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theatre studies > sem2 exam > Flashcards

sem2 exam Flashcards

1
Q

define devised theatre

A

is original work developed by the actors rather than work developed through interpretation of any pre-existing script. Each devised work has a creative process that encompasses a range of play-making techniques. Students use creative processes to draw from the work of drama practitioners and make decisions about how to shape and define their performances.

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2
Q

define script

A

The term script refers to a text used for a theatre performance. A script may be an entire play or excerpts from plays. For us, we will be mainly using excerpts to cover our three different Performance Styles.

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3
Q

define production roles

A

describe an area of work in theatre production

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4
Q

recall the 8 production roles

A
  1. Actor
  2. Director
  3. Costume
  4. Makeup
  5. Props
  6. Set
  7. Lighting
  8. Sound
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5
Q

define the production process

A

the three distinct and interrelated stages undertaken to stage a theatre production of any style

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6
Q

recall the three stages of the production process

A
  1. Planning
  2. Development
  3. Presentation
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7
Q

define planning

A

includes introduction to the script, annotation mood boards, exploring and establishing initial concepts and aims for the production, undertaking dramatury

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8
Q

define development

A

includes exploring, making, reflecting, trialling and refining any of the initial plans to achieve the production aims.

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9
Q

define presentation

A

includes bumping-in, technical/dress rehearsals, performances, bumping-out, and evaluation of the overall production process.

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10
Q

define theatre styles

A

are the traditions of theatre that are accepted as conventional and are particular to specific times, places, peoples and cultures. By their very nature, theatre styles and their associated conventions are not static, constant or definitive but are indicative.

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11
Q

define contexts

A

refer to the circumstances surrounding a play and its interpretation for an audience. This may include the time and place in which the play is set and was written, influences on the playwright, cultures/beliefs/values of the time in which it was written, the language of the script, circumstances associated with the play and the possibilities for interpreting a script.

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12
Q

define elements of theatre composition

A

Theatre makers use elements of theatre composition to organise components of a theatre production to create a deliberate effect, realising their aims and intentions and/or those of the creative production team. Elements of theatre composition can be used to give structure to the interpretation or the way it is presented on stage in performance to an audience. These elements can also be used to encourage or lead the audience to engage in the work. They can be applied individually or in combination, in any theatre style, used within any production role and at any stage of the production process.

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13
Q

recall the elements of theatre composition

A
  1. Motion
  2. Rhythm
  3. Variation
  4. Emphasis
  5. Contrast
  6. Cohesion
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14
Q

define motion

A

the movement or implied movement of actors and design features in the theatre space. This may include position, pattern, arrangement, proportion and spatial flow.

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15
Q

define rhythm

A

the pace, timing and tempo within the interpretation.

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16
Q

define contrast

A

juxtaposition of seemingly different or opposing aspects or qualities within the interpretation.

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17
Q

define variation

A

changes to the dynamics of the interpretation, as may be evident in the use of tension, conflict, intensity, energy and use of the space.

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18
Q

define emphasis

A

aspects of the interpretation are given a particular focus, importance or prominence.

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19
Q

define cohesion

A

the unity and balance of various aspects of the interpretation.

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20
Q

define acting skills

A

are used by performers to express and realise a character. Acting skills may be used in different ways in different performance styles.

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21
Q

recakk the 5 acting skills

A
  1. Voice
  2. Movement
  3. Gesture
  4. Facial expression
  5. Stillness and silence
22
Q

define voice

A

diction, pitch, pace, tone, resonance and vocal sounds.

23
Q

define movement

A

gait, posture and stance.

24
Q

define gesture

A

using the body or the hands to create symbols and meaning.

25
Q

define facial expression

A

manipulating facial expressions to communicate emotions, reactions and meaning.

26
Q

define stillness and silence

A

to focus tension in a scene, and indicate the subtext of a characters intentions

27
Q

define actor audience relationship

A

The actor considers what impact they intend their performance to have on the audience. The actor–audience relationship is the way in which an actor deliberately manipulates the audience’s moods, emotions and responses to the action. This may be done through the placement of the actor in relation to the audience, the way the actor addresses and engages the audience, and the emotional and intellectual response to the character’s situation. An actor–audience relationship only exists as part of an actual performance, as opposed to a rehearsal.

