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| The art dealing with the writing and production of plays |
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| people (subject); do, say, think, (verbs) actions; for what reason (objectives) |
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(Plot) Forms structure, Show how happened
(Story) content, meaning, tells us what happened |
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| Central thought of plays, the idea of with which a play deals and which it expounds. |
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| Skeptical Points of View or Perspectives |
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Linear: Exposition, inciting incident, raising action, climax, falling into action, resolution, end of play.
Hierarchical: Where is playwright? Where do they fit in?
Circular & Clinical: like life (ex- always 4 seasons in one year)
Equitable : everyone has the same importance, all take part in everything. |
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| Tension between 2 or more characters that leads to a a crisis or climax, fundamental plot or imbalance, unlying plot of play |
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| Imparting of information necessary for understanding the story but not covered by the action on stage. Events or knowledge from the past, or occurring outside the play which must be introduced so the audience can understand the characters. |
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Crisis- Conflicts, obstacles, & complications of the play, play usually builds from one crisis to another.
Climax- Final most significant crisis |
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| Obstacles & Complications |
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Obstacles- Impediments put in a character way, which creates complications & conflict.
Comlications- outside forces or new twists in the plot introduced at an unfortunate moment. |
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Prologue- Introductory speech given by one of the actors to the audience before the play begins.
Epilogue- Speech by one of the actors after the final conclusion of the play |
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Protagonist- Principle character in the play, the one who the drama is about
Antagonist- Opponent of the protagonist in a drama. |
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| Characters that emerge along side the extraordinary character, significant because they embody an entire group. |
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| Characters that appear particularly in comedy and melodrama (but can be in any) that are not complete or three dimensional. |
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| Form of popular comedy that flourished in Italy in the 16/17th century where most famous stock characters are found. |
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1. Traditional- saves the day
2. Comic- saves everyone by manipulating the system
3. Tragic- Good person dies, loss of status
4. Rogue- Saves him/herself
5. Anti-Hero- saves his/her day by destroying system
6. No hero- no one saves the day or wins |
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1. Tragedy- best known form, basic questions about human existence
2. Comedy- make laugh many forms/variations
3. Melodrama- 18th/19th century "music drama" brings fear to life
4. Satire- Irony, exaggeration to attack/expose evil/foolishness |
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1. Realism or representational (cause/Effect)
2. Epic or presentational
3. Expression or symbolic
4. Post modernism |
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| When performers appear fully concentrated on some object, person, or event while on stage. |
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"IF" can transform our thoughts in such a way we can imagine ourselves in virtually any situation
Ex- "IF i suddenly became wealthy" |
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| Deals w/ internal or subjective world of characters--> Thoughts & Emotions |
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Various aspects of the craft of acting, blended into a seamless whole to create the total persona of a character
(Inner emotions/feelings and outer physical/vocal characteristics become one) |
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| What the character wants through out the play. Gives the performer an overall objective. |
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| When performers divide scenes into units (beats) & each unit has an objective in which the ultimate leads to an overall objective. |
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| When/where performers move and position themselves on stage |
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| Playing together of all the performers |
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| Shape and structure the director gives to the play. The attempt to control the pace and rhythm with in a scene and between scenes. |
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| Static scene onstage featuring performers in costume |
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| Conceptualize and design central metaphor of play that coordinates, integrates and unifies all visual elements of stage environment (Scenery, costume, light, sound) |
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A central idea that unifies all elements of the production to make it unique
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| (Similar to directorial concept) Unified idea, carried out visually. |
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A way to implement a directorial concept
EX- All my sons |
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| Choosing specific performers to play specific roles in a play or musical--> Normally according to age, gender, and other features. |
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| When a performer plays more than one role in a play |
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| Preparation by cast for the performance of a play through repetition and practice. |
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| Practice of the show form beginning to end, with all props and scene changes. |
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| Right before public performance, performers are on stage in costumes with scenery and lighting for the first time |
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| Floor plan, outlining various levels on the stage and indicating placement of scenery, furniture, doors, windows, etc. |
