TheaApp2 Flashcards

1
Q

What is the role of a director?

A

Is responsible for scheduling the work process and supervising the acting, designing, staging, and technical operation of the play.

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2
Q

When did an independent ‘director’ come to prominence?

A

In the nineteenth century.

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3
Q

Why did the ‘teacher-director’ reach a pinnacle of influence during the late Enlightenment and Victorian eras?

A

Because of an increased emphasis on rationality and research both in culture and the theatre; of an increased emphasis on productions of classical plays.

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4
Q

Who is known as the first modern director?

A

Duke of Saxe-Meiningen.

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5
Q

In addition to coordinating the various aspects of the production, what else is a director responsible for?

A

Dealing with the artistic aspects of the production.

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6
Q

What is the goal of an ‘antirealist’ director?

A

To create sheer theatrical brilliance, beauty, and excitement.

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7
Q

What is true of the history of the role of the ‘director’?

A

The emergence of the director resulted from the stylistic growth of the theatre itself.

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8
Q

The Japanese noh master Zeami was most similar to whom in Western theatre?

A

Director.

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9
Q

Who helped to stage performances before the nineteenth century?

A

Playwrights and leading actors, referred to as teacher-directors.

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10
Q

How would you describe the directing process?

A

Long and involved.

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11
Q

André Antoine and Konstantin Stanislavsky are both typically associated with which style?

A

Realism.

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12
Q

What is the difference between a director and a producer?

A

Unlike a director, a producer is tasked with turning the play into a performance by helping acquire the finances, a theatre space, some designers, actors, crews, and, if needed, the legal rights to perform the particular script.

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13
Q

What was Konstantin Stanislavsky known for as a director?

A

Realistic acting.

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14
Q

What steps may today’s directors take when adapting classic plays?

A
  • Radically transforming aspects of the original dramaturgy; - Modernizing archaic words to improve audience comprehension; - Cutting lines to reduce performance time.
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15
Q

What are directors of antirealism more focused on?

A

Abstract goals of originality.

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16
Q

What type of directorial concept is required of every production?

A

Core concept.

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17
Q

The idea of the director as an artistic guide is associated with which region?

A

The West.

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18
Q

In developing a core concept for a production, what might a director do?

A
  • Try to prioritize one image or idea from the original script; - Try to imagine how the play might be publicized, either as a poster or a tagline.
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19
Q

What are the two periods of the directing process?

A

The preparation period and the implementation period.

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20
Q

What type of tagline does ‘a play about needing to be heard’ exemplify?

A

Psychological.

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21
Q

In addition to managing finances, what else may a producer be in charge of?

A
  • Handling the advertising; - Acquiring a theatre space.
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22
Q

What are some virtues of a ‘high-concept’ production?

A
  • Introducing highly unexpected insights into character, story, or style; - Deconstructing a work by highlighting its artifice.
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23
Q

When are today’s directors likely to adapt a script?

A

When it is not protected by copyright laws.

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24
Q

How may a dramaturg contribute to a production?

A
  • Serving as a bridge between the director and the text; - Assisting the playwright in preparing the manuscript for production.
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25
Q

What are the two types of directorial concepts?

A

Core concept and high concept.

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26
Q

What are some tasks of the director during the implementation period?

A
  • Maintain the schedule; - Facilitate communication; - Inspire the team.
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27
Q

What is a director’s core concept?

A

The image, idea, style, or emotion that focuses the production by bringing out some aspect of the original play.

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28
Q

What is true of personal conferences between director and designers in production design?

A
  • Often the first design conference is a collective meeting.; - In America’s regional professional theatres, many of these conferences take place online via live video conferences.
29
Q

What is an example of a philosophical tagline in a play?

A

‘A play about expressing yourself.’

30
Q

What is a director’s role in the design process?

A

Sharing the responsibility with the designers in a developing enterprise.

31
Q

What is a high concept production?

A

A production that radically changes the terms of the original script.

32
Q

What does the saying ‘casting is 90 percent of directing’ imply?

A

Casting has an outsize influence on the success or failure of a production.

33
Q

Who may help the director research the play?

A

A dramaturg.

34
Q

What are true statements about the casting process?

