Reading...
Play button
Play button
Use LEFT and RIGHT arrow keys to navigate between flashcards;
Use UP and DOWN arrow keys to flip the card;
H to show hint;
A reads text to speech;
182 Cards in this Set
- Front
- Back
|
Center Stage
|
Stage Position in the middle of the stage
|
|
|
Stage Right
|
the actor's right as he faces the audience
|
|
|
Stage Left
|
the actor's left as she faces the audience
|
|
|
Downstage
|
toward the audience
|
|
|
Upstage
|
away from the audience
|
|
|
on stage
|
the part of the stage enclosed by the setting that is visible to the audience
|
|
|
offstage
|
all parts of the stage not enclosed by the setting
|
|
|
backstage
|
the entire stage portion of the theatre building in contrast with the auditorium, which is designated as "out front"
|
|
|
Wings
|
the immediate offstage left and right of acting areas
|
|
|
Open
|
actor is facing toward the audience or nearly so, for maximum audibility and visibility
|
|
|
closed
|
actor is turned away from the audience
|
|
|
share
|
2 actors share a scene when they are both open to an equal degree allowing audience to see them equally well
|
|
|
blocking
|
arrangement of performers' movements on stage
|
|
|
upstaging
|
an actor takes a position that forces the other actor to face upstage or away from the audience. you can also upstage yourself with hair in the face, etc.
|
|
|
cross
|
movement from one area to another
|
|
|
countercross or counter
|
in opposite direction in adjustment to the cross of another actor
|
|
|
properties or props
|
objects actors handle on stage - (cup, gun, etc)
|
|
|
ad lib
|
improvised lines (used in crowd scenes often)
|
|
|
aside
|
a line that other actors on stage are not supposed to hear
|
|
|
cue
|
last words of a speech or action indicating another actor should speak or perform an action
|
|
|
cheating
|
a term used without derogatory meaning when an actor plays in a more open position than complete realism would allow
|
|
|
ensemble
|
emphasizing performance of group rather than individual
|
|
|
Fourth Wall
|
in an interior setting the imaginary side of the room towards the audience
|
|
|
improvisation
|
spontaneous invention of lines and actions
|
|
|
indicating
|
a derogatory term acting without an intention
|
|
|
given circumstance
|
the situation created by playwright including: characters past history, relationships, setting of the play, when play takes place, the characters motivation
|
|
|
mugging
|
derogatory term for exaggerated facial expressions
|
|
|
subtext
|
actors continuous thoughts during his dialog and action
|
|
|
super-objective
|
that which the character wants more than anything else in the world. a large desire which the character may have before the play begins and continue long after the play is over
|
|
|
objective
|
the goal the character wants in scene
|
|
|
tactics
|
different strategies the character must use to obtain his objective in a given scene
|
|
|
business
|
detailed physical activities of actors to reveal character (i.e. mixing a drink)
|
|
|
beats
|
the division of a scene into various segments. a beat changes when a new topic is brought up in a scene.
|
|
|
obstacle
|
that which prevents the character from getting the objective
|
|
|
sense memory
|
use of the actor's personal observation to recall actual sensory experiences on stage
|
|
|
imagination
|
developing images, ideas, etc. to leav the intellectual and move to the intuitive
|
|
|
the scottish play
|
actor's superstitious nickname for macbeth
|
|
|
centering
|
actor's term for localiztion of human energy source in the body, usually in the abdomen
|
|
|
physicalization
|
using one's body fully to create a character
|
|
|
projection
|
sharing one's voice with audience
|
|
|
green room
|
a backstage area for actors that is separate from dressing room or the wings
|
|
|
triple threat
|
an actor who can sing, dance and act equally well
