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52 Cards in this Set
- Front
- Back
Alternative Theatre |
Drama that sets itself against the established bourgeois theatre (i.e. it advocates principles that are not typically used in a traditional theater) |
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Amphitheater |
A semicircular rising gallery in a theater containing part of the seats for spectators |
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Anagnorisis |
A disclosure, discovery, or recognition in a play usually concerning a character's identity/nature or the essence of life |
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Ancient Greek Theater |
Drama of ancient Greek city-states which utilized masks, choruses, all-male casts, and cranes (for a deus/dea ex machina) |
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Antagonist |
A figure that opposes the protagonist |
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Arena Stage |
A stage surrounded by spectators (a.k.a. central stage, island stage, or theater-in-the-round) |
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Aristotle's Dramatic Unities |
The unities of time, place, and action in a tragedy (i.e. the action takes place within 24 hours and is unified, uninterrupted, and set in one location) |
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Aside |
Speech by a character that is heard by the audience but not the other characters on stage |
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Blocking |
The director's specifications for movement on stage |
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Box Set |
Flats connected to form three walls with movable doors and windows |
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Catastrophe (or Denouement) |
The change or revolution which produces the conclusion or final event of a play (e.g. Medea flying away on her chariot) |
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Catharsis |
The purging or purification of emotions that is allegedly experienced by the spectators of a tragedy |
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Chorus |
A group of singers/dancers in a play who either provide background information, comment on the action, or interact with the protagonist |
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Closet Drama |
A play intended for reading instead of acting |
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Comedy |
A play characterized by a light, amusing nature as well as a happy ending |
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Comic Relief |
Humorous episodes in a tragedy with the intention to lessen or provide relief from the tragic effect |
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Deus (or Dea) Ex Machina |
Greek for "god of the machine"; a god, divine instrument, or unexpected device used to quickly resolve a conflict and end a play |
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Downstage |
Front half of the stage closer to the audience |
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Dramatic Irony |
A tragic reversal of a character's expectations |
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Dramaturgy |
The theory and practice of dramatic composition |
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Expressionism |
Dramatic movement that portrays the subjective experience instead of objective reality |
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Falling Action |
The action of a play after the climax; may involve a reversal or catastrophe |
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Farce |
A play designed to make the audience laugh; usually little character development and based on amusing situations rather than subtleties of language |
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Foil |
A character who sets off another character (usually the protagonist) |
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Futurism |
A movement characterized more by gestures and motion than by verbal structures; distinctive qualities include speed, fragmentation, surprise, and simultaneity |
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Guerilla Theatre |
Drama that attempts to throw audiences off of an oppressive bourgeois government |
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Harmartia |
A tragic flaw, error, shortcoming, or weakness |
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Hybris (or Hubris) |
Excessive and overreaching pride or arrogance |
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Kabuki Theatre |
Japanese drama characterized by highly stylized singing, miming, dancing, and acting; all-male casts |
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Masque |
An event in Renaissance-era courts where noblemen performed in a dignified play that was usually mythological and allegorical |
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Melodrama |
Drama where clearly virtuous or vicious characters are pitted against one another in suspenseful situations until justice triumphs |
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Metatheater |
Drama that emphasizes its theatricality and explores the nature of theatre |
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Method Acting |
An acting style where the actor attempts to reproduce a character's emotional state by altering their own physical state or understanding the character's motivation |
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Morality Play |
A medieval play that allegorically dramatizes aspects of one's moral life (e.g. "Everyman") |
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Naturalism |
A dramatic movement influenced by evolutionary thought that portrayed its characters as creatures defined by their heredity and environment |
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"Noh" Drama |
A traditional Japanese play that utilized masks, dance, mime, and song (e.g. "Atsumori" and "Pining Wind") |
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Peripeteia |
A reversal that occurs when an action produces the opposite effect of what was originally intended or expected |
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Proscenium Stage |
A stage framed in the front and separated from the audience |
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Protagonist |
The chief character in a play |
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Rising Action |
The action after the beginning and before the climax |
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Roman Theatre |
Drama of the Roman Empire that, in addition to traditional play elements, included chariot races, gladiatorial fights, and dancing |
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Satyr Play |
A play that features a chorus of lewd satyrs; usually followed tragedies and involved burlesqued heroic figures |
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Slapstick |
A type of farce that relies on physical humor and/or assault |
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Soliloquy |
A monologue in which a character utters his/her thoughts aloud while alone (e.g. Hamlet's "To be or not to be" speech) |
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Strophe |
In Greek choral and lyric poetry and imitations of it, a series of lines forming a system, the metrical structure of which is repeated in a following system known as the antistrophe |
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Surrealism |
A movement that embraced the unconscious and irrational; surrealist plays present dream-like worlds and maintain that the unconscious mind grasps reality while the conscious does not |
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Theatre of Cruelty |
Drama that seeks to shock audiences out of their logical or civilized worldviews and unleash their suppressed primitive instincts |
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Theatre of the Absurd |
Drama that attempts to reflect the absurdity of our existence in a Godless universe |
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Tragedy |
A play that faces evil, depicts suffering, and ends with the death or spiritual destruction of the protagonist |
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Tragic Hero |
The protagonist of a tragedy; usually admirable in some way |
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Tragicomedy |
A play that mixes tragedy and comedy |
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Upstage |
The back half of a stage farther from the audience |