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| Any prearranged signal that indicates to a performer or stage manager that it is time to proceed to the next line or action |
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| One set of lights come down, while another coms up |
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| An electric or electronic device that can vary the amount of power going to the lights |
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| Increase the options from 1 color to 15 colors on a single instrument. |
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Microphones, sound collections
Ex- BBC Radio, Hollywood Edge |
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| Gauze or cloth screen which can be painted with thin paint or dye. Thin, open weave fabric, nearly always transparent when lit from behind and sp?(opague) when lit from front |
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| rectangular scenery used with other similar units to create a a set |
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| Space about stage where scenery may be lifted out of sight by rope and pulleys. |
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| Scenery or draperies used to hide or cover |
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| the application of cosmetics (paints, powders, & rouges) in order to change a face or create a new one, helps performer personify and embody a character |
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| Theatre for Young Audiences (TYA) |
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| Scripted plays intentionally written/produced for young audience (ages 1-18) and performed by ault &/or child actors. |
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| Theatre for the VERY YOUNG |
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| (Children's Theatre) 5-12 years |
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| (Youth Theatre) 13-18 years, scripted plays intentionally written and performed by children &/or teenagers for young audiences (6-18) |
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| Goal was to eliminate distinction between audience and performers. His philosophy was that every spectator could be/should be an actor. THEATRE OF THE OPPRESSED |
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Director/Playwright, began as a dramatist
German playwright that brought political theatre to the fore front in the mid 20th century
(ALIENATION EFFECT)
Post war theatre |
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Presented some of the most memorable productions of the late 20th century, a number of which drew extensively from the theatre traditions and source materials of many countries.
Founded the INTERNATIONAL CENTER FOR THEATRE research in paris in 1970 (Included not only european actors but also some from Africa/Asia as well) |
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Began work with Stan Islacsk but broke away to develop own approach to train actors.
Best known for the PSYCHOLOGICAL GESTURE- the notion the character can be successfully projected by the creation of notable, telling gestures that sum up inner feelings, desires and emotions. |
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| Asian American who pushed the boundaries of subject matter & style by fusing classical traditions with contemp forms and issues. Mixed multimedia into work |
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Well known Director, creator of theatrical productions, and actor.
Founded Ex Machina, a multimedia performance center in Quebec City. |
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Founded the avantgarde theatre du solell in Paris in 1964.
French director known for her effective use of non western dramatic techniques, especially those of Japan & Indian. |
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| Prominent American director who founded SITI, criteria= spiritual aesthetics |
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| The Stanlslavsky System- A technique for realistic acting. Involved in both traditional theatre- used stylized, nonrealistic techniques- & the emergence of the modern realistic approach. |
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| Name the FIVE job titles and duties of people who work in theatre before/during productions |
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1. Dramaturg- research, rehersal, talk back, programs
2. Director- design, concepts, actors, call backs, casts, scripts, rehersal, run through, dress reherseal, open performnace, THEN turns job over to Stage Manager
3. Stage Manager- know rhythm, call cues, keep pace of play
4. Costume/Scenic/Prop Designer
5. Lighting/Sound Design |
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| What are the 6 Elements of Design? |
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1. Line & Shape
2. Mass & Composition- balance harmony
3. Texture- Paint fabric ("Feel" projected by surface)
4. Color- Shades, contrast of color combinations
5. Rhythem- patterns (repetition of shape, color, and..)
6. Movement- between/with in scenes |
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| What audiences do or create in their imaginative minds. (The audience Experience) |
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| What artists do or create |
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Brechts Method
Criteria=Arguments
Persuades spectators to change their mind about something |
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Some extreme of human behavior, exceptional personalities or achievements.
*Larger than life characters that become heroes of drama not only bc their station in life but also bc they posses traits in common to us all. (Ambition, fear, achievement) In such great abundance |
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| Typical or ordinary bc they embody an entire group. Stand apart from the crowd, not by standing above it. |
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Not complete, or 3D characters; rather they exemplify one particular character to the exclusion of virtually everything frequently known by their station in life.
(Sex, job, tendency of personality) |
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| Identify and Explain Artistic/Aethetic Critera |
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- React Physically
-Grasp Main Concept
-Educate/Entertain
-Forget you are watching the play |
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