|
|
|
going up
|
forgetting one's lines
|
|
|
ground plan
|
arrangement of doors, windows, furniture for stage set
|
|
|
type cast
|
playing a character with similair physical and/or psychological traits to the actor Note: the past tense of cast is cast, not casted
|
|
|
unit set
|
a single setting on which all scenes may be played
|
|
|
scene stealing
|
inappropriate taking of audience's attention
|
|
|
scene stealing
|
inappropriate taking of audience's attention
|
|
|
break a leg
|
theatre term for "good luck"
|
|
|
box set
|
naturalistic setting of a complete room built from flats with only the side nearest the audience missing
|
|
|
flat
|
a lightweight timber frame covered with scenic canvas to help create a stage set
|
|
|
tragos
|
goat song
basis word for tragedy |
|
|
Theatron
|
Greek for seeing place
|
|
|
Auditorium
|
listening place
|
|
|
dran
|
greek word, basis word of drama, means "to do"
|
|
|
deus ex machina
|
"god from a machine" reolves an issue to unravel the conflict
|
|
|
Willing suspension of disbelief
|
put aside all practical considerations
|
|
|
Aesthetic Distance
|
-stand back to appreciate it
-seperation or detainment to appreciate the art -helps maintain the illusion |
|
|
6 major elements of theatre
|
-audience
-performers -director/producer -playwright -designers -theatre space |
|
|
4 major types of design elements
|
-sounds
-lights -set -costumes |
|
|
realism
|
looks similar to reality
|
|
|
realistic
|
-Story- events could happen
-Structure - real places, times passes normally |
|
|
Greeks
|
- 5th Century BC
- no actresses - Thrust space - large amounts of people - no blood -used masks |
|
|
Aristotle
|
The Poetics identified the unities:
- Time - 24 hours - Place- 1 location - Action- 1 major plot |
|
|
NY Times
|
Most powerful critics
|
|
|
Elizabethan
|
-16th early 17th century
-Queen Elizabeth -Shakespeare- playwright, actor, director -Thrust stage, 1,500 people, outdoors -no actresses, no masks, no unities -lots of blood |
|
|
Descriptive Criticism
|
-Aristotle
-describes -plot, character -not good vs bad |
|
|
Prescriptive Criticism
|
-Horace
-the way a play should be done -lots of space and time -based on research and background |
|
|
Orchestra
|
-area/ pit where musicians would play
-the best seats in the house -the actors playing area in the Greek thrust theatres |
|
|
Proscenium
|
-audience on one side
-proscenium arch - frames the stage - picture frame stage - introduced in Italy during the renaissance -separates the actors from the audience -formal -spectacle -audience distanced -orchestra |
|
|
box seats
|
watch the show and show off
|
|
|
Arena
|
-Audience on all sides
-ancient arrangement -tribal ceremonies -circle theatre -involve more intimacy -audience closer to the stage -no moat -little to no scenery -blocking issues |
|
|
Thrust
|
-audience on three sides
-greeks/elizabethans -intimacy -some set changes -limited scenic elements |
|
|
Created/Found Space
|
-non-theatre buildings
-not traditional -anywhere -street, subway, garage, airplane -re-awakens actor/audience relationship -sight-line, comfort problems |
|
|
Black Box Theatre
|
-college campus
-flexible seating -flexible lighting -re-awakens actor/audiences |
|
|
Thespis
|
-1st actor
|
|
|
Dithyramb
|
large chorus
|
|
|
Dionysos
|
Greek god of theatre, wine and fertility
|
|
|
Hypokrite
|
actor or answerer
|
|
|
Onkos
|
mask, built in megaphone
|
|
|
corthurnus
|
boots, probably large
|
|
|
himation
|
cloak
|
|
|
Aeschylus
|
Greek Playwright
|
|
|
Sophocles
|
Greek Playwright
-oedipus rex |
|
|
Euripides
|
Greek Playwright
-medea |
|
|
aristophanes
|
Greek Playwright
-lysistrata |
|
|
Shakespeare plays
|
-Hamlet
-Othello -Romeo and Juliet - Macbeth -Henry V -Richard III |
|
|
Stanislavsky
|
Founder, Moscow Art Theatre, repertory theatre/ training program
|
|
|
Repertory Co.
