Term
|
Definition
| excessive pride which resulted in punishment from the gods |
|
|
Term
| Capricious (unpredictable) gods |
|
Definition
| “They kill us for their sport.” |
|
|
Term
|
Definition
| emotional purging of the soul |
|
|
Term
|
Definition
| brings about a characters own destruction such as death, crazy, etc. |
|
|
Term
|
Definition
| for the Greeks it is called the machine for the gods where modern society recognize it as contrived endings |
|
|
Term
|
Definition
| god of theatre, wine and fertility |
|
|
Term
|
Definition
| sum of environmental values + life experiences |
|
|
Term
|
Definition
| man is the measure of all this and is at the center of the universe, example: Hamlet’s speech |
|
|
Term
|
Definition
| the gods are to blame and kill people for their enjoyment because they are capricious. Additionally, its views the world as dark and there is the absence of morality, which can either choose between what is right or wrong, example: Macbeth |
|
|
Term
| Functions of Greek Chorus |
|
Definition
| mirrors the emotions of the audience, picks sides of the actor, exposition, foreshadowing. |
|
|
Term
|
Definition
|
|
Term
|
Definition
| short comic reliefs about tragedies and politicians. Example; John Stuart |
|
|
Term
| Paradigm (construct or model for thought) Shifts |
|
Definition
| major shift in political or economic construct/ when you move from on genre of writing to another |
|
|
Term
|
Definition
| spirit, sensibility and popular taste of the time |
|
|
Term
|
Definition
|
|
Term
|
Definition
| easily recognized characters such as virgin, clever slave, braggart soldier, stern wife, lusty old man, etc. |
|
|
Term
|
Definition
| comedy of professional artiste |
|
|
Term
|
Definition
|
|
Term
|
Definition
|
|
Term
|
Definition
|
|
Term
|
Definition
cunning servant/slave that is responsible for most of the
complications in the script. |
|
|
Term
|
Definition
| group of servants who are cunning but an idiot, hungry and horny. |
|
|
Term
|
Definition
| rehearsed comic bits of business |
|
|
Term
|
Definition
| is an English theatre where Shakespeare was a shareholder and also performed there on numerous occasions and stole the materials used to built this theatre and issued shares to help in the construction of The Globe |
|
|
Term
| World View (Shakespearean theater) |
|
Definition
| Nationalistic (Henry V), Humanistic (Much to do about nothing), Nihilistic (Hamlet) |
|
|
Term
|
Definition
| because he was a shareholder in The Globe Theatre |
|
|
Term
| Tartuffe and religious hypocrisy |
|
Definition
| – this was when an imposter posed as a religious official and tried to rob the family he was staying at out of their wealth and women. |
|
|
Term
| Deus ex Machina (Moliere’s Theater) |
|
Definition
|
|
Term
|
Definition
| respectability and nuance (scuttle) in comedy |
|
|
Term
|
Definition
| fled to Louis XIV courts after Puritan parliament took over England and while in France had a firsthand experience of French Theatre. Indoor courts, private proscenium arch theatre. |
|
|
Term
| Women on stage (English Restoration) |
|
Definition
| were employed after Charles II return to England and power |
|
|
Term
|
Definition
| they pocked fun at social conventions of the upper class |
|
|
Term
|
Definition
| one of the last boy players who played women roles in English theatres |
|
|
Term
|
Definition
| themes of Redemption, Reform (School of Rock) |
|
|
Term
|
Definition
| uses theme-music to manipulate the spectator's emotional response and to denote character types. Good vs. Evil |
|
|
Term
|
Definition
| everything on stage had to reflect real life. |
|
|
Term
| What did Greek Theater give us? |
|
Definition
| gave us Dionysian rituals, tragedy, comedy and satire, tragic flaws |
|
|
Term
| What did Roman Theater give us? |
|
Definition
| gave us domestic comedy and bloody tragedies, stock characters |
|
|
Term
| What did Commedia del’ Arte give us? |
|
Definition
| gave us stock characters and comic scenarios |
|
|
Term
| What did Shakespearean Theater give us? |
|
Definition
| gave us human personality in real people, psychological motivations, exalted humanism and nihilism, poetic dialogue that transcended human emotion |
|
|
Term
| What did 18th Century Theater give us? |
|
Definition
| gave us comedy of manners and sentimental comedy |
|
|
Term
| What did 19th Century Theater give us? |
|
Definition
| gave us many new forms of drama, including melodrama, realism, and tragic-comedy |
|
|
Term
|
Definition
he was born into an abusive household and was known for his realism and experimental form of writing. He was the 1st American playwright to stop using melodrama and employ realism. He also included a sparseness of style, honesty of emotion and seeing the stage as a literary medium.
