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
2
Q
What roles do puppets play?
A
And individual play an extension of the performer, a co actor, a design element
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
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
5
Q
Theatre vs. Literary
A
Theatre versus literary. literary only occupies time theatre incorporates literary but adds visual to occupy time and space.
6
Q
Theatre vs Visual
A
Visual only occupies space where theatre uses visual and add literary to occupy both
7
Q
Theatre vs performing
A
Theater is considered a performing art
8
Q
What is puppetry? Manipulation of ____
A
inanimate
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
10
Q
Chorus
A
group that commented in song and dance on the action of the main plot and reacted to it
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.
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.
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.
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.
15
Q
Types of Puppets (7)
A
Marionette, glove or hand, hand and rod, shadow puppet, table top or rear rod, kite puppets
16
Q
6 elements of Theatre
A
- Audience (most important)
- Performers
- Text or script
- Director
- Theatre space
- Design Elements
17
Q
Medea author
A
Euripides
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
19
Q
Tragedy
A
App. 900 written in Greek times, of which third one have survived, from Aeschylus Sophocles, and Euripedes
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
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.
22
Q
Sophocoles
A
496-406 raised chorus fifteen men and a third actor. Known for King Oedipus
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
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.
25
pattern of greek tragedy
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.
26
What happens before Oedipus rex
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
27
Raisin in the Sun Characters
```
Ruth Younger, Travis Younger, Walter Lee younger (brother) beneatha younger
Lena younger (mama) Joseph Asagai George Murchison
```
28
Old comedy
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
29
New comedy
end of the fourth century. dealt with romantic and domestic problems (more so considered roman comedy)
30
agon
debate between two forces representing opposite sides of political or social issue
31
parabasis
addressed directly to the audience makes fun of the spectators in general
32
Three tools of the actor
control of mind, body, and voice
33
Digital age
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.
34
Three challenges of Acting
Believeilability, physical/vocal demand, combining inner and outer aspects to create credibility
35
The Poetics
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.
36
A raisin in the Sun plot
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
37
six elements of drama
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
38
outer vs inner
outer-outer aspects of character, posture, walk, vocal delivery
inner-feelings and emotions of a character
39
Theatricality in our lives the similarities/ differences
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.
40
Raisin in the Sun Playwright
Lorraine Hansberry
41
theatre vs event
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
42
theatre vs spectacle
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.
43
theatre vs experience
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.
44
Responsibilites and and skills of the actor
assuming the role onstage. doing warm ups, taking dance classes if needed, doing vocal exercises, keeping body in shape
45
Greak Theatre
skena-stage house pardos-entrance audience-curved area orchestra-altar
46
August Osage county
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)
47
Ludi Romani Festival
Dedicated to Jupiter (roman counterpart of Zeus) first major roman festival to incorporate theatre.
48
Dominus (vs Greek Choregus)
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.
49
Greek New comedy in Rome
Seneca was a playwright who based his plays of greek new comedy dealing with domestic situations
50
Plautas
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.
51
Terrence
Followed Plautas. 185-159. more literary and less exaggerated. but still complicated. Phormio (one of his plays) less slapstick and more verbal wit.
52
Seneca
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)
53
Horace
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.
54
Basics of a rehearsal process
Read through, script is learned, blocking, tech rehearsal, dress rehearsal, preview, opening night
55
Realism
drama that closely resembles what people could identify with and verify from their own experiences
56
Stanislavksy system
a technique of realistic acting
57
most important part of theatre?
the audience
58
relationship between audience and performer
of utmost importance. varies on how the relationship will be from space to space.
59
how audience can affect the performance
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.
60
role of the audience
To achieve aesthetic distance, and suspension of disbelief, and become part of the world that is created in the theatrical play.
61
how is role decided
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
62
August Osage county plot prologue and act 1
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.
63
reviewer vs critic
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.
64
What must be considered when presenting an audience?