|
-variety of shows
-can do a different show every night' -economically makes sense -builds up the actors ability |
|
|
Chekov
|
-Cherry Orchard
-The seagull -three sisters -uncle vanya |
|
|
Group Theatre
|
-1930's- 1940's
-Founders: Lee Strasberg, Cheryl Crawford, Harold Clurman |
|
|
Lee Strasberg
|
-leader of actors studio
-"method acting" -sense memory |
|
|
Elia Kazan
|
-actor/director
-movies and broadway |
|
|
Unemployment rate
|
90%
|
|
|
"Backstage"
|
Trade paper
|
|
|
Dame Judi Dench
|
Macbeth
|
|
|
Agents
|
get 10%
|
|
|
Lord Laurence Olivier
|
Henry V, Richard III, Othello, Founder of Royal National Theatre
|
|
|
Auditions
|
monologue, cold readings, callbacks
|
|
|
Top 5 Major Broadway Unions
|
- A.E.A.: Actors Equity Association
- USA- united scenic artists -SDC- Stage directors and choreographers -Dramatists Guild- Playwright, composer, lyricist, -IATSE- International Allegiance of theatrical stage employees |
|
|
Broadway
|
Times Square District
40th-52nd st 6th-8th st currently 35 theatres 500+ seats all union Tonys $900 million tickets per year $15-20 million to produce musicals $4-6 million to produce plays |
|
|
Duke of Saxe-Meiningen
|
1st modern director
mid 19th century unifier of all production elements |
|
|
off-broadway
|
NYC
100-500 seats all union |
|
|
off-off broadway
|
anywhere in 5 burrows
some union |
|
|
3 power brokers
|
-shuberts
-nederlanders -jujamcyn |
|
|
Playwright
|
Dramatist
|
|
|
Wrought
|
to put together
|
|
|
Play
|
script or text
|
|
|
Comedia Dell' Arte
|
Comedy of Professional Players
Improv Troupe- 16thC-18thC |
|
|
Mime
|
Subject- Human Beings
-Current events -conflict -protagonist vs antogonist -imaginary myths/legends -Fairy tales/fiction |
|
|
Plot
|
The selection and arrangement of events seen onstage
|
|
|
Story
|
is the whole big picture
|
|
|
Ibsen
|
-Norway
-"Father of Modern Drama" -Poetic Dramatists -Brand-uncrompromising his principles [A Dolls House] |
|
|
Peer Gynt
|
Compromises everything
|
|
|
Emphasis examples
|
3 Vietnam stories
1Platoon 2Coming Home 3Apocolyspe now |
|
|
Genre
|
Type/Category
|
|
|
Exposition
|
-World of the play
-info of given circumstances |
|
|
Rising Action
|
-obstacles/complications
|
|
|
Climax
|
-Turning point for protagonist
2/3-3/4 through |
|
|
Denouement
|
Falling action
|
|
|
Resolution
|
Resolution of the play
|
|
|
Climatic Play
|
Plot: begins late in the story, covers short space of time, has longer extended scenes, restricted locale, limited number of characters, linear plot with few subplots
|
|
|
Episodic Play
|
Plot begins relatively early in the story,covers longer periods of time,has many short fragmented scenes, may have numerous locales, many characters, several threads of action, parallel/subplots
|
|
|
Cyclical structure
|
like a cycle
[waiting for Godot (Beckett)] |
|
|
Musical Theatre
|
mix both forms
|
|
|
The Godfather
|
episodic
|
|
|
A Doll's House
|
Climatic
|
|
|
Angels in America
|
-Kushner
-What's going on in the world |
|
|
Long Days Journey into Night
|
-O'Neill
-Own autobiography -20th C -American |
|
|
Sunday in the Park with George
|
-Sondheim
-play about a picture |
|
|
Character
|
- A distinctive mark
-essential quality -pattern of behavior -odd or eccentric personality |
|
|
Character Actor
|
-the non-major roles
-an actor who can play many roles -someone who plays the same supporting character |
|
|
Extraordinary Character
|
-often in classics
-larger than life -exceptional in one way or another -shown at the best or the worst -shows extremes of human behavior -universal traits - lady macbeth: too much ambition -madea: kills her kids, too vengeful -we watch to learn a lesson -admire them |
|
|
Representative Character
|
-in domestic dramas or comedies
-reflective on the audience -Nora: anyone who wants freedom -willy loman- everyday guy -multidimensional -often contradictory |
|
|
Stock Character
|
-less than three dimensional
-exemplifies 1 characteristic |
|
|
Stock Character (comedy)
|
-Comedia Dell' Arte
-Capitano-Bragger Soldier -Young lovers- rich girl, poorboy -pantalone- misery dad, obsessed with money -Il dottore- professor type -Harlequin- clever servant |
|
|
Stock Character (melodrama)
|
-innocent heroine
-handsome hero -dark villain |
|
|
Characters with a dominant trait
|
Humors-Single Trait
Jonson-contemporary of Shakespeare -Blood:overly happy, sanguine -Yellow Bile:Choleric, violent -Phlegm:phlegmatic, apathetic, dull, sluggish -Black Bile: Melancholic, sad or brooding |
|
|
Restoration
|
Time when Charles II kicked out, puritans, things were restored, 1660's, women are alloed on stage
|
|
|
Minor Characters
|
-information
-juxtapose them -Narrator/chorus:often commentators on the plot, represent how we feel |
|
|
Animals
|
are always human
|
|
|
R.U.R.
