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Survery of Theatre > Test 2 > Flashcards

Test 2 Flashcards

1
Q

Types of puppets (7)

A

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

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2
Q

Three tools of the actor

A

Control of body, mind and voice

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3
Q

Three challenges of acting

A

believability, physical/vocal demands, combing inner and outer aspects to create credibility

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4
Q

Outer vs inner

A

Outer- outer aspects of character, posture, walk, peculiar vocal delivery. Inner- Feelings of emotions of character

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5
Q

What is Puppetry? Manipulation of ________

A

inanimate

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6
Q

What roles do Puppets play?

A

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

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7
Q

Responsibilities and skills of the actor

A

Assuming a role onstage. Doing warm ups, taking dance classes if needed, doing vocal exercises, keeping body in shape

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8
Q

Basics of the rehearsal process

A

Read through, script is learned, blocking, tech rehearsal, dress rehearsal

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9
Q

Realism

A

Drama that closely resembles what people could identify with and verify from their own experiencet

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10
Q

Stanislavsky system

A

A technique of realistic acting

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11
Q

through line (objective) director/ actor

A

director- the overall super objective or theme of play. actor- the super objective of the character. What and why are they doing what they are doing

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12
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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13
Q

The moment before

A

What moment is driving the character

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14
Q

Emotional Recall

A

Bringing back a memory to convey the emotions needed for the character

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15
Q

Magic if

A

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

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16
Q

Warm up excercises

A

Exercises to warm up the body and voice. Designed to to relax the body and the voice.

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17
Q

Responsibility and skills of the director

A

Pre-rehearsal- reading, analysis of script, spine of the play, casting. Parellel 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.

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18
Q

Directing process

A

Determine spine of the play. Collaborate with design team to determine the vision director has from playwrights words. Lead actors in rehearsal to properly portray characters.

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19
Q

Style of play

A

The distinguishing characteristics of a play that reflect conventional practice.

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20
Q

Directorial concept

A

overall image or metaphor of a play

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21
Q

The plays spine

A

Main idea of the play

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22
Q

Metaphor

A

a figure of speech that describes a subject by asserting that it is, on some point of comparison, the same as another otherwise unrelated object

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23
Q

Blocking

A

arrangement and movements of performers relative to each other as well as to furniture and to the places where they enter and leave the stage

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24
Q

Casting

A

the process the director uses to determine which actors will be in the play

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25
Q

Movement, pace, rhythm

A

how slow or fast the play moves. It is important to move at a good pace so the audience is engaged

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26
Q

Collaborators

A

Actors, producer, design team, choreographer, stage manager

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27
Q

Responsibilities and skills of the 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.

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28
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.

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29
Q

Different Theatrical Spaces (4)

A

Proscenium, thrust, arena, found/created

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30
Q

How is the audience laid out?

A

Proscenium- audience is in front of actors. Thrust- audience is on at least 3 sides. Arena- Audience is on all sides. Found/created- audience is all around, and you may even interact with audience.

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31
Q

How does choosing each type affect the design and staging process? (pros and cons)

A

The type of space you pick determines what type of scenic elements and costume elements you are allowed. It also determines how many characters can be the play you have picked. It also determines how grand or minimal it can be staged and blocked.

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32
Q

House

A

Space that houses all of the audience sits

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33
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

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34
Q

Orchestra pit

A

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

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35
Q

Skene

A

oblong painted backdrop. Where we got the word scene.

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36
Q

Rake

A

Portion of set is on an incline

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37
Q

Vanishing point

A

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

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38
Q

Vomitoriums

A

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

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39
Q

Traps

A

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

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40
Q

Apron

A

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

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41
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.

42
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

43
Q

Tech Rehearsal

A

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

44
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.

45
Q

Preview

A

Dress rehearsal with an audience invited

46
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

47
Q

Dry tech

A

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

48
Q

Paper Tech

A

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

49
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.

50
Q

What is Scenic design?