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
65
through line (objective) director/actor
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
66
Given circumstances
what is my space? what is my relationship to my space? the moment before. action and place. who, what, when, where, why, and how
67
the moment before
what moment is driving the character
68
innovations in roman theatre
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.
69
August: Osage county author
Tracy Letts
70
what caused church to ban/close theatre
suppressed it because they wanted life to be fully based around going to church. and theatre had no part in that.
71
Why brought back?
liturgical dramas brought it back by Hildegard de Bingen and later vernacular dramas.
72
liturgical vs vernacular
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.
73
5 m's of medieval drama
Mystery, morality, miracle, mummings, and manners
74
mystery
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
75
morality
used religious characters and themes to teach a moral lesson. generally short and equivalent to a one act play today.
76
mummings
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
77
miracle
presents a real or fictitious account of the life, miracles, or martyrdom of a saint.
78
manners
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
79
upstage
part furthest away from audience
80
downstage
closest to audience
81
stage left
the part of the stage to the left of a performer facing the audience
82
stage right
the part of the stage to the right of a performer facing the audience
83
center stage
center stage
84
script vs text
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.
85
specactor
when a spectator is used during theatre for political change
86
catharsis
release of emotional tension. tension usually caused by play
87
alienation effect
A type of production that hopes to distance the audiences emotions from the play
88
aesthetic distance
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.
89
Willing suspension of disbelief
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
90
emotional recall
brining back a memory to convert the emotions needed for the character
91
magic if
giving context, spawns emotional recall, playing a rolse as if you were that person
92
warm up excercises
exercises to warm up actors body and voice. designed to relax the body and the voice
93
responsibilites and skills of the director
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
94
directing process
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
95
style of the play
the distinguishing characteristics of a play that reflect conventional practice
96
Sanskrit theatre
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
97
Beijing/Peking Opera
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.
98
Kabuki
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
Noh
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
Bunraku
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
Butoh
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
Revolutionary Operas
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
shadow plays
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
Proscenium
Storybook like. Audience is raked. Advantage- can have elaborate staging, blocking, and scenery, disadvantage- audience is further from the actor
105
thrust
spectator is on at least three side of the stage. advantages. audience is very intimate with actors. disadvantage- limited blocking and scenery
106
arena
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
blackbox
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
found or created
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
playwright responsible for
* Selecting the specific subject of the play
* Determining focus and emphasis
* Establishing purpose
* Developing dramatic structure
* Creating dramatic characters
* Establishing point of view
110
what are the five essential elements of dramatic structure
* Plot
* Action
* Conflict
* Opposed Forces
* Balance of forces
111
difference between plot and story
• 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
responsibilites and skills of producer
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
How producers are alike and different to director
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
House
Space that houses all of the audience sits
115
orchestra
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
orchestra pit
Space that houses where the orchestra plays. Generally in front of proscenium arch in a proscenium stage.
117
skene
oblong painted backdrop. Where we got the word scene.
118
rake
Portion of set is on an incline
119
vanishing point
Make a scene in perspective, the point where scenery converges to help create 3d space for scenery
120
Vomitoriums
In circle in the round, entrance for actors that can come from within where the audience sits
121
Traps
anything an actor can fall or hide in. Not all stages have them. First used in Victorian England
122
Apron
Proscenium stage, portion of the stage that is downstage of proscenium
123
Responsibilities of stage manager
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
Prompt Book
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
which four areas in renaissance?
italy, england, spain, and france
126
renaissance was rebirth of ______
awakening of the arts and learning in the western world
127
what led to this rebirth
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
commedia del'arte
improvisational theatre, acting troupe. comedy of professional artists. usually 10 performers. stock characters. venetian, pantalone, dot tore, capitano, zanni, harrlequin
129
neoclassical ideas
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
iambic pentameter
Marlowe first used it. five beats to a line with two syllables to each eat and an accent on the second beat
131
Acting Companies
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
inciting action
what started the play to get it going i.e. Party in Romeo and Juliet and can happen before the play starts
133
obstacles
Outside forces that introduced that a blocking a characters path
134
crises
The process of overcoming the obstacle
135
climax
Final and most significant crisis
136
subplot
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
Climatic vs episodic
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
Protagonist vs antagonist vs foil
Protagonist-good guy or main character
Antagonist-bad guy or opposing force
Foil-Someone who we compare that character to
139
Dramatic characters
* 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
tech rehearsal
When actors do the first run through of a show combing in all the design elements.
