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| Reproducing physical or vocal characteristics |
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| Enacting a character in a story |
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| relating past or fictional events |
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| The storyteller in societies that has not developed written language who kept alive the history of the people in a highly theatrical fashion. |
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| Certain types of group activities with a strong theatrical component. Include singing, dancing, pantomime, juggling, magic, acrobatics, etc. |
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| Performances that don't rely on a script such as juggling or acrobatics. |
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| Groups between 4 c.e. until medieval theatre took form that crusscrossed parts of Europe, entertaining at large manor houses and at public locations with juggling, dancing and miming. |
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| Performers in ancient Greece and Rome that performed short dramatic sketches characterized by jesting and buffoonery. |
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Formal religious or social occasion. Considered above and apart from normal, everyday life.
ex. graduation, inauguration |
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| The acting out of an established, prescribed procedure. The communal enactment of societie's myths. Leaders and celebrants have defined, assigned roles. |
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| A ritual drama containing theatrical elements that took place in ancient Egypt for about 2,000 years that thousands of Egyptians would flock to every year. It told the story of Osiris. |
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| Egyptian god who became the ruler of Egypt and married his sister Isis. His brother later became jealous and killed him, scattering the parts of his body throughout the kingdom. Idid recovered the pieces and brought him back to life. But, he could not remain on Earth so his body was buried at Abydos. Became the most human of the Egyptian gods who judged people's souls. |
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| Osiris' sister and wife who found his body parts and, with the help of another god, brought him back to life. |
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| A person who participated in the Abydos ritual sometime between 1887 and 1849 B.C.E who left us a partial account of the ritual. From this person, we have proof that the ceremony had theatrical elements. |
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| A ritual/ceremony is intended to achieve results. |
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| Differences between social rituals/ceremonies and theatre events |
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Definition
Rituals and ceremonies are intended to get results.
There is no separation between performer and audience. Theatre is at a distance. |
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Definition
| group sharing. Ceremonies and rituals are first person. |
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| Vicarious involvement of the audience |
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Definition
| Audience members experience the emotions of the characters onstage empathically, by identifying in their own imaginations with the characters. The participation is at a distance: in the minds and hearts of the spectators. |
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| Identifying in your own imagination with the characters. |
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| Imitation or representation of an action. |
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| Focuses on individuals to get an idea of the situation. |
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| playing a role as a means of understanding the dynamics and emotional tensions in a situation. |
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| attempts to remove the barrier between performers and spectators. |
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| Reasons for religious opposition to theatre |
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Definition
"you shall not make a graven image or any likeness..."
Forbiding personifying gods. |
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Definition
| Texts are performed by actors for their audiences. Most common is a play. However, there are those created at the moment of performance or created by actors or directors or through collaboration. |
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| How history is studied and analyzed. |
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| The study of how and why scholars create their historic narratives. Forces us to recognize that history can never be completely objective. |
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| How history is a constructed narrative |
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| It has been created by scholars with their own points of views. |
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| Suggests that significant "mainstream" phenomena have been ignored because historians focus on what is revolutionary. |
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| The biases that make historians skip over things they see as insignificant. |
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| Feminist historian point-of-view |
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Definition
| Revisionists who argue that the place of women in theatre history has not been carefully explored. |
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| Argument that says history needs to be analyzed in terms of who is empowered by history and who is not. It opposes the concept of linear development. |
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| Multicultural Historiography |
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Definition
| Focuses on groups that have been underrepresented in the course of history. Asian Americans, American Indians, African Americans, Latino/a Americans. |
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| Gay and Lesbian historiography |
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Definition
| Reevaluates the place of gays and leasbians in theatre history as well as the influence of their sexual orientation on theatrical representation and creation. |
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| Argument that theatre historians should focus on the response of audiences to the various elements of a production. Argues that there has been too much emphasis on literary text and an undervalue of performance. |
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| Historians who are interested in the iconography of the theatre and those who review the symbolic meaning of the various theatrical elements. |
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| How theatre reflects economic and political oppression. |
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| How historic phenomena reflect power structures in a given society. |
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| We should examine the histories and theories of all that is performative in past and current societies and not limit ourselves just to the study of the theatrical arts. |
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| Ephemeral aspect of theatre |
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Definition
| Constantly changing so it has to be constantly re-examined. |
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| Original documents from the time period the historian is studying. |
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| Classical period of Greece |
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| 500-323 B.C.E.. Establishment of democracy to reign of Philip II and Alexander the Great. |
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| The god of wine, fertility and revelry. Later Greek drama was presented in his honor. |
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| A long hymn, sung and danced by a group of fifty men. |
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| A talented harpist and poet who lived at the end of the fifth century and begining of sixth century B.C.E. Is thought to have been an influential figure in the development of the dithyramb. Made significant changes and moved it toward a dramatic form by interspersing spoken sections with the musical sections. |
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| Credited with transforming dithyramb into tragedy by stepping out of the chorus and becoming an actor. Delivered a prologue and dialogue that required him to impersonate a character. |
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| The ancient greek word for "actor" - literally, "answerer" - underscoring the fact that drama required the verbal give-and-take of dialogue and interaction between actor and chorus. |
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| A festival held in late march in honor of Dionysus. In 534 B.C.E tragedy was incorporated and by 486 B.C.E comedy and satyr had been added. |
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| A preliminary presentation designed to advertise and provide information about the coming plays. |
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| Four plays presented in one day by one dramatist. |
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| The appointed government official who chose the plays 11 months before the next festival. |
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| Producer. Provided money and paid all major expences. |
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| A festival celebrated at the end of January in Athens. |
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| A celebration in December by the rural areas of the Athenian city-state. |
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| a story or legend that is handed down from generation to generation. Frequently attempts to explain natural and human events. |
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First deveoped drama into a form separate from singing, dancing, or storytelling.
