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drama > Metamorphisis- Directing > Flashcards

Metamorphisis- Directing Flashcards

1
Q

Directorial Effects on the Audience for TOTAL Theatre

A

To Amuse, Shock, Amaze, Scare

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2
Q

Group of actors referred to as

A

Ensemble Chorus

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3
Q

Physical actions for a group in Total Theatre

A

Background movement, repetitive actions and mime

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4
Q

Physical Actions for a Performer

A

Repetitive actions, mime, acrobatics, freezes, stylised expression of emotion, facial expression, gesture, posture, gait

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5
Q

Delivery of specific lines –or other characters

A

Interaction with other characters vocally and/or physically i.e Performer holds, touches another character or vocally effects others through how they deliver a line.

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6
Q

What a performer will use physically

A

Eye contact, spatial relationships, physical contact; use of stage space

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7
Q

Berkoff General Style

A

Non-naturalistic, often focusing on movement rather that voice

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8
Q

Purpose of Directing in Berkoff style 1

A

All vocal and physical skills choregraphed to convey mood or message

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9
Q

Purpose of Directing in Berkoff style 2

A

Create extreme moods and an overwhelming experience for the audience

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10
Q

Purpose of the directed actor in Total Theatre

A

Establish themselves as story tellers through their choregraphed words, position and physical attitudes

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11
Q

Directing using Expressionism because Berkoff was influenced by it -1

A

• Stereotypical and caricatures of real life
• Actors can appear as grotesque and unreal…

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12
Q

Directing using Expressionism because Berkoff was influenced by it -1

A

• Stereotypical and caricatures of real life
• Actors can appear as grotesque and unreal…

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13
Q

Directing using Expressionism because Berkoff was influenced by it -2

A

• Dialogue becomes poetical, febrile (feverish), rhapsodic, lyrical – highly emotional
• Staccato -short phrases- clipped
• Rapid – breathless
• Unusually long pauses

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14
Q

Directing using Total Theatre and Expressionist theatre style should emphasise -3

A

An appearance of overacting
Broad mechanical movements – like a puppet
Ecstatic
Robotic
The significance of the spatial relationship between the performers
Intense emotions

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15
Q

Performing applying Total Theatre and Expressionist theatre - 4

A

Action of the play – intense/violent/ tormented emotion

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16
Q

Performing using Total Theatre and Expressionist theatre - 5

A

Reveal inner psychological reality of a characters through movement, (slow motion or extremely fast, gesture,

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17
Q

How to Direct actors in Berkoff style (techniques)

A

Tableaux -Chorus- Cryptos - Ensemble -
Grotesque - Jo Ha Kyo -Marche Sur Place -Mie
Attitudes -Base Pulse -Pantomime - Cartoon Mime -Figurative Mime -Storytelling Mime-
Mimage

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18
Q

How to direct in Berkoff style to communicate a Kafkaesque nightmare (techniques)

A

Express the anxiety, alienation, and powerlessness of a situation

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19
Q

Performance Effects on the Audience for TOTAL Theatre

A

To Amuse, Shock, Amaze, Scare

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20
Q

Performance Effects on the Audience for TOTAL Theatre

A

To Amuse, Shock, Amaze, Scare

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21
Q

Characters physical appearance consisting of…

A

Age, height, build, colouring – white face paint, facial features, athleticism, use of costume, make-up

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22
Q

Physical Actions for a Performer

A

Repetitive actions, mime, acrobatics, freezes, stylised expression of emotion, facial expression, gesture, posture, gait

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23
Q

Delivery of specific lines –or other characters

A

Interaction with other characters vocally and/or physically i.e Performer holds, touches another character or vocally effects others through how they deliver a line.

How well did you know this?
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24
Q

What a performer will use physically

A

Eye contact, spatial relationships, physical contact; use of stage space

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25
Q

Berkoff General Style

A

Non-naturalistic, often focusing on movement rather that voice

26
Q

Purpose of Performer in Berkoff 1

A

All vocal and physical skills choregraphed to convey mood or message

27
Q

Purpose of Performer in Berkoff 2

A

Create extreme moods and an overwhelming experience for the audience

28
Q

Purpose of the Performer in Total Theatre

A

Establish themselves as story tellers through their choregraphed words, position and physical attitude

29
Q

Performing using Expressionism because Berkoff was influenced by it -1

A

• Stereotypical and caricatures of real life
• Actors can appear as grotesque and unreal…

30
Q

Performing using Total Theatre and Expressionist theatre style should emphasise -3

A

An appearance of overacting
Broad mechanical movements – like a puppet
Ecstatic
Robotic
The spatial relationship between the performers
Intense emotions

31
Q

Performing applying Total Theatre and Expressionist theatre - 4

A

Action of the play – intense/violent/ tormented emotion
Gesture urgent - energetic

32
Q

Performing using Total Theatre and Expressionist theatre - 5

A

Reveal inner psychological reality of a characters through movement, (slow motion or extremely fast, gesture,

33
Q

How to perform as actors in Berkoff style (techniques)

A
  • Cryptos -Grotesque- Jo Ha Kyo
    Marche Sur Place – Attitudes -
    Action Mime – Pantomime -Cartoon Mime
    Figurative Mime- - Mimage – Neutral mask
34
Q

How to perform as actors in Berkoff style to communicate a Kafkaesque (techniques)