141
dress rehearsal
Finally rehearsal before show opens. Sometimes the public is allowed. Used to make sure the play is completely ready to be performed.
142
Preview
Dress rehearsal with an audience invited
143
spike mark
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
dry tech
working without actors on stage. Get light and sound cues, technical elements together
145
paper tech
Design team sits down with stage manager and goes over cues in Prompt book
146
comedies of manners
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
women onstage
allowed in restoration theatre. and they could write plays. breeches roles, where women played men playing women
148
restoration theatres
indoor proscenium arch building. lighting was a mix of italian and english stage practices
149
comedy of intrigue
Romance, Swashbuckling, Adventure, Complex Plots
150
drame
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
ballad opera
satirical. popularized by the Beggars opera. by John Gay.
152
sentimental comedy
similar to comedy of manners but it reaffirmed middle class morality. The rivals, The school scandal. the Contrast.
153
Sturm and drang
german movement dramatists patterned their works on shakespears extensive episodic structure his mixture of genres and onstage violence. Woflganga von Goethe the Robbers.
154
angular or multipoint perspective
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
bombastic
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
emergence of director
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
Tragedy
• Serious drama, important people heinous cicumstances, evokes pity and terror.
158
traditional vs modern tragedy
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
comedy
Comedy-light in tone, concerned with issues that are usually not serious, has a happy ending, is designed to amsue.
160
indvidual vs social order
Individual vs social order- ridiculous people thrust into a normal world. Normal person thrust into a ridiculous world
161
Heroic drama
• 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
melodrama
• Emphasized action and spectacular effects. Used music and stock characters. Clearly defined villains and heroes. Suspenseful plot.
163
Domestic drama
• Drama that concerns an everyday family, in their own homes. Can have an optimistic or unhappy ending.
164
tragicomedy
• 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
Theatre of the absurd
• Anything crazy can happen, people metamorphose happens. Rationality is usually gone in these plays.
166
Who does scenic team collaborate with?
director, reads script, researches, design meetings, may meet with producer, usually meets with prop designer and costume designer.
167
What is Scenic design?
Design meetings, research, images, prelims, final designs
168
Things to be considered through process
Directors concept, mood, style, period, locale, physical limitation of the performance space, time, budget, crew size
169
Soft goods
Any prop made of Fabric
170
Ground Plan
how the scenic design is going to be laid out on stage
171
Section
shows a section of the set
172
Model
three dimensional model of set in 1/4 or 1/8 in scale
173
popular 19th century entertainment
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
Romanticism
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
Melodrama
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
Gestamkunstwerk
total work of art. director had total dictatorship of every aspect of the show.
177
box set
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
historical accuracy
was sought after in the 19th century.
179
new stages
elevator (allows section of the stage floor or even entire stage to raised or lowered) and revolving stage evolved
180
lighting in 19th century
gas table (modern day dimmer) was in effect in theatres. Electricity made it more manageable
181
front elevation
what set looks like dead center from the audience
182
props/set dressing
conceptualized idea with scenery
183
technical director
person in charge of building the designs
184
flat
thinly built set that can fly in
185
platform
level the stage up to help create different levels
186
masking
Soft goods hung to shield the audience from things they are not supposed to see. i.e. wings
187
Who does costume designer collaborate with?
