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139 Cards in this Set

  • Front
  • Back
What is Scenic Design?
Scenic design conveys where you are and what time it is within the world.
"Set is the geometry of a play" Who said this and in what context?
Peter Brooks on how a set can effect a scene
What is the purpose of Scenic Design?
The purpose off scenic design is to create and ideal environment for the production.
What is a Wing/Drop Setting?
A wing/drop setting is when set designers paint three dimensional scenes on a tarp and use it for the set.
What came after Wing/Drop Settings?
Stock Sets
What does scenic design establish for a play?
Scenic designs eestablish a mood for the play and also reinforces themes. It also establishes movement patterns on stage.
What is one major limitation on scenic design?
Budget.
Is the set designer brought in early or late in a production?
Early
What are the steps a scenic designer takes in creating a play?
"1. Read the play until he has a complete understanding of the play.
What does a total design package include?
A model, a paint elevation, drafts, and a ground plan
How were sets constructed during th Baroque era?
Wood cut outs that were painted
How old is modern scenic design?
100 years old
Who is the father of modern scenic design?
Robert Edmund Jones
Who is a scenic artist?
A scenic artist is someone that paints the actual set.
What was the original source of lighting?
The Sun
In the 1600s, what provided light?
Candles
In the 1700s, what provided light?
Oil Lamps
In 1750, what switch occurred in lighting?
Lighting was switched to gas. This was the first time lighting was used on stage
in 1800s, what occurs in American Theater in regards to lighting?
Gas is run throughout the city, providing the theater with some options in terms of lighting.
Where were the first electric lights used in the theater?
The marquee
By the 1960s, how had lighting changed?
Electric lights ere being used, and run by computers
What is Intelligent Lighting?
Lighting which moves and changes color, implemented about 25 years ago
What are the five functions of lighting?
"1. Visibility
What is movement in terms of lighting?
Movement is the till that refers to how long it takes for one lighting design to change to another. Also refers to the lights themselves moving
When did Western Theater Originate?
Ancient Greece around 500-388 BCE
What were the most important play topics in Greece?
History and myths
How did theater emerge?
Theater emerged from a celebration of the Greek god Dionysus. Plays would be performed in the festival of Dionysus in the city of Dionysia.
What are Dithyrambs?
Dithyrambs are hymns that the choruses in the plays would sing to Dionysus
Who is Thespis?
Thespis was the first actor
Why was Thespis the first actor?
Thespis was the first actor because he stepped outside of the chorus and spoke to them
What were actors called in Ancient Greece?
Hypocrites. They were all male amateurs
Where would the audience sit for an Ancient Greek play?
the Theatron
Where would Ancient Greek actors perform?
The Orchestra
Where would the Ancient Greek actors change costume?
the Skene
Where did the ancient Greek chorus enter and stand?
The Parados
How many people were in a Greek chorus?
15-Dec
Who is credited with introducing the second actor?
Aeschylus
What types of plays did Aeschylus write?
Tragedies
What did Aeschylus believe as a whole?
He believed that society was greater than the individual and that suffering and tragedy was a part of the gods' plan.
What is the Oresteia?
The Oresteia was a collection of three of Aescylus' plays which examined the concept of justice.
How many awards did Aeschylus win?
13. He wrote of 80 plays
Who is credited with adding the third actor to plays?
Sophocles
What did Sophocles write?
Tragedies
What did Sophocles believe?
He felt that suffering led to self knowledge.
Who was considered to be the most skilled playwright of Ancient Greece
Sophocles
What did Euripides emphasize in his tragic plays?
He emphasized human psychology and felt that suffering was random.
Why were Euripides' plays controversial?
They used women and slaves as protagonists and depicted the gods in a less the favorable light
Who employed Dues Ex Machina often?
Euripides
Who was the earliest writer of comodies?
Aristophanes
What were comedies in Ancient Greece?
Comedies of the time lacked any moral message and were basically dramas with comedic aspects.
What did Aristotle write?
He wrote Poetics which were a critical investigation into the origins, structure and effectiveness of tragedy
What were Aristotle's six elements of tragedy in order of importance?
"1. Plot
What is a thumbnail in costume design?
A thumbnail is a 3-5 inch sketch of every character
What does a cutter do?
A cutter cuts the patterns for the costume
What does a draper do?
A draper fits the costume to the actor
What is Lazzi?
Lazzi (from the Italian lazzo, a joke or witticism) is a piece of well-rehearsed comic action commonly used in the Commedia dell'arte. Most English-speaking troupes use the Italian plural "lazzi" as the singular and "lazzis" for the plural.
What is an Arlecchino?
The primary aspect of Arlecchino was his physical agility.[3][4] While generally depicted as stupid and gluttonous, he was very nimble and agile, and performed the sort of acrobatics the audience expected to see. The character would never perform a simple action when the addition of a cartwheel or backflip would spice up the movement.
Who is a Pantalone?
Pantalone (French: Pantalon) is a stock character that is classified as one of the vecchi (old men) in Commedia dell'arte. He is a miserly and often libidinous character who is portrayed as a Venetian and often speaks in the Venetian dialect.
What is a vaudeville?
Vaudeville was a theatrical genre of variety entertainment in the United States and Canada from the early 1880s until the early 1930s. Each performance was made up of a series of separate, unrelated acts grouped together on a common bill. Types of acts included popular and classical musicians, dancers, comedians, trained animals, magicians, female and male impersonators, acrobats, one-act plays or scenes from plays, athletes, lecturing celebrities, minstrels, and movies. Vaudeville developed from many sources, including the concert saloon, minstrelsy, freak shows, dime museums and literary burlesque. Called "the heart of [the era's] American show business," vaudeville was one of the most popular types of entertainment in North America for several decades
Who is a Capitano?
