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| reflects issues of power in art |
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| Reflects the diversity of American culture and the contributions of a particular group to that culture |
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| The long important heritage of the theatres of Asia |
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Chicano theatre
Cuban American theatre
Puerto Rican or Nuyorican theatre |
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| No NA tradition; there were spiritual and social traditions that had theatrial elements |
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| stressed consciousness-raising to make people aware of the secondary position women had often been forced to occupy in social and political structures |
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| Lesbian first was part of feminist theatre then came drag. |
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| Concerns itself with political ideas, causes, and individuals. |
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| Assumes that the universe is indifferent to human concerns and often cruel and malevolent |
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Tragic heros and heroines
Tragic circumstances
Tragic Irretrievability
Acceptance of Responsibility
Tragic Verse
Effect of Tragedy |
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| Do not have Kings or Queens as central figures; written in prose |
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| A serious drama of any period that incorporates heroic or noble figures and other features of traditional tragedy; but differs from tagedy in having a happy ending |
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| A literay movement that took hold in Germany at the time and spread to France and much of Europe, celebrated spirit of hope, personal freedom, and natural instincts. |
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| Bourgeois or Domestic Drama |
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| Plays often dealing with problems of middle and lower class families or home rather than great affairs of state |
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Music Drama
applied to plays that had background music of the kind we hear in movies |
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| Less concerned with important matters |
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| Two thin slats of wood held closely together was developed to make the sound of hitting someone even more fearsome. |
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Comic Premise
Suspension of natural laws |
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| Turns the accepted notion of things upside down and makes this upended notion the basis of a play |
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Verbal Humor
Characterization
Comic situations |
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| Anything from a pun to the most sophisticated discourse |
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| The discrepancy or incongruity lies in the way characters see themselbes or pretends to be. |
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| Coincidences and mistaken identity |
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| Relies on knockabout physical humor, as well as gross exaggerations and, vulgarity |
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| Uses wit, irony, and exaggeration to attack or expose evil and foolishness |
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| The comic equivalent of domestic or bourgeois drama |
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| Concerned with pointing up the foibles and peculiarities of the upper classes |
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| Uses comic techniques to debate intellectual propositions and to further someones own point of view |
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| Creates the visual world in which a play unfolds |
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Objectives of scene design
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1. Creating an environment
2. set the mood and style of the production
3. to distinguish realistic from nonrealistic theatre
4. establish local and period
5. evolving a design concept
6. provide cental image or visual metaphor
7. cooridination
8. solving practical design problems |
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| holds scenery out of the view of the audience |
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| Canvas stretched on wood to look like a solid wall |
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| Gauzo or cloth screen allows light to pass through |
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line
mass and composition
texture
color
rhythm
movement |
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| person responsible for arranging and orchestrating all the aural aspects of a production |
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| not entirely set to music |
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| features a light, comic story interspersed with popular music |
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| more realistic. influenced by western playwrites |
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| Traditional performances connected to ceremonies and rituals |
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| Realistic drama, experimental theatre, radical sociopolitical drama |
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| Outside the downtown commercial section of chicago |
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| Contemporary American Theatre |
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Nontraditional/Alternative Theatre
Postmodernism |
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| Unstructured events that occurred with a minimum of planning and organization |
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| Joining of theatre with other arts |
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| Entire theatre space as a performance area. |
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