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| Actions of actors must be... |
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| Russian cofounder of the Moscow Art Theatre; hone skills of acting; worked with Anton Chekov - directed plays at theatre; NY Group Theatre learned about his system of acting |
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| Stanislavski's goal of acting |
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| Stanislavski's view of emotion |
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| must be conveyed in terms of Specific Actions |
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| unwanted tension must be eliminated; Stanislavski technique |
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| character's superobjective |
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| character's driving force/what character wants or desires |
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| One of most important things an actor has |
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| Physical, Mental, Emotional |
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| the internal or subjective world of characters, their thoughts and emotions; Stanislavski technique |
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characteristics of space
what happened in past and future
Stanislavski technique |
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| Actors always focus on...NOT.... |
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| what, why, and how am I doing something/feelings |
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| Remember a past experience similar to one in the play |
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| ways of creating emotion on stage |
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Emotional Recall
Psychophysical Actions |
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| Meaning and movement of a play below its surface; not stated but implied. |
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| anything that delays a character from achieving his or her objective |
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| the introduction of a new force or a new set of events that changes the dynamic |
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| Underline and emphasize the primary values in the script |
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| To determine mood and style of set to make it decorative |
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Architectural elements
Fabrics
Furniture
Colors |
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| room resembles but does not duplicate real space |
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| Uses symbol and imagination to suggest rather than reproduce |
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| A unifying idea carried out visually |
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| solves the problems of spatial relationships and demonstrates how actors may move within the set |
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| creates outlines or silhouettes through curved and straight lines |
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| balance and arrangement of elements (large and small) |
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Establish the Style of the Production
Indicate historical period and locale
Indicate the nature of individual characters |
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| Hats, bags, gloves, fans, canes, umbrellas |
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Textures
Colors
Historical period |
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| Hue and luminosity can be used to emphasize or de-emphasize aspects of the silhouette; shadings and contrast |
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| The feel of surfaces and fabrics |
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| visual rhythm that comes from repetition of shapes, patterns, colors |
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| the unfolding of the action from one scene to the next |
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| Costumes are concerned with.... |
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| tragedy, comedy, tragicomedy, melodrama |
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| play with an unhappy ending; a serious drama or other literary work in which conflict between a protagonist and a superior force (often fate) concludes in disaster for the protagonist; ordinary people w/ ordinary lives; relationships big; some intellectual content- more surfacy |
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| complex, harder to define, high and low; world as we find it; everyday people; lighthearted in spirit; humor at root |
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| low comedy; wildly active and hilarious comedy of situation; trivial theme; characters ridiculous and contemptible; little serious consequence; express unconscious and socially unacceptable desires w/out having to take responsibility for them |
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| some defect that causes the hero to participate in his or her own downfall |
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| principles, historical traditions, aesthetic attitudes, or style of arts of ancient Greece and Rome; formal elegance and correctness, simplicity, dignity, restraint, order, and proportion; Oedipus the King |
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| mixed form of theatre, plays in which mood may shift from light to heavy, or plays in which endings are neither exclusively tragic or comic |
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| serious plays without music; situation and plot; portrays forces of good and evil battling in exaggerated circumstances; issues black and white; stereotypical characters in serious situations; optimism- good always triumphs in end |
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| deny traditional concepts of theatrical production; combines elements from fields in the humanities and arts; art and life connected; ex: folklore, dance; hybrid; diverse; no "typical" performance artist or work stands out as an illustration |
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| playwright creates; contains dialogue used by actors |
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| seeking to present an objective and unprejudiced record of the customs, ideas and appearances of contemporary society through spontaneity, harmonious colors, and subjects from everyday life with a focus on human motive and experience; Fences- American black |
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| Climactic pyramid of plot of play |
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| Exposition, Complication, Denouement |
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| structure of the play, the skeleton that gives the play shape and on which the other elements hang |
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| a production arrangement in which the audience sits on three sides of the stage |
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| exaggeration and artificiality; the opposite of lifelikeness |
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| A movement in theatre away from the realism and naturalism of the 19th century |
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| A style of drama that emphasizes the absurdity of human existence through illogical plots, and so on. |
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| Arts which rely upon “enactment” or “embodiment” to create the illusion of reality in a created environment. |
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| _____ is the written script. |
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| Theatre is creative b/c... |
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| each production in unique |
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| Theatre is creative b/c... |
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| each production in unique |
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| Theatre is re-creative b/c... |
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| it begins with the work of the playwright |
