Term
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Definition
Via Negativa
Make actor empty of everything in order to be a holy vessel for performance
Performance, not representation |
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Definition
The Empty Space
Historical "pastness" juxtaposed with contemporary present |
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Definition
Just do what you are interested in, all about your vision
Upper body intention, lower body split
Grammar of feet, firmly rooted on stage, everything flows upward
Noh, Kabuki and marial arts use
-loss of ego |
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Term
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Definition
Flow of images rather than narrative
- plays don't really make sense
Deconstructive critque of meaning-making in mediated culture |
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Term
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Definition
Theatre of Images
NOT time-based
- Time expanded
- No beginning or middle or end |
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Term
Lehrstucke
EPIC THEATRE (Anti-Realism) |
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Definition
Learning Piece
Intellectual response over emotional response
Audience must be involved or nothing works
Sucks you in and smacks you out |
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Term
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Definition
Evil outside of society (Disney, LOTR, Hobbit, Superhero)
Timeless setting
Return to utopian paradise
Villain is banished or dead |
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Term
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Definition
Reintegrates evil into society
Time bound, historical setting
Chance/Liberal institution ensue order
Detective figure |
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Term
1 of 4 Aesthetic elements
JINGXI |
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Definition
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Term
2 of 4 Aesthetic elements
JINGXI |
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Definition
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Term
3 of 4 Aesthetic elements
JINGXI |
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Definition
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Term
4 of 4 Aesthetic elements
JINGXI |
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Definition
| Da (Fighting, Martial Arts) |
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Term
1 of 4 kinds of roles
JINGXI |
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Definition
Sheng - Main Male
Beard - Middle aged man
Middle life characters = most important and interesting
Three Kinds
- Fighting - wusheng
- Old - laosheng
- Young - ziaosheng
-- 20-40 yrs old |
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Term
2 of 4 kinds of roles
JINGXI |
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Definition
Dan - Female
- 4 kinds
--Huadan : young girl
--wudan : fighting girl
--laodan : old woman
--shengdan / qinqi
---> 25-45, memorable, honorable, main person, most privileged within star system |
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Term
3 of 4 kinds of roles
JINGXI |
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Definition
Jing - male character role
- Brightly painted face
- embodying one particular characteristic
- Does special job and leaves |
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Term
4 of 4 kinds of roles
JINGXI |
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Definition
| Chou - Male Clown (Always male) |
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Term
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Definition
Costumes
- based on ming dynasty
- weight of history and tradtion
- specific costumes for specific characters |
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Term
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Definition
- Face painting
- Actors did themselves, learned in school
- Has particular meaning
- Main color gives main characteristic of character
Blue = warrior, Black = Honesty, Red = loyal |
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Term
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Definition
Synecdotal props
Like a stand in prop, horse whip example. |
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Term
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Definition
- Golden age of Beijing Opera
- Quingyi Dan
---- One of four great dan
---- elegant, middle aged woman
----- influences Brecht and Alienation Effect
- Very smooth and graceful, beautiful singing voice
- in prison for refusing to perform for Japan
- After prision, became director of Chinese Opera House |
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Term
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Definition
| Musical – plays tamborine and bones |
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Term
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Definition
| Ring Leader, sometimes white man representation, MC |
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Term
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Definition
| Naïve, rural stupid slave who wants to go to the big city and live happily ever after, but just can’t seem to let go of his happy, water-melon eatin’ fun. |
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Term
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Definition
| Mangles words, does those storts of things like Jim Crow. Jim Crow’s friend. |
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Term
High Yaller Gal:
Minstrelsy |
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Definition
| She is Biracial, she often tragic. She sing a lot of songs. She can’t be with Zip Coon or Jim Crow, who love her, but she can’t be with blacks or whites because she’s not fit for either of them. This part of the minstrel show is sad, while the rest of it is pretty funny. |
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Term
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Definition
| Hyper sexual cougar, Nanny character. |
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Term
Old Uncle/Uncle Tom:
Minstrelsy |
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Definition
| Although based off the heroic, Uncle Tom the stock character of minstrel shows became a shuffling asexual individual with a receding hairline and graying hair |
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Term
alienation effect
Verfremdungseffekt
V-effekt, |
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Definition
| idea central to the dramatic theory of the German dramatist-director Bertolt Brecht. It involves the use of techniques designed to distance the audience from emotional involvement in the play through jolting reminders of the artificiality of the theatrical performance. |
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