A

Design meetings, research, images, prelims, final designs

51
Q

Things to be considered through process

A

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

52
Q

Soft goods

A

Any prop made of Fabric

53
Q

Ground Plan

A

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

54
Q

Section

A

shows a section of the set

55
Q

Model

A

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

56
Q

Front elevation

A

what set looks like dead center from the audience

57
Q

Props/set dressing

A

conceptualized idea with scenery

58
Q

Technical Director

A

person in charge of building the designs

59
Q

Flat

A

thinly built set that can fly in

60
Q

platform

A

level the stage up to help create different levels

61
Q

Masking

A

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

62
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

63
Q

What does a costume tell about a production or character?

A

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

64
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

65
Q

Process of Costume design

A

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

66
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

67
Q

Other important costume factors

A

Fabric, time period, consistency

68
Q

Rendering

A

drawing of what the costume will look like

69
Q

Mock up

A

Full version of costume made with muslin

70
Q

Muslin

A

Cheap very thin cotton

71
Q

Fittings

A

Where costume designer fits the costumes to the actors

72
Q

Swatches

A

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

73
Q

Distressing

A

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

74
Q

Ombre

A

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

75
Q

Who does lightning designer collaborate with

A

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

76
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

77
Q

Objectives of lighting design

A

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

78
Q

Tools of lighting design

A

Color, intensity, distribution movement

79
Q

Gobo

A

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

80
Q

Cycolorama (CYC)

A

Sitting circle of fabric light can be portrayed on

81
Q

Scrim

A

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

82
Q

Light Board

A

computerized system that is used to control light cues

83
Q

Cross-fade

A

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

84
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

85
Q

Blackout

A

all the lights are shut off at once

86
Q

Cue

A

lighting changes

87
Q

Gel

A

material used to alter color, short for gelatin

88
Q

Who does sound designer collaborate with

A

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

89
Q

Sound reinforcement

A

Helps audience hear better. Can give different effects

90
Q

Sound Reproduction

A

Playing something already recorded back on stage

91
Q

Motivated sounds

A

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

92
Q

Environmental sounds

A

Environment sounds to set the tone of the play

93
Q

Underscoring

A

playing of music quietly under dialogue or a visual scene

94
Q

Sound effect

A

various device to create unique sounds such as wind and or sound of a door slamming

95
Q

Medea Characters

A

Medea, Jason, Creon (ruler of Corinth), Aegeus (King of Athens), Nurse of Medea, Two children of Medea and Jason, Attendant of the children, Chorus

96
Q

Medea Plot

A

Jason brings Medea back to Corinth after marrying her and having two children with her. He then leaves her to marry the daughter of Creon. She then goes a little crazy, and makes a plan to enact revenge. She sends poison to Jasons new wife, then kills her two children and flies off in a carriage led by dragons.

97
Q

Medea Author

A

Euripedes

98
Q

Medea Theme

A

Showing how little Greeks respected woman, and how they were treated completely different than men.

99
Q

Raisin in the Sun characters

A

Lena Younger (MAMA), Ruth younger, Walter Lee Younger, Travis Younger, Beneatha Younger, Joseph Asagai, George Muchison, Mrs. Johnson, Karl Lindner, Bobo, Moving men

100
Q

Raisin in the sun Plot

A

The Younger Family all lives in a small apartment in Chicago. The Younger patriarch has recently died and they are waiting for a 10,000 life insurance check to come in. They all have different dreams of what they would like to see happen with the money. Walter wants to open a liquor store, Ruth wants to use it to get a house so they can be a happier family. Lena just wants to see her family and hopes to save some so that Beneatha can finish college. Beneatha is still decided who she wants to be. She is dating George who is a wealthy classmate. She also has feelings for Joseph who is native to Africa, and he wants to bring her back with him. Once the check comes Mama gives Walter 6500 of the check and he ends up losing it in a scam. She then takes the 3500 and makes a down payment on the house. The home association tries to convince them not to move but they do anyway.

101
Q

Raisin in the Sun author

A

Lorraine Hansberry

102
Q

Raisin in the Sun Theme

A

Shows that race was still playing an important part in American society. But, the love of family can overcome anything.

Survery of Theatre (2 decks)

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