Long Day’s Journey into Night – was published 25 years after his death and reflects his
life of living in a troubled alcoholic family |
|
|
Term
|
Definition
creates compassion through the use of lyrical and poetic language and symbolism. Memory plays and characters had an arrest of time (Blanche)
Streetcar Named Desire –recognized as his biggest masterpiece and employs
psychological realism |
|
|
Term
|
Definition
he was considered a great playwright but after his death they notice that he was
living a double life and had abandon his youngest son. But his dramas served as the conscience of the American theatre. “The Great Moralist”
The Crucible – citizens are accused of being involved in witchcraft and later killed for
such acts because a character refuse to confess names of other witches |
|
|
Term
|
Definition
his plays were well-crafted, unsympathetic examinations of the modern
condition.
Who’s Afraid of Virginia Wolf – epic martial battle between a couple and also known
for boasting about a non-existent son. |
|
|
Term
|
Definition
Paul was the son of runaway slave, All-American, Law Degree. Eugene O’Neill saw him and gave him roles in Emperor Jones, Hairy Ape which launched his concert and recording career.
Greatest achievement was performing as Othello in England with an all-star British cast. |
|
|
Term
|
Definition
| chanting, singing, dancing – ritualistic origins |
|
|
Term
| Greek Theater is like today’s Musical Theater Chorus |
|
Definition
| they both provide exposition, foreshadowing and reflect the audience’s emotions |
|
|
Term
|
Definition
| Italians thought they were re-creating classics of Greek times set to music as the Greeks had. |
|
|
Term
|
Definition
| Sung Dialogue or Spoken on pitch (becomes dialogue later on) |
|
|
Term
|
Definition
| Extended portions of score that are sung (becomes musical standards) actual song |
|
|
Term
| The Black Crook: 1866: “First Accidental Musical” |
|
Definition
| French ballet company (whose theater had burned down) were joined with weak comedy – produced story/song and dance/story format – especially appealing – French dancers in flesh-colored tights |
|
|
Term
|
Definition
| song from the musical, extremely provocative because the dancers were wearing flesh colored tights while dancing. |
|
|
Term
|
Definition
| first great American song-and-dance man from Vaudeville who wrote earliest American musicals (ex Yankee Doodle Dandy, Give my Regards to Broadway) |
|
|
Term
|
Definition
| Thirty-two-bar form uses four sections, most often eight measures long each (4×8=32), two verses or A sections, a contrasting B section, the bridge or "middle-eight", and a return of the verse in one last A section (AABA). |
|
|
Term
|
Definition
|
|
Term
|
Definition
sex in the form of ribald humor and immodestly dressed women.
The difference between vaudeville and burlesque is that the latter is more sexual while the former is more family oriented. |
|
|
Term
|
Definition
| narrative driven, strong story and characters |
|
|
Term
|
Definition
| theme or idea driven and the atmosphere is more important than the plot, where the use of plots is limited. |
|
|
Term
|
Definition
| an audience-pleasing combination of creative spectacle, topical comedy and beautiful girls |
|
|
Term
|
Definition
| he created musical revenues with comic sketches, songs, dances and lavish spectacles. This combination is part of the musical tradition |
|
|
Term
|
Definition
| was the main performer in a show host by Ziegfeld’s nightclub to boost sales when the company was failing |
|
|
Term
|
Definition
| the wife of Ziegfeld, who was the good witch in the Wizard of Oz. She was also faithful to Ziegfeld until death although she knew that he was an adulterous. |
|
|
Term
|
Definition
sophisticated, made theatre safe for sex, witty lyrics.