A
  • Actors read a previously prepared monologue during auditions.; - The director coaches the actors in a callback audition.; - Actors read material from the play being produced during auditions.
35
Q

What must a director do during the implementation period?

A

Assemble the artistic team.

36
Q

What are the elements of a rehearsal period?

A
  • The foundation of the play is discovered.; - Acting choices are established, detailed, and drilled into the actors’ muscle memories.; - It takes place in a series of personal conferences between director and designers.
37
Q

What is true of production design?

A
  • Often the first step involves the director discussing their concept in detail and suggesting some possibilities for its visual realization.; - Provoking suspenseful involvement in the play’s events; - Unifying the play’s appearance.
38
Q

What are a director’s main tasks in determining the staging of a play?

A
  • Handling the advertising; - Acquiring a theatre space.
39
Q

What is the director’s role in production design?

A

To meet with the designers, sometimes one-on-one; to discuss their concepts with the designers; to focus the audience’s attention on significant aspects.

40
Q

What is the main goal of blocking?

A

To determine the overall effect of the individual paces the director has determined.

41
Q

What is the ideal pace for a play?

A

There is no ideal pace: directors must take into account a range of factors.

42
Q

What is the basic structure of staging called?

43
Q

What does a director do in the final stages of rehearsal?

A

Reexamine the original concept in light of the actual production that has emerged.

44
Q

What does a play’s ‘timing’ refer to?

A

The overall effect of the individual paces the director has determined.

45
Q

What are examples of theatrical business?

A
  • Answering the phone; - Mixing a cocktail; - Adjusting a tie.
46
Q

What is added to the technical rehearsals?

A

They act as guides and coaches.

47
Q

What is the director’s relationship to their actors?

A

A director provides an atmosphere in which actors can feel free to liberate their powers of sensitivity and creativity.

48
Q

What are traits of a well-trained director?

A
  • A strong literary imagination; - A knowledge of the potential of various theatre technologies; - A thorough working knowledge of the history of the theatre.
49
Q

Who is likely criticized for the pace of a production?

A

The director.

50
Q

What does the term unity refer to in the theatrical process?

A

The visionary wholeness.

51
Q

During which stage of the theatrical process do actors use their costumes for the first time?

A

Dress rehearsal.

52
Q

Which role demands a comprehensive understanding of the theatre in all its aspects?

53
Q

What are the main components of actor training (excluding one)?

A

Body and voice, realistic acting techniques (e.g., Stanislavsky’s method), discipline, and understanding of acting techniques. Excluding: Learning stage combat.

54
Q

What is true about acting in theatre?

A

Actors’ bodies are always mediated (influenced by costumes, lighting, special effects, etc.).

55
Q

What are precisely scripted physical behaviors in blocking called?

56
Q

Stanislavsky insisted that actors needed to discover what?

A

Their characters’ goals.

57
Q

What is the actor’s instrument?

A

Body and voice

58
Q

What is ‘the Method’?

A

A realistic acting style derived from Stanislavsky’s system, popularized by Lee Strasberg.

59
Q

Who invented the concept of ‘emotional recall’?

A

Konstantin Stanislavsky

60
Q

What is a paradox of acting?

A

Actors must act as if they are the character while remaining aware of their technique.

61
Q

What type of performing asks the actor to experience the life of the character?

A

Internal (emotional) performing

62
Q

What faculty keeps the actor within established bounds, while also allowing for artistic agility?

A

Discipline

63
Q

What term describes techniques where actors use imagination to mimic how their characters should behave?

A

External techniques

64
Q

What term did Stanislavsky coin as a key component to an actor’s behavior?

A

‘Given circumstances’

65
Q

What do most auditions consist of?

A

Performing one- or two-minute monologues from plays.

66
Q

Who maintained that the actor should be an ‘unmoved and disinterested onlooker’ who imitates emotion rather than feels it?

A

Denis Diderot

67
Q

What are the two fundamental approaches to acting?

A

Internal and external

68
Q

What does the director typically not look for in an audition?

A

Personal history exactly matching the character’s.

69
Q

Which term refers to a selection of the script used in auditions to familiarize actors with the play?