TH Test 1 Flashcards

1
Q

Allusion

A
  • A reference to another work of literature, art, historical event, or person outside a play. Example: sing religious references, Importance: it was important at that time because the queen wanted a change in the religion so made sure that is all that was allowed in theater, Oedipus’s Daughter has her own play and he is referenced in it
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2
Q

Aesthetic Response

A
  • Audience’s positive response to an art’s form and the quality of its execution. Usually characterized by a positive response to the art’s form and the quality of its execution. Having an artistic experience.
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3
Q

Consciousness-

A

the degree to which actors and audiences are conscious of each other and their objectives in a performance. Example-play (laughing applaud, cheers), Importance- less conscious of their effects on the actors’ morale and sometimes do not know how to respond to a show.

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4
Q

Objectives

A

those things that both actors and audiences expect in a performance. Objectives are usually the reasons that performances another during a performance. Example- Football players and fans are hoping for a win, Importance- having similar objectives and having achieved those objectives is a part of the plays successes

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5
Q

Live Theatre

A

The live performance of actors shared with a live audience in a specific place designated for that performance, Example- Musicals, Importance- it lets people and actors experience real emotions by bouncing them off each other.

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6
Q

Rise of Action

A

The plot thickens, Odeupus

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7
Q

Organization

A

the way actors, audiences, actions, arenas and internal arrangements of those elements are organized in relationship to one another during a performance. Example play, Importance-theater audiences help determine the quality of the experience for themselves and the acts by how well the respond

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8
Q

Performing arts

A

Refers to those artistic activities which typically produce an event that is carried out by an artist, such as dance, music, singing, and theatre. Example Musical theatre, Importance- It is one of the ways an artist can carry out their artistic activity

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9
Q

Text

A

Refers to any script or scenario that guides a performance. Performance texts can be made up of words (scripts), visual images (mime), or behaviors (dance), that communicate meaning to an audience. Example- script, Importance- blue print of a play

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10
Q

Theatre’s 5 characteristics

A
  • actor (person who does something)
  • Action (a thing done)
  • Audience (witnesses to the thing done)
  • Arena (place where the thing is done)
  • Arrangement (how the thing itself is spatially and temporarily arranged)

An example would be a play or football

Basics

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11
Q

Visual arts

A

those artistic activities that typically produce an artifact which is distinct from the artist himself or herself, such as painting, drawing, sculpture, literature, and poetry. Example-Musical theater, Importance- Are all apart of theatre, the sets are drawings and paints, the script is literature and poetry can be turn into song

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12
Q

Performance as a ritual

A

some sort of text (oral or written), that dictates how the actors behave, and what is to be expected from its participants and audiences. (compare to theatre ) Similar: have a relationship/evolved from each other in ancient times, both have theatrical elements, text, actors(change in status), actions (wedding), happen in special arenas (church), outcome (rain dance). Differences: not an art, not consciously tryting to be a work of art for the consumption of their audience, tickets, really happening. O,O,C: obje- unite the couple as one, beautiful setting, nice costumes, make up, and hair; Orga- action (marrage), actor (priest/bride and groom), arena (curch), audience (family and friends) arrangement; cos- respectful, quiet, cry

theater is conscience of being theatre

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13
Q

Theatrical paradigm

A
  • explains the significance of performances that range from the personal performance of you own identity before you friends or family to the large and public performances of national ID in the culture or politics.
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14
Q

Performance as art

A

stories enacted by humans, teacher has actors, audiences, arrangements, and arenas; self-conscious creation of people who seek aesthetic response, social and aesthic values, differs in organization, objectives, and consciousness; incorporate other forms of art

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15
Q

Performance as Cultural artifact

A

Having the audience not being able to tell what is real and what is not (kissing),

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16
Q

Aside

A

a brief remark to be heard by the audience, but no by the other characters

Gets an asethic response from the audience
Shakespeare’s

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17
Q

Characters-

A

the fictional people who perform the actions in the play and are the primary element out of which plots are created.

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18
Q

Climax

A

The moment of crisis when the original question(s) of the play must be answered

brings the plot into one,

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19
Q

Denouement

A

the resolution, or falling action, of a well-made play

seeing his kids

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20
Q

Dialogue

A
  • actual works spoken between and among the characters

creats plot point
when characters have a conversation

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21
Q

Episodic play

A

As an alternative to the well-made play, emphasizes organization around an idea or theme, with various parts — scenes about the present situation

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22
Q

Epigram

A

A brief, quotable saying that compresses human experience into a verbal generality (3 can keep a secret if 2 are dead)
Develops plots

23
Q

Exposition

A

information about event that occurred before the start of the play, about the identity and relationships of the character and about the present situation.
gives set up of the play Odepus answering the question and becoming king

24
Q

Protagonist

A

the central character of a play, and the meaningful arrangement, or structure, of those events
drives the play
odepus

25
Q

Point of attack

A

the moment at which the action of the play starts in relation to the larger story

when the town starts to starve

26
Q

Soliloquy-

A

Monologue delivered when a character is on stage alone. (talking to themselves) to be or to not to be

a sense of community
William Shakspear

27
Q

Monologue

A

a speech delivered by a single character in a play, or a period in which one character speaks for an extended time.

