on surface effect such as evoking suspense fear nostalgia and other strong emotions in the audience. conflict between good and evil was clearly esablisthed. suspenseful plots.

176
Q

Gestamkunstwerk

A

total work of art. director had total dictatorship of every aspect of the show.

177
Q

box set

A

arrangement of in which flats are cleated together at angles rather than set up parallel to the audience to form walls of a three dimenionsal room.

178
Q

historical accuracy

A

was sought after in the 19th century.

179
Q

new stages

A

elevator (allows section of the stage floor or even entire stage to raised or lowered) and revolving stage evolved

180
Q

lighting in 19th century

A

gas table (modern day dimmer) was in effect in theatres. Electricity made it more manageable

181
Q

front elevation

A

what set looks like dead center from the audience

182
Q

props/set dressing

A

conceptualized idea with scenery

183
Q

technical director

A

person in charge of building the designs

184
Q

flat

A

thinly built set that can fly in

185
Q

platform

A

level the stage up to help create different levels

186
Q

masking

A

Soft goods hung to shield the audience from things they are not supposed to see. i.e. wings

187
Q

Who does costume designer collaborate with?

A

Director, producer, scenic designer lighting designer, costume shop manager, cutter/draper, make up artist, wig maker, mask artist, craft specialist

188
Q

What does a costume tell about a production or character?

A

status/finance, time period, time of day, occupation, personality, situations/events,

189
Q

What do costumes need to be able to do?

A

tell the story, arc and development, major vs minor characters, fit the characters being established by director and actor, accommodate special movement needs

190
Q

Process of Costume design

A

Anaylsis of script, mood, sketches, renderings, mock ups, fitting, dress parade, dress rehearsal

191
Q

Dress parade

A

situation where actors put on their uniforms and parade across the stage for assessment by people such as the production teams and the directors of the event

192
Q

Other important costume factors

A

Fabric, time period, consistency

193
Q

Rendering

A

drawing of what the costume will look like

194
Q

mock up

A

Full version of costume made with muslin

195
Q

muslin

A

thin cheap fabric

196
Q

fittings

A

Where costume designer fits the costumes to the actors

197
Q

swatches

A

small pieces of fabric to determine if they will be used in the end product

198
Q

distressing

A

gives costume wear and tear, to make them seem used in a certain way

199
Q

ombre

A

lighter to darker from either top or bottom. Creates more texture in costumes.

200
Q

Who does lightning designer collaborate with

A

director, producer, costume designer, sound designer, stage manager

201
Q

Basic understanding of lighting design

A

Provide visibility, help establish mood, help create mood, reinforce the style of the production, provide focus onstage and create visual compositions, establish rhythm of visual movement

202
Q

Objectives of lighting design

A

Visibility, establish mood/place/time, direct focus, establish rhythm, enhance shape and form

203
Q

Tools of lighting design

A

Color, intensity, distribution movement

204
Q

Gobo

A

Flat metal with pattern stamped our placed into light to give impression of set

205
Q

Cycolorama (CYC)

A

Sitting circle of fabric light can be portrayed on

206
Q

Scrim

A

very such thin screen, and is made out of a wide variety of materials

207
Q

Light Board

A

computerized system that is used to control light cues

208
Q

Cross-fade

A

one set of lights of lights comes down while another comes up

209
Q

Followspot

A

typically a hard edged spotlight controlled by an operator that is designed to follow the audiences favorite leading performer across the stage

210
Q

blackout

A

stage goes fully black

211
Q

Cue

A

lighting changes

212
Q

Gel

A

material used to alter color, short for gelatin

213
Q

Who does sound designer collaborate with

A

Lightning designer, director, producer, stage manager, dramaturg, costume designer, prop master

214
Q

Sound reinforcement

A

Helps audience hear better. Can give different effects

215
Q

Sound Reproduction

A

Playing something already recorded back on stage

216
Q

Motivated sounds

A

Sounds that are needed in the course of the action of the play

217
Q

Environmental sounds

A

Environment sounds to set the tone of the play

218
Q

Underscoring

A

playing of music quietly under dialogue or a visual scene

219
Q

August Osage County plot Act 2

A

Act 2- Several days later. Beverlys funeral takes place. Many arguments happen in this act. The dinner being one where all of the family drama comes out. the daughters of Violet all fight with their respective children, Steve smokes with Jean and then flirts with her. Ivy reveals that her love is her cousin Little Charles.