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some aspect of human experience
Biography, History, or Personal Crisis |
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| artist selects and arranges the elements so that they work together for the artist’s expressive purpose |
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| How the playwright shapes the subject to convey her personal viewpoint |
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| the level of competence or skill the artists display in blending substance into form |
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| That quality of a play script or theatrical production which identifies it as the work of a particular artist. |
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| Dramatists make their point of view or personal perspective _________. |
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| Comedic point of view uses... |
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| witticisms, malapropisms, double entendre, verbal imagery |
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| Carries the theme – the intellectual content of the play |
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| Elements of Drama and Theatre |
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Character
Plot
Dialogue
Thought or Theme
Music or Mood
Spectacle |
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Create Interesting Characters who are both Unique and Universal
Devise a Compelling Plot line
Write Dialogue which is “Conversational” but also Poetic
Illuminate an Important or Controversial Idea |
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Extraordinary characters
Quintessential
Stock |
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| larger than life; often extreme |
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| Quintessential Characters |
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| Typical, ordinary people but representative of a group |
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| Exemplify one personality characteristic such as greed |
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| main character's chief opponent; may be force rather than a character |
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| central thought or ideas presented in the play |
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| The task of the playwright is |
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| to transform a story into action |
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| Dialogue is frequently structured as |
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| Dialogue is more than conversation – needs |
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| types of dramatic structure |
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| action occurs over limited time and space; conflict between 2 opposing forces- antagonist and protagonist |
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Inciting Exposition
Inciting Moment
Rising Action
Turning Point
Complicating Action
Climax
Conclusion and Denouement |
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| What has happened before the play begins |
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| Something happens to disturb the character’s world as we found it |
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| A series of events characterized by rising intensity that complicate the plot. |
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| One force gets the better of the other. |
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| A series of events that intensify and complicate the plot further. Usually shorter than rising action. |
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| The highest point of action |
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| Things are returned to “normal” |
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Early point of attack
Large number of characters
Juxtaposition and Contrast (public/private, short/long scenes..)
Action occurs in many different
locations
Action occurs over an extended time period
Often has parallel plots
Action alternates between the two plots
Effect is cumulative |
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| Audience members bring some of their own experience to bear on their __________________ of the production. |
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| interpretation (can be critical or judgmental) |
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| Theater . a piece of such fabric used as a drop, border, or the like, for creating the illusion of a solid wall or backdrop under certain lighting conditions or creating a semitransparent curtain when lit from behind. |
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| stage design that emphasizes the major aspects of a setting, with little or no attention to details. Notice how the back walls have been removed and replaced by hanging ceiling beams and hanging doors. Lighting is very important to set the mood. |
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| stage design in which realistic details are restricted to only those absolutely necessary to depict the real world of the stage. Minor details are omitted. Compare this set to the one for realism—what has been left out? |
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Communicate with Director
Create metaphor for production which embodies the director's interpretation of the script. |
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| facilitate movement on set |
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Create an environment
Set mood and style
Distinguish realism from non-realism
Design concept
Provide central image or metaphor
Coordinate with other elements
Solve practical design problems |
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Playwrights
Directors
Actors
Designers |
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| How do directors interact with actors |
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| How do actors analyze scripts and create roles |
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| how do set and costume designers work with design elements |
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| beginning - Classical Theatre |
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| Greek; TRAGEDY AND COMEDY; connected to religion; Great playwrights- Aeschylus, Sophocles, Euripides; Aristotle- Poetics; |
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| copied Greek plays and genres |
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Christians opposed Roman theatre
Theatre=pagan, Coliseum
Actors=immoral; actors not allowed to be baptized |
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| traveling troupes of actors; Commedia del Arte - stock characters, predictable plots, moveable stages |
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| Reborn in Church; Re-enactment of resurrection (mass); grew rapidly/spread; Mystery Cycle; entire Biblical narrative; eventually too big for Church - guilds/towns |
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told entire Biblical story- creation to Apocolypse
Guilds- more spectacular
Shakespeare watched |
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1564-1616
career as actor
wrote 38 plays for his company (share holder)
foundational to modern western theatre |
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stories borrowed from history, literature and mythology
reworked to make them his own
structured episodically
poetic and figurative dialogue |
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| 18th and 19th centuries; melodrama- predictable ending, villain and hero, serious drama, realistic spectacle |
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| 19th c.; Henrik Ibsen (Norwegian, Social Realism); August Strindberg (Swedish- genres including naturalism) |
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| first important American playwright |
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| Eugene O'Neill; plays character driven; A Touch of the Poet; American Realism |
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| experimentation; realism; digital tech; new styles; new playwrights; new performing arts centers |
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