28
Q

recall the jobs performed by actor in planning stage

A

º Read script
º Research on context of the play (time, place, society, culture)
º Theatrical possibilities –acting ideas
º Character analysis –who, what, when, where, why?
º Look at stage directions and synopsis on the script
º What are the initial ideas of your character and of the play?
º Discuss the directors vision and the intended meaning of your character
Conduct research including reading script.
Arrive at a vision for the character.
º Attend rehearsals and production meetings

29
Q

recall jobs performed by actor in development stage

A

º Learn lines
º Blocking and annotating script
º Experiment with lines, props, movements
º experiments EOTC - Laban effect
º Work on expressive skills – facial expressions, movement, body language, vocals
º Discover the units/objectives of script, I want I need I must
º Identifying the purpose of a line in terms of a dramatic moment,
º Experimenting with motivation, purpose
º Actioning the text
º Improvisation – for character development
º Sticking to rehearsal schedule
º Collaboration – production meetings
º Keep rehearsal notes.
º Annotating script during and between rehearsals
º Learning and developing lines/scene

30
Q

recall roles performed by actor in presentation stage

A

º Put stagecraft/ costumes on (props, makeup etc.) bump in
º If performance space is different from rehearsal space: quickly re-block with technical considerations
º Respond to feedback – evaluation
º Vocal exercises for warm up before performance
º Relaxation exercises before performance (Stanislavski, meditation etc.)
Perform.
keep technical rehearsal, dress rehearsal and seasonal notes.
º Attend post production evaluation

31
Q

recall the roles sound designer performs in planning stage

A
  • Read script - what happens/location (CONTEXT)
  • Research the style,
  • Identifying explicit sound effects (e.g. in stage directions)
  • jotting down ideas and creating a soundscape for production meeting
  • Production Meeting – taking the Director’s vision - style, intended meaning of the play: into consideration to further inform informing my choices.
    ● Plot: A list of all the music and sound cues for each act/scene. It indicates where the sound or music occurs, the page number of the script where it appears, precisely when it begins and ends, and the equipment that will be used to produce it.
    ● System layout: A system layout shows the type and location of speakers on stage, on the set and in the auditorium. The system layout may also include a layout of how all of the sound equipment will be interconnected.
    ● Cue sheet: A version of the sound plot to be used by the sound technicians who will run the equipment during the performance.
32
Q

recall the roles performed by sound designer in development stage

A
  • Stick to rehearsal schedule, sourcing + creating mock SFX + music for rehearsals: on CD’s - usable platform: USB/CD,
  • Evaluating whether sounds work in the rehearsal, collaboration with other stagecraft e.g. if sound takes away + adds directorial choices,
  • Creating the actual tracks on usable devices/platforms,
  • Testing whether sound is too loud e.g. can’t hear dialogue, once actors have rehearsed it, collaborating for timing purposes also, marking up script (what sound goes where).
33
Q

recall the roles performed by sound designer in presentation stage

A
  • Operating during technical and dress and performance
  • Following script and amending if necessary
  • modification of effects and volume in the actual space,
  • modifications that need to be made,
  • multiple back-up copies,
  • checking technical systems,
  • preset SFX on technical system.
  • Responding to feedback
34
Q

recall the tasks performed by director during planning stage

A

º Read script
º Research on context of the play (time, place, society, culture)
º Look at the initial ideas and intended meaning of the play
º Look at theatrical possibilities
º Create a rehearsal schedule for crew and cast members
º Look at stage directions on the script
º Form a directors vision for the play
º Set a budget for each stagecraft
º Have an occupational health and safety meeting for each stagecraft
º Copyrights and permission
Research of style and stagecraft (including reading play script /scenario).
Initial concept/ideas of VISION).
Casting.
Rehearsal schedule.
Initial production meetings .
º

35
Q

recall the tasks performed by director during development stage

A

Clearly articulate your intended meaning and artistic vision so that all actors know what they are doing
Run (or co run) rehearsals.
Block the play.
Liaise with other stagecraft areas.
Scheduling.
º Production meetings
º Experimenting with ideas and concepts
º Managing the play script
º Run the rehearsals
º Blocking the play
º Running warm ups, Improvisations and character development activities.
º Working with the actors on the scenes
º Communicate the artistic vision (including style and themes)
º Check up on all stagecraft
º Stick to rehearsal schedule
º Form production meetings with members from each stagecraft
º Block and annotate for each stagecraft
º Give feedback to cast and crew about their work and how they could improve at all times.
º Be present at all rehearsals of play and give advice as to what you expect your actors to be doing
º Mark where certain stagecraft will be/mock the set to give actors an idea of space
º Running workshops, warm ups and improvisations to help actors with character and moment development
º Annotating the script to take all of the stagecraft into consideration.
º Liase with the members of the production team to make sure that all of the other areas of stagecraft are fitting with your vision.
º Trial and error/ experimentation and exploration of Decisions in line with style and purpose (intended meaning of the piece) who to aim theatrical ideas
º Make sure you stagecraft crew are Markings the set out in the rehearsal space
º Make sure that the stagecraft crew are completing Mock ups of props etc for your actors to work with
º Creating characters/ building – giving clear directorial advice to enable actors to understanding the intended meaning and work with purpose