Dealt with noble families and lofty themes.
Added the second actor. Reduced size of the chorus from fity to twelve.
Focused on humanity at large rather than individual human beings.
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| Stayed on stage throughout entire play. Represented people of greece as a whole. Set the mood and hightened dramatic effect. |
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Introduced a third actor. Took the chorus from 12 to 15.
Characters had complex motives.
Said that tragedy was the inevitability of suffering.
Desire for wisdom = Tragic hero. Justice is revealed through the destiny of individuals.
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Regarded as the first "realist"
Sympathetic protrayal of women, mixture of tragedy with melodroma and comedy and skeptical treatment of the gods.
Portrayed gods as human and fallible.
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| The first critic who tried to identify the characteristics of the Greek tragedies. |
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The work by Aristotle that looked into the analysis of tragedy.
Said there are six elements of tragedy. Plot, characters, theme, language, music and spectacle. |
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| The arrangement of dramatic incidents |
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| The people represented in the play. |
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| This was an integral part of every performance. |
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| Scenery and visual elements. |
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| No recognition by the hero of what has led to the hero's downfall. |
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| The suffering hero makes a discovery and recognizes what has led to his downfall. |
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| The opening scene which sets the action and provides background info. |
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| The part where the chorus enters. |
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| a scene in which the characters confront each other and the plot starts to develop. |
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| Performed by the chorus. Alternates with episodes. |
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| the final scene in which all characters exit the stage. |
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| Characteristics of tragedy |
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Definition
| Serious and grand themes. Weighty Subjects. Arouses strong feelings in the audience. Characters learn from the action as does the audience. Tells the story in present tense. Arouses pity and fear. Written in verse. |
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| Members of the audience feel pity for the suffering tragic hero and fear that a similar fate could befall them. |
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| The tragic hero. Usually a royal figure. |
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| The only Greek tragedy that conforms exactly to Aristotle's description. |
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| Another play by Sophocles. A female is the leading character. A followup to King Oedipus. |
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| Three tragedies presented were linked to form a connected dramatic whole. |
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| Characteristics of a Satyr play |
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| Performed after the 3 tragedies. Comical and ribald. Parodied the tragedies, greek institutions, myths, etc. Lots of sexual innuendo. |
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| The only complete satry play extant. |
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| Characteristics of Old Comedy |
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Definition
| Takes liberty with locale, time and size of cast. Poke fun at society. Wildly fantastical. |
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| A scene with a debate between the two opposing forces in a play. |
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| A scene in which the chorus speaks directly to the audience. |
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The best known comic playwright of the Greek golden age. Made fun of sexual relationships, attacked authority figures, comic heroes: base motives, selfish, witty, likeable.
Complicated plots based on exaggeration, sex. |
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| Greek theatres with illumination provided by the sun. |
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| The seating area for the audience. Later the definition expanded to the whole place. |
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| Playing area for the actors. Or round area where the chorus was and where the acting was done. |
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| Building behind the orchestra; backstage. |
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| Front row seats reserved for political and religious dignitaries. |
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| a type of flat - a wooden frame covered with stretched fabric |
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| a triangular stage device which consisted of three painted flats hinged together. |
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| machine. A crane hidden behind the upper level of skene. |
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| A wagon that would be wheeled from behind the skene on which a character who had died offstage would be on. |
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| an exaggerated penis which male characters wore in comedies. |
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| Acting area which projected in front of skene. |
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| Room with a door to it. Pierced facade of skene. |
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| In Hellenistic Greece, the government official responsible for producing plays for festivals. |
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| In Hellenistic Greece, the high headdress of a mask. |
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