A

Express the anxiety, alienation, and powerlessness of a character

35
Q

How to perform as actors in Berkoff style to communicate a Kafkaesque (techniques) 2

A

Characters are crushed by nonsensical, blind authority (Gregor is, see effect of Clerk on the family)

36
Q

Performance Effects of the Design on the Audience for TOTAL Theatre

A

To Amuse, Shock, Amaze, Scare

37
Q

ATMOSPHERE/ MOOD/MESSAGE created by the design

A

Mood -Create extreme moods and an overwhelming experience for the audience.
Atmosphere- Nightmare, dreamlike, surreal.
Message- Isolation, self-sacrificing, Kafka
Symbolism- symbolising the inner feelings of a character/s

38
Q

SET links to Total Theatre

A

Often minimalist, with bare stages - focus remains on the physical movement

39
Q

SET links to Expressionist theatre

A

Often minimalist, with bare stages - focus remains on the physical movement
Scenery is significant by its absence.
Settings are virtually abstract and unlocalized, and the scene frequently appears angular and distorted, suggesting a bad dream.

40
Q

SET terminology

A

​Construction: Flats, steel decks, trucks, rostra, stairs, gauze, material, platform, furnishings, texture, colours.
•​Positioning: Scale, perspective, sightlines, levels, entrances/exits, location on stage (SL/SR/CS/US/DS), relationship with chosen stage space (proscenium, in the round, traverse, thrust, promenade, end-on, studio).
•​Stage: Hydraulics, revolve, tracks, cyclorama, fly tower, facilities of different theatre spaces.
•​Furniture: Style, period, material.
•​Effect: Location, proxemics, relationship with actors, action, traffic of stage, lighting, projection, scene changes.
•​Suggests to audience: mood, character relationships, location, event (what is happening on stage in that moment), atmosphere

41
Q

SOUND Links to Expressionist theatre

A

truncated
•​clipped
•​fragmented
•​poetic and lyrical

42
Q

SOUND terminology

A

•​Live sound: actor voice, sound of on-stage action, live instruments, vocals.
•​Recorded sound: music, sound effects, soundscape.
•​Output: Auditorium/front of house speakers, on-stage speakers, speakers hidden in props/set, rigged above or situated elsewhere.
•​Music: Style, atmosphere, effect, bass, treble, tempo.
•​Effects: Echo, distortion, volume, amplification, pitch, reverb, fade, crossfade.
•​Microphones: Radio mics, microphones/stands, hanging mics.
•​Suggest to audience: Location/time, event, mood/atmosphere, relationship to audience (see lighting section above)

43
Q

LIGHTING Berkoff and Expressionist Theatre

A

lighting was often stark, illuminating key areas of the stage space
deliberate use of shadow

44
Q

Lighting Terminology

A

•​Lanterns: par cans, fresnels, (barn doors), profiles, moving spot, birdies, floodlights.
•​Source: floor lights, side lights, backlit, rig (front, overhead, behind, side, diagonal), angle, practical lights (in props/set).
•​Focus: area of stage (US/DS/SC/SL/SR), on a character/ location/set/item.
•​Intensity: blackout, dim, harsh, bright, full intensity, medium intensity.
•​Beam: Wash, spot, hard/soft edge, shape/size.
•​Colour: Coloured gels, warm, cold (steel).
•​Mood/atmosphere: Clinical, sterile, tense, ominous, eerie, foreboding, merry, peaceful, serene, calm, tranquil, intimacy, claustrophobic…
•​Effect: Fade/snap.
•​Specials: Projection, gobo, shadow/silhouette, moving LEDs.
•​Suggest to audience: location/time (e.g. night/day). Character relationships, mood, atmosphere, an event (specific moment in a scene)

45
Q

PROJECTION link to Total theatre

A

use of monochrome images to focus on physical movement

46
Q

PROJECTION link to Expressionist theatre

A

shadow/silhouette, moving still, symbolism, colour/monochrome, warped, distorted, Suggest to audience: location/time (e.g. night/day). Character relationships, mood, atmosphere, an event (specific moment in a scene)

47
Q

COSTUME Link to Total theatre

A

Be able to work physically in. Flexible and not restrictive. Monochrome – focus on the meaning of the movement.

48
Q

What is gauze

A

a thin curtain that can be lit either from the front to make it opaque, or from behind to make it transparent.

49
Q

What is cyclorama

A

background device employed to cover the back and sometimes the sides of the stage and used with special lighting to create the illusion of sky, open space, or great distance at the rear of the stage setting.

50
Q

What is flats

A

a flat piece of theatrical scenery which is painted and positioned on stage so as to give the appearance of buildings or other background.

51
Q

What is hydraulics

A

The upward and downward movement of the theatre stage

52
Q

What is revolve stage

A

Stage which turns in a circle.

53
Q

What is trucks

A

Piece of scenery on wheels for
ease of movement.

54
Q

What is fly tower

A

Area above the stage from where
scenery/actors are flown in on
pulleys

55
Q

What is traffic of stage

A

Highlight the terms in Green, Orange
and Red to indicate how well you know
or understand them to help organise
revision time

56
Q

What is a proscenium arch stage

A

The action takes place on a raised stage with a prominent
arch around the top of the end on stage

57
Q

what is an end on stage

A

The audience are seated at the end of the acting area

58
Q

What is truncated

A
59
Q
A
60
Q
A

drama (2 decks)

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