36
Q

recall the tasks performed by director in presentation stage

A

º Help crew with bumping in the stagecraft into the space
º Give advice and feedback during and after technical rehearsals
º give evaluations and feedback on each stagecraft.
º Watch the dress rehearsal
º If performance space is different from rehearsal space: quickly re-block with technical considerations
º Hold relaxation sessions and vocal exercises with the cast to help them warm up before performance
º Oversee the Bump in
º Running the Dress/ technical rehearsals and taking notes for each areas of stagecraft
º Reblocking if needed after technical or dress rehearsals
º Comprising criticism
º Evaluations
º Production meetings
º Ensuring people know when and where to move
º Speaking to all designers and production team, seeing if they know what to do
º Evaluation
º Knowing dates and time of performance- communicate to team
Help oversee bump in and bump out as well as technical and dress rehearsals.
Run post show evaluations and performance feedback discussion
º Contribute to post production evaluation

37
Q

recall the tasks performed by costume designer during the planning stage

A

º Read script
º Research on context of the play (time, place, society, culture)
º Find out from script such as character, age, themes, etc
º Look at the intended meanings of each character
º Research the original costumes of each character
º Theatrical possibilities –costume ideas (form sketches)
º Create a collage/mood boards of ideas to collate your ideas. A visual pitch
º Discuss the directors vision of the play and consider how this might impact the design of the costumes
º Consider how the style of the production might impact on the design of the costumes
º Work out the budget for costumes

38
Q

recall the tasks performed by costume designer during the development stage

A

º Design the costumes and the accessories to go with them (production meeting, collaborate with items which could be props rather than costume accessories)
º Occupational health and safety – some actors may have allergies or costume needs to be designed and safe for their movements
º Source and purchase fabric to make costumes and/or actual costume. To be bought or hired
º Take and Record measurements for the actors
º Start making the costumes for each character (mock ups and then final designs)
º Be prompt and follow rehearsal schedules
º Fittings with actors.
º Production meetings at various points to make sure that the colours or designs are gelling together with one another as well as to keep on track with the overall process.

39
Q

recall the tasks performed by costume designer during the presentation stage

A

º Help actors get in and out of costume backstage during tech rehearsals and performance
º Be present at all dress rehearsals to see if changes to costumes need to be made
º If there is a wardrobe malfunction: quickly fix up any mistakes made for costumes
º Wash and press every costume after every performance
º Fix costumes
º Organise costume area and audit at the end og every performance
º Put costumes away/return if hired

40
Q

recall the roles performed by lighting designer during planning

A

Read script
research original time, place and culture of the piece
research images, colours, patterns, past productions
Develop and understanding of the CONTEXT, intended meaning of play, theatrical possibilities - identifying what the purpose and themes are
Production meeting - what the theatre space is, budget, space capabilities - clear artistic vision based on other stagecraft ideas
Draft lighting ideas to be presented in 1:1
Research lighting states and possibilities
Create a visual collage of ideas with potential colour palettes
Preliminary research of the style as well as the stagecraft (including reading the script/understanding the scenario).
Notes made on how design is informed by playscript/style.
Start planning initial design ideas
Using possible set designs, theatre plans, storyboards, photos, computer software and scripts to create lighting cues and devise a layout.

41
Q

recall the roles performed by the lighting designer during development

A

Take inventory of lights in stock and use colours in design
Create list of potential new gels to purchase
Modify and draw up design in the artistic vision in mind
stick to rehearsal schedule,
plot lighting design using map for each scene or lighting state
building set pieces/sourcing them - having a base mock up,
final testing of designs for spacial capabilities
create schedules that work alongside the director and other design areas,
collaboration with other teams
Experiment with a variety of lighting states eg. natural/spotlight/mobile lights/movers etc
OHS – when moving, installing, changing and setting lights
Go to regular production meeting to check that all designs are inline with other stagecraft and the director’s vision.
Experiment with designs
Create designs leading through to final design.
Source new gels if needed
liaise with other stagecraft areas.
Keep notes from production meetings
Synthesising designs in line with artistic vision
Complete a lighting plot that includes locations, colors and dimmers for all lights that are to be included in the production, along with lighting cues
Creating a lighting run sheet and update script with lighting cues
Coordinate the lighting arrangements for every scene in a production
Direct lighting cues