220
Q

August Act 3

A

act 3- the three weston sisters share a drink and ahvea moment. ivy and little charles say they are going to runaway to new york. Barbara and violet apologize to each other. Charles finally steps up to Ivy and tells her to stop being so hard on Little Charles. Mattie Fae then tells barabara that Little charles and Ivy are actually brother and sister because mattie fae had an affair with Beverly, but she doesn’t want to tell anyone. Steve attempts to molest Jean. Which ends with a family argument and Barbara slapping jean. Karen still takes Steve sides and tells herself he is a good guy. Bill and Jean live back for boulder. Ivy tries to tell her mother she is running away to new york with Little charles who then tells them they are blood related and she has known all along. Violet and barbara fight again and violet blames barabara for beverlys suicide. Barbara leaves and violet is left all alone with Johna

221
Q

Modern era

A

realism, departure from realism, continuation of traditional, post modern experimentation and forms

222
Q

Late nineteenth century realistic drama playwrights

A

Ibsen Strindberg and Chekov

223
Q

Realism

A

everyone onstage is made to resemble observable real life. Frequently implied that that morality and immorality were relative
Power lies in its credibility And sense of identification

224
Q

Ibsen

A

founder of modern realism a dolls house

225
Q

Strindberg

A

took it another step. The father. Focused in individuals at war with themselves. Took it closer to naturalism

226
Q

Chekov

A

father of tragicomedy in realism. The sea gull

227
Q

Naturalism

A

devolved alongside realism, extreme form of realism. Mst focused on lower classes. Wanted to instigate reforms. More stringent. Shadows the dark side of life. Original naturalism did not last long.

228
Q

Eugene o Neil

A

first supportd by Provincetown playhouse. Wrote realistic plays the iceman cometh.

229
Q

Tennessee Williams and Arthur miller

A

brought back realism in the mid 20th century cat on a hot tin roof (Williams) all my sons (miller)

230
Q

Futurism

A

originated in Italy in 1909. Idealized war and machine age. Ridiculed artistic ideas of the past.

231
Q

Surrealism

A

outgrowth if dada, began in 1924. Andre Breton. Argued that subconscious is the highest plane of of reality and attempted to re create it’s working dramatically.

232
Q

Theatre cruelty

A

Antonin Artaud introduced it in 1930s. Emphasis on the sensory, viewers senses should be bombarded.

233
Q

Alienated

A

audience should be emotionally detached from the dramatic action,

234
Q

Unit set

A

single setting that can represent a variety of locales with the simple addition if properties of scenic elements

235
Q

Appia and craig

A

scenic designers who contributed to the departure for realism sets, introduction of electricity and light as an integral part
Expressionism- flourished in Germany during world war 1 reality distorted in order to communicate inner feelings.

236
Q

Symbolism

A

leading anti realist movement between 1880 and 1910. French mostly. Should be the mystery of being and infinite qualities of the human spirit.

237
Q

Maeterlinck

A

most notable symbolist playwright

238
Q

Jarry

A

wrote Abu the king comic book style on Shakespeare produced by small French theatre. Making a farce of Shakespeare.

239
Q

Existentialism

A

philosophy most clearly articulate by Sartre and Camus, French. Think existence has little meaning. God does not exist. That individual most accept responsiblilty for the actions they make.

240
Q

Avante garde

A

experimental or innovative theate bushes the boundaries of what is accepted

241
Q

Bertolt brecht

A

20th century theatre. Epic theatre, should invoke self reflection and a critical view of the action on stage. Critical perspective in order to recognize social
injustice

242
Q

4 isms of avante garde

A

futurism, expressionism, surrealism, existentialism

243
Q

expressionism

A

Expressionism- flourished in Germany during world war 1 reality distorted in order to communicate inner feelings.