Some of his songs were Night and Day, So In Love, I Get a Kick Out of You, I’ve Got You Under My Skin, It’s DeLovely, Let’s Do It, Love for Sale |
|
|
Term
| Era of the great Book musicals |
|
Definition
| narrative driven, heavy on story, plot, characters, songs and dances |
|
|
Term
|
Definition
| greatest composer/lyricist duo in US Musical History and produced the following: Oklahoma!, Carousel, Sound of Music, The King and I |
|
|
Term
|
Definition
Oh What a Beautiful Mornin’, Surrey with the Fringe in the Top
Choreographer Agnes deMille revolutionized the way in which dances were staged for musical theater with her interpretive dances for Oklahoma! |
|
|
Term
|
Definition
Apprenticeship with Oscar Hammerstein
who became his surrogate father since Sondheim father abandon his family. Sondheim’s big break came when he wrote the lyrics for West Side Story in 1957, he also wrote the music and lyrics to A Funny Thing Happened on the Way to the Forum in 1962. |
|
|
Term
| The British Invasion of the 1980s |
|
Definition
This era was centered around the brilliant mind of Cameron Mackintosh. He was known for extreme endings to the shows he produced such as:
Andrew Lloyd Webber: Cats (large trash), Phantom of the Opera (revolving stage)
Alain Boublil: Les Miserables (chandelier), Miss Saigon (helicopter) |
|
|
Term
|
Definition
Marketing of musicals – single logo advertising which could be recognized as branding of his products. His logo was a mask and a rose and he is currently producing Mary Poppings.
Globalization of Broadway
Emphasis of spectacle over substance
He produced Wicked in 2004 |
|
|
Term
|
Definition
was a Russian Actor-Director who was the author of the method style of acting, which required the actor to:
• Emotional Recall
• Make behavior of character convincing
• Magic If – inner truth
• Psychophysical Actions
• Purposeful Actions to fulfill the character’s needs
• The actor must not play emotions but must play actions
Stanislavski, Anton Chekhov and Nemirovich Danchenko were partners in Moscow Art Theatre |
|
|
Term
|
Definition
| The general concept behind method is that the actions should lead the emotions and not the other way around. The spine is a series of objectives that are controlled by the super-objectives. |
|
|
Term
| Director must visualize and orchestrate |
|
Definition
| meant that directors should be able to paint a picture in their mind of what the performance should look like and try to make that vision become a reality. |
|
|
Term
| 18th Century Bombastic acting style |
|
Definition
| the practice of emphasizing the performer’s oratorical skills, where applause followed many monologues/soliloquies in bombastic acting |
|
|
Term
|
Definition
| these were hired applauders |
|
|
Term
|
Definition
| actors addressed their lines to the audience instead of each other expecting a rowdy applause. |
|
|
Term
| Greek choragus: 450 – 350BC |
|
Definition
| rich citizens who finance and supervised a play with a festival and this resulted in the origin of a modern producer. |
|
|
Term
|
Definition
| also known as the master or owner |
|
|
Term
|
Definition
| actor-manager of Drury Lane Theatre in 1780s – he banished spectators from stage, more realistic style of acting, longer rehearsal hours and abolished star system. |
|
|
Term
|
Definition
|
|
Term
|
Definition
| German company that intricate the audience (difficult to resolve the plot) |
|
|
Term
|
Definition
| 1st modern director (… in design and precision) |
|
|
Term
|
Definition
| the 4th invisible wall concept developed in Italy |
|
|
Term
| The Duke of Saxe Meiningen 1874 |
|
Definition
Single Controlling Artistic Vision
Historical accuracy of costumes and scenery
Lengthy rehearsal |
|
|