42
Q

recall the roles performed by lighting designer during the presentation stage

A

Maintenance and refinements made to designs items/materials
Take and keep notes form production meetings attend rehearsal as required
Bump in includes:
Rigging in the space - dealing with modifications that need to be made, OHS - ‘this will happen here’
Storage at the end of each performance,
Maintenance throughout play season,
Evaluation
Respond to feedback

43
Q

recall the four properties lighting designers can control to create a vast array of effects

A
  1. Intensity
  2. Colour
  3. Distribution
  4. Movement
44
Q

define intensity

A

The brightness of light. Everything in the range from the faintest dim glow to the most blinding glare can be created with stage lighting. Contrast has a great impact on how bright a light will appear to be to the audience, with a single flashlight on an otherwise dark stage appearing to be bright, while a strong spotlight shining on an already brightly lit stage may appear dim.

45
Q

define colour

A

The color an object on stage appears to be is determined both by its actual hue and by the color of the light that illuminates it. Filters or gels on lighting instruments make it possible for designers to tint stage lighting in colors that flatter the actors’ faces, cast a warm glow over an entire set or heighten the colors of scenery and costumes.

46
Q

define distribution

A

Light can be distributed in different ways on stage. The form of light may vary from a soft unfocused glow to a sharply defined beam that casts dramatic shadows. The beam of light from an instrument may be directed through a piece of metal called a gobo that shapes it into a pattern such as the broken effect of light coming through the leaves of tress. Light may also be directed at an object from any angle, giving rise to an infinite variety of light and shadow combinations, each with a different look and feel.

47
Q

define movement (lighting properties)

A

The intensity, color and distribution of light can be noticeably altered as quickly or slowly as the lighting designer and director deem fit while the play is being performed. For example, a scene that starts in the diffuse and rosy light of dawn can end in the brilliant golden beams of full morning light. This capacity for change over time is called the movement of light. It offers a kind of flexible expressiveness that is unmatched by any of the other visual elements of production.

48
Q

how can lighting be used to create effect in performance?

A

● Evoke the appropriate mood
● Indicate time of day and location
● Shift emphasis from one stage area to another
● Reinforce the style of the production
● Make objects on stage appear flat or three dimensional
● Blend the visual elements on stage into a unified whole

49
Q

a theatre set should…(4)

A

● suggest the style and tone of the whole production
● create mood and atmosphere
● give clues as to the specific time and place of the action
● offer creative possibilities for the movement and grouping of the actors

50
Q

recall the tasks performed by set designers during planning

A

Read script
research original Time place and culture of the piece
research images, colours, patterns, past productions
Develop and understanding of the CONTEXT, intended meaning of play, theatrical possibilities - identifying what the purpose is. Themes
Production meeting - what the theatre space is, budget, space capability - clear artistic vision based on other stagecraft ideas,
Draft set ideas to be presented
create a visual collage of ideas
Preliminary research of the style as well as the stagecraft (including reading the script/understanding the scenario).
Notes made on how design is informed by playscript/style.
Start planning initial design ideas.
Create rough sketches of the set in the preliminary phase
Create floor plans drawn to scale showing from above the general layout of each set and the placement of the furniture and large props
Front elevations giving a view of the elements of the set from the front and showing details like windows or platforms
Miniature three-dimensional models showing how each set will look when finished.

51
Q

recall the tasks performed by set designers during development

A

Modify and draw up design in the artistic vision in mind
stick to rehearsal schedule,
mark up rehearsal space,
building set pieces/sourcing them - having a base mock up,
final building of designing for spacial capabilities/testing them,
create schedules that work alongside the director and set design crew,
collaboration with other
OHS – when assembling set pieces.
Painting/decorating the set piece in line with artistic vision
Go to regular production meeting to check that all designs are inline with other stagecraft and the director’s vision.
Experiment with designs
Create designs leading through to final design.
Source materials/
construction/purchase (as applicable).
liaise with other stagecraft areas.
Keep notes from production meetings
Work with actors to understand dark spots, use rehearsal time for actors to rehearse in certain states

52
Q

recall the tasks performed by set designers during the presentation stage

A

Maintenance and refinements made to designs items/materials. keep notes form production meetings attend rehearsal as required
Bump in includes:
Rigging in the space, building your design - putting it into the space, modifications that need to be made, OHS - ‘this will happen here’ Storage at the end of each performance,
Maintenance throughout play season,
Evaluation - changing things at last minute,
Respond to feedback.

theatre studies (5 decks)

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