28
Q

Text

A

anything that can be read, analyzed, interpreted, and critiqued

when

29
Q

Genre

A

Kind or type of something, used especially in reference to artistic musical or literary composition

Tragedy- a serious play with an unhappy ending brought about by a leading character with a tragic flaw. Although Aristotle provided a definition in his ancient text Poetics, the term is nearly indefinable now.

Comedy- A play which deals with ordinary life in a predominantly funny way that ends happily

Melodrama- “Music drama” that grew out of the social ills of the industrial Revolution to become the most popular Western form during the nineteenth century. It is marked by a strict adherence to poetic justice, stock characters, and escapism, as well as accompanying music that underscores the action.

Musical theatre- In its most basic form, the combination of music and theatre onstage; often involves actors singing on stage, accompanied by a live orchestra, with dancing

30
Q

6 element: Order is important

A

outline our definition of tradgity Ex. odeupus

  1. Plot: story told in the play or the collected events that occur in the play
  2. Character- fictional people who perform the actions in the play and tare the primary element out of which plots are created
  3. Theme- intellectual issues expressed by the play (questions, topics, and meanings raised)
  4. Language- Monologues, Soliloquies, dialogue, narration, choral odes and the arrangement of those words
  5. Music-spectacle, sound, rhythm, and melody of the language
  6. Spectacle – scenery, costumes, lighting
31
Q

Bertolt Brecht

A

RENT lights
twentieth-century German Playwright, mother courage and her children, the Caucasian chalk circle, the good person of Setzuan. Used theatre to change people’s minds. Remind people they are in a show

32
Q

Agent

A

person who connects theatre artist (designers, actors, etc..) with the producers and others who hire them.

33
Q

Catharsis

A

a release of tensions resulting from the climax of a tragedy

audience gets a release

34
Q

Dramaturge

A

a specialist in dramatic analysis and literature, production research, and audience engagement.

35
Q

Environmental theatre

A

a style of staging that involves flexible, found, or transformed performance space in which actors and audience share the same space; also involves variable focus, and emphasis on all elements of the performance as language

36
Q

Mediated performance

A

performance that is mediated through technology, such as the lens of the camera or microphone.

allows other to see plays OK

37
Q

Pageant wagons

A

movable wagons carrying the set (mansion) and playing area for the cycle plays in the Middle Age

Street performance

38
Q

Thrust stage

A

theatre configuration in which the audience view a performance form three sides, as the stage “thrusts” into the spectator space

39
Q

Audience as a community

A

Community of people sharing a per formative experience. Audience’s reactions to both the performance and themselves affect how they experience the event. And afterwards they talk about what they saw. (affected by including the size, arrangement)

clap boo affect how actors perfomr

40
Q

The critic-

A

The audience: they analyze, interpret, judge, and describe it to others. Technology has allowed amateur critics through websites and blogs. Small number of professional critics. Write for newspapers, magazines, academic journals, TV, radio, online. Difficult role. Balance description, analysis, interpretation, and judgment. Influence on financial success or failure. Works to further the field, holding theatre to a high standard and helping to ensure its survival as both art and entertainment.

41
Q

Fourth Wall

A

an imaginary wall between the actor and audience in a proscenium theatre; a concept that developed in conjunction with realism, the conventions of which held that the stage space was like a room with one wall removed so that the audience could view the action in the room. Realistic

creats willing ness of supension of disbelief

42
Q

Broadway

A

a street in midtown Manhattan most famous for the concentration of commercial theatres located on and adjacent to it

43
Q

Off- Broadway

A

Manhattan theatres located outside of the Times Square district, once experimental but now quite commercial; these tend to smaller than Broadway theatres.

44
Q

Off- Off Broadway

A

theaters outside of the Times Square district that have replaced Off- Broadway theatres as the primary purveyors of experimental, noncommercial theatre in New York City; limited seating capacities often expect theses theatres form union rules and wages

45
Q

Road shows

A

also known as touring shows, most often theses are productions of shows originated in New York City that travel across the country after obtaining success of Broadway

46
Q

Theatre in the Round/arena

A

audience can see each other react. Stage surrounded on all four sides by the raised audience. Challenges performers. Elaborate sonic effects and focuses on acting, costumes, and props

47
Q

Regional theatre-

A

movement began in NYC in the 1940s because of decentralize theatre. Makes theatre accessible to audience.

48
Q

Vaclav Havel

A

check play right- very active politically(solidarity leader), president of chek

49
Q

Freytag

A

triangle

BASIC structure of how theatre stories

50
Q

Feminist theory

A

away of analyzing theatre, women have been protrude and apart of theatre

51
Q

Shakespeare

A

dramaturge, Example: Romeo and Juliet, Importance: influenced modern theatre

52
Q

Willing suspension of disbelief

A

the audience allows themselves to get wrapped up in the fantasy.

53
Q

Federal theatre project

A

40s Franklin Roosevelt- Get people back to work. Government funded theatre.

54
Q

NEA 4

A

tension between art and government deciding what is and isn’t art, national EA, federal support