|
Capek
The word Robot comes from that play |
|
|
Traditional (Classical) Tragedy
|
-question of human existence
-Aristotle- the poetics -to evoke pity and fear -catharsis-cleansing of emotions -People of stature -peripety-a reversal of fortune -Hamartia-"mistake" missing the mark,fatal flaw -circumstances are high risk -Irretrievably- must do deed, no escape -Anagnorisis- recognition of protagonist/revelation -Acceptance of responsibility-suffering or death of protagonist -verse- language of choice |
|
|
Greeks (tragedy)
|
Sophocles: Oedipus Rex, Antigone
Aeschylus: Oresteia Euripides: Medea |
|
|
Shakespeare (tragedy)
|
Hamlet, King Lear, Othello, Macbeth
|
|
|
Modern Tragedy
|
Mid 19th Century
O'Neill-Long Day Journey Into Night Miller- Death of a Saleman Williams- A Streetcar Named Desire -Common Man is now the focus -Fate-Heredity and enviroment -Prose-sub-text |
|
|
Heroic Drama
|
-noble/heroic figures
-may use verse/prose -ending happy/optimistic Cyrano De Bergerac-Rostand George Bernard Shaw- St.Joan Braveheart- Mel Gibson |
|
|
Domestic Drama
|
middle class characters in everyday
Ibsen-Father of modern Drama, A Doll's House August Wilson- Fences Loraine Hansberry- A Raisin in the Sun |
|
|
Melodrama
|
-comes from melody
-suspense -used to have live music, underscore - Exaggerated situations -characters are black and white -good vs bad Hitchcock, James Bond, WESTERNS, Soap Opera, Disney |
|
|
Comedy
|
-Peculiary Human Trait
|
|
|
Characteristics of Comedy
|
"Automaton" Theory- unable to adjust to situation
Suspension of natual laws- cause and effect logic is not always in place |
|
|
Slapstick
|
-Injury but no one is hurt
|
|
|
Comedy of Manners
|
Proposal-Importance of Being Earnest
- upper class -Verbal humor |
|
|
Domestic Comedy
|
Prepping for date- Odd Couple
-everyday people -amusing situation |
|
|
Farce
|
Stowaways- Night at the Opera
-physical comedy -slapstick -fast paced |
|
|
Burlesque
|
Dr. is in
-Boob jokes -Sexual Humor |
|
|
Satire
|
Soap Opera w/in a soap opera- Soap Dish
-makes fun of something |
|
|
Tragicomedy
|
Passing the time- Waiting for Godot
-Theatre of the absurd -incorporate both tragedy and comedy simultaneously |
|
|
Comedy of Ideas
|
Pygmalion
|
|
|
History of Musical Theatre
|
5th Century BC- Greeks - Choral Odes
16th and 17th Century- Shakespeare- music in some plays 17th Century- Italy- Opera- All sung 19th Century- Operetta0 Not set entirely to music, light hearted fantasy, far away places, witty (Gilbert and Sullivan- Pirates of Penzance) |
|
|
Minstrel Shows
|
19th Century
-Black Face |
|
|
Burlesque
|
19th Century early musical theatre
|
|
|
Vaudeville
|
19th Century early musical theatre
|
|
|
Melodrama
|
19th Century early musical theatre
|
|
|
George M. Cohan
|
writer of early "Book of musical", wrote "Give my regards"
|
|
|
Early 1920's-1940's Musical Theatre
|
musical comedy
-Irving Berlin- Annie Get your Gun -Cole Porter -Gershwins |
|
|
Showboat
|
Kern/Hammerstein
-1st full incorporation of music, dance and plot into coherent whole -discusses serious issues -eliminates chorus line |
|
|
Major Composers/lyricists 40s-60s
|
Rodgers and Hammerstein
Golden Age -Oklahoma -Carousel -Sound Of Music -South Pacific -The King and I |
|
|
Oklahoma
|
1st incorporation of ballet sequence into musical
|
|
|
West Side Story
|
musical version of Romeo and Juliet
|
|
|
Guys and Dolls
|
Frank Loesser
|
|
|
My Fair LAdy
|
Lerner & Lowe bases on Shaw's Pygmalion
|
|
|
Fiddle On The Roof
|
Last major Golden Age musical
|
|
|
Hair
|
1967, new era, 1st rock musical
|
|
|
A Chorus Line
|
1970's Concept Musical
|
|
|
Company, Sunday in the Park with George
|
Stephen Sondheim: composer/Lyricist
|
|
|
1980's British Musicals
|
Cats, Phantom of the Opera
Andrew Lloyd Webber |
|
|
British produced musicals with french composers/lyricists
|
Les Miserables, Miss Saigon
1980-1990's |
|
|
RENT
|
1990's American rock musical based loosely on La Boheme
|
|
|
The Disney Phenomenon
|
The Lion King
|
|
|
Today (musicals)
|
Juke Box Musicals, Jersey Boys, Movin' Out
|
|
|
Musicals made from movies
|
The producers, Hairspray
|