Director, producer, scenic designer lighting designer, costume shop manager, cutter/draper, make up artist, wig maker, mask artist, craft specialist
188
What does a costume tell about a production or character?
status/finance, time period, time of day, occupation, personality, situations/events,
189
What do costumes need to be able to do?
tell the story, arc and development, major vs minor characters, fit the characters being established by director and actor, accommodate special movement needs
190
Process of Costume design
Anaylsis of script, mood, sketches, renderings, mock ups, fitting, dress parade, dress rehearsal
191
Dress parade
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
Other important costume factors
Fabric, time period, consistency
193
Rendering
drawing of what the costume will look like
194
mock up
Full version of costume made with muslin
195
muslin
thin cheap fabric
196
fittings
Where costume designer fits the costumes to the actors
197
swatches
small pieces of fabric to determine if they will be used in the end product
198
distressing
gives costume wear and tear, to make them seem used in a certain way
199
ombre
lighter to darker from either top or bottom. Creates more texture in costumes.
200
Who does lightning designer collaborate with
director, producer, costume designer, sound designer, stage manager
201
Basic understanding of lighting design
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
Objectives of lighting design
Visibility, establish mood/place/time, direct focus, establish rhythm, enhance shape and form
203
Tools of lighting design
Color, intensity, distribution movement
204
Gobo
Flat metal with pattern stamped our placed into light to give impression of set
205
Cycolorama (CYC)
Sitting circle of fabric light can be portrayed on
206
Scrim
very such thin screen, and is made out of a wide variety of materials
207
Light Board
computerized system that is used to control light cues
208
Cross-fade
one set of lights of lights comes down while another comes up
209
Followspot
typically a hard edged spotlight controlled by an operator that is designed to follow the audiences favorite leading performer across the stage
210
blackout
stage goes fully black
211
Cue
lighting changes
212
Gel
material used to alter color, short for gelatin
213
Who does sound designer collaborate with
Lightning designer, director, producer, stage manager, dramaturg, costume designer, prop master
214
Sound reinforcement
Helps audience hear better. Can give different effects
215
Sound Reproduction
Playing something already recorded back on stage
216
Motivated sounds
Sounds that are needed in the course of the action of the play
217
Environmental sounds
Environment sounds to set the tone of the play
218
Underscoring
playing of music quietly under dialogue or a visual scene
219
August Osage County plot Act 2
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
August Act 3
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
Modern era
realism, departure from realism, continuation of traditional, post modern experimentation and forms
222
Late nineteenth century realistic drama playwrights
Ibsen Strindberg and Chekov
223
Realism
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
Ibsen
founder of modern realism a dolls house
225
Strindberg
took it another step. The father. Focused in individuals at war with themselves. Took it closer to naturalism
226
Chekov
father of tragicomedy in realism. The sea gull
227
Naturalism
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
Eugene o Neil
first supportd by Provincetown playhouse. Wrote realistic plays the iceman cometh.
229
Tennessee Williams and Arthur miller
brought back realism in the mid 20th century cat on a hot tin roof (Williams) all my sons (miller)
230
Futurism
originated in Italy in 1909. Idealized war and machine age. Ridiculed artistic ideas of the past.
231
Surrealism
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
Theatre cruelty
Antonin Artaud introduced it in 1930s. Emphasis on the sensory, viewers senses should be bombarded.
233
Alienated
audience should be emotionally detached from the dramatic action,
234
Unit set
single setting that can represent a variety of locales with the simple addition if properties of scenic elements
235
Appia and craig
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
Symbolism
leading anti realist movement between 1880 and 1910. French mostly. Should be the mystery of being and infinite qualities of the human spirit.
237
Maeterlinck
most notable symbolist playwright
238
Jarry
wrote Abu the king comic book style on Shakespeare produced by small French theatre. Making a farce of Shakespeare.
239
Existentialism
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
Avante garde
experimental or innovative theate bushes the boundaries of what is accepted
241
Bertolt brecht
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
4 isms of avante garde
futurism, expressionism, surrealism, existentialism
243
expressionism
Expressionism- flourished in Germany during world war 1 reality distorted in order to communicate inner feelings.
