Term
|
Definition
Regional
(not classic/modern/contemporary/male-gendered/female-gendered) |
|
|
Term
|
Definition
Not meant to be universal, but meant to speak to a particular audience, to meet the needs of the people of the region
Playwrights are always from that region
Oral tradition, superstitions, food, religious practices, dress, music and dance |
|
|
Term
| Regional plays are about: |
|
Definition
| you stay who you are no matter where you go |
|
|
Term
|
Definition
Definition of “Foxfire” - a fungus that grows on the North side of dead stuff
Glows in the dark to help natives find their way home
Outside world sees it as fungus, natives see it as beautiful |
|
|
Term
|
Definition
| casting natural, healthy looking actors |
|
|
Term
|
Definition
| The Blue Ridge Mountains (the challenger) |
|
|
Term
|
Definition
|
|
Term
|
Definition
The Blue Ridge Mountains (the region)
Hector |
|
|
Term
|
Definition
Annie Nations
(Battleground's Protector = Holly) |
|
|
Term
|
Definition
Objective: to steal his mother (Annie Nations) away from the challenger, the region
Weapon - music; sings offstage at the beginning of Act I / sings onstage at the beginning of Act II - shows his advancement in winning the battleground (his mother, Annie Nations) to remove her from the stasis
Armor - his connection to the challenger (the region) - this is his foundation but he has moved away from the challenger |
|
|
Term
|
Definition
Uncomfortable in the stasis
Prince must change the stasis at the end of the play |
|
|
Term
|
Definition
shows battleground that she does not need challenger, is of no benefit to challenger - to show her where she can be of use
Dillard needs protection and Annie can help him, show him how to raise a family - this is where she can be of use
Dillard starts to win because Annie is realizing the need Dillard has |
|
|
Term
Challenger:
The Blue Ridge Mountains (the region) |
|
Definition
| doesn’t want the stasis to change |
|
|
Term
|
Definition
on the side of the challenger - guard for the challenger
He can not leave at the end of the play |
|
|
Term
Battleground:
Annie Nations |
|
Definition
She is the foxfire - she must glow
Hearty, not afraid of the land (challenger) or Prince (intruder)
Holly - on battleground’s side; protector of the battleground; not on challenger/intruder sides |
|
|
Term
|
Definition
| Meant to protect what is important, what is essential, the battleground will move to protect |
|
|
Term
|
Definition
Annie’s memory triggers the flashbacks
Shows that the battleground is starting to change
They are a way for Annie to hold on to the past/the challenger (Hector), through memories as things are changing
Older actors in flashbacks - they are still connected to Annie - she still still struggling over the choice between the challenger and intruder
Annie wins in the flashbacks - she is moving away from the challenger - stepping towards progress and moving away from the mountains |
|
|
Term
| Production (Staging/Costumes/Props) |
|
Definition
A play with music
Regional instruments (banjo/fiddle/bass)
Set is always a major character in regional plays, realistic sets
Expensive to do - must be realistic
Props accurate to region, functional |
|
|
Term
|
Definition
back to original stasis; intruder has made no inroads on the battleground
Shows that the battleground is a fortress - controls the atmosphere |
|
|
Term
|
Definition
Tradition (older generation) vs. change (newer generation)
Can we take our region with us or is our region stuck here permanently? |
|
|
Term
|
Definition
Annie’s moment of decision - “No, Hector. You’re up in th’old orchard.” - she is not surrendering, she is leaving
She chooses not to acknowledge him; he is tied to the place so he must stay |
|
|
Term
|
Definition
the battleground
Regional plays always end with the battleground winning |
|
|