"Capitano (the Captain) is a masked character from the Commedia dell'Arte.
Who is considered the father of musical comedy?
George M. Cohan
What is a person's kinesphere?
The space reached by the human body's extremities while stationary
What is a satyr play?
Satyr plays were an ancient Greek form of tragicomedy, similar to the modern-day burlesque style. They always featured a chorus of satyrs and were based in Greek mythology and contained themes of, among other things, drinking, overt sexuality (often including large phallic props), pranks and general merriment. At the Athenian Dionysia, playwrights usually submitted four plays to the competition: three tragedies and one satyr play. The satyr plays were performed at the end of the festival as spirited entertainment to lighten the atmosphere after many hours of Tragedy, or between the 2nd and 3rd Tragedy of a trilogy as comic relief. They were also generally much shorter, around half the length of an average Tragedy.
Who is a Dottore?
Dottore or the Doctor (usually called Dottore Balanzone, Dottore Baloardo, or Dottore Graziano) is a commedia dell'arte stock character, one of the vecchio or old men whose function in a scenario is to be an obstacle to the young lovers.
What is the tiring house?
A section of a theater reserved for the actors and used especially for dressing for stage entrances
Who is the father of the modern musical?
Stephen Sondheim
What is the parabasis?
In Greek comedy, the parabasis (plural parabases; Ancient Greek: παράβασις, plural: παραβάσεις) is a point in the play when all of the actors leave the stage and the chorus is left to address the audience directly. The chorus partially or completely abandons its dramatic role to talk to the audience on a topic completely irrelevant to the subject of the play
Representative characters
Characters in a play who embody characteristics that represent an entire group.
Stage Right
Actor's Right
Stage Left
Actor's Left
Black Box Stage
The black box theater (or experimental theatre) is a relatively recent innovation,[citation needed] consisting of a simple, somewhat unadorned performance space, usually a large square room with black walls and a flat floor.
Down Stage
Front of the stage
Up Stage
Back of the stage
Choregus
In the theatre of ancient Greece, chorêgos (pl. chorêgoi; Greek: χορηγός, Greek etymology: χορός "chorus" + ἡγεῖσθαι "to lead") was an honorary title for a wealthy Athenian citizen who assumed the public duty of financing and paying the expenses of the preparation of the chorus and other aspects of dramatic production that were not covered by the state.[1] The prizes for drama at the Athenian festival competitions were awarded jointly to the playwright and the chorêgos.
Burlesque
Burlesque is a humorous theatrical entertainment involving parody and sometimes grotesque exaggeration. In 20th century America, the form became associated with a variety show in which striptease is the chief attraction
Melodrama
"The theatrical genre of melodrama uses theme-music to manipulate the spectator's emotional response and to denote character types. The term combines ""melody"" (from the Greek ""melōidía"", meaning ""song"") and ""drama"" (Classical Greek: δράμα, dráma; meaning ""action""). While the use of music is nearly ubiquitous in modern film, in a melodrama these musical cues will be used within a fairly rigid structure, and the characterizations will accordingly be somewhat more one-dimensional: heroes will be unambiguously good and their entrance will be heralded by heroic-sounding trumpets and martial music; villains are unambiguously bad, and their entrance is greeted with dark-sounding, ominous chords.
Three Origins of Theater
"1. Ritual
Tableau
The term describes a striking group of suitably costumed actors or artist's models, carefully posed and often theatrically lit. Throughout the duration of the display, the people shown do not speak or move. The approach thus marries the art forms of the stage with those of painting/photography, and as such it has been of interest to modern photographers. The most recent hey-day of the tableau vivant was the 19th century with virtually nude tableau vivants or "poses plastiques" providing a form of erotic entertainment.
Chorus
The Greek chorus (choros) is a group of twelve or fifteen minor actors in tragic and twenty-four in comic plays of classical Athens. They could be portraying any characters - for instance, in Aeschylus' Agamemnon, the chorus comprises the elderly men of Argos, whereas in Euripides' The Bacchae, they are a group of eastern bacchants, and in Sophocles' Electra, the chorus is made up of the women of Argos.
Slatinslavsky
Stanislavski's 'system' focused on the development of artistic truth onstage by teaching actors to "live the part" during performance. Despite being primarily known in The United States for Realism, Stanislavski developed the system to be applied to all forms of theater, directing and producing melodrama, vaudeville, opera, etc. In order to create an ensemble of actors all working together as an artistic unit, he began organizing a series of studios in which young actors were trained in his system. At the First Studio of MAT, actors were instructed to use their own memories in order to naturally express emotions. Stanislavski soon observed that some of the actors using or abusing Emotional Memory were given to hysteria. Although he never disavowed Emotional Memory as an essential tool in the actor's kit, he began searching for less draining ways of accessing emotion, eventually emphasizing the actor's use of imagination and belief in the given circumstances of the text rather than her/his private and often painful memories.
Proscenium Arch
"A Proscenium theatre is a theatre space whose primary feature is a large frame or arch (called the proscenium arch even though it is frequently not a rounded archway at all), which is located at or near the front of the stage. The use of the term ""proscenium arch"" is explained by the fact that in Latin, the stage is known as the ""proscenium"", meaning ""in front of the scenery.""
Auteur
"In film criticism, the 1950s-era Auteur theory holds that a director's films reflect that director's personal creative vision, as if he were the primary ""Auteur"" (the French word for ""author""). In some cases, film producers are considered to have a similar ""Auteur"" role for films that they have produced.
Thrust Stage
In theater, a thrust stage (also known as a platform stage or open stage [1]) is one that extends into the audience on three sides and is connected to the backstage area by its up stage end. A thrust has the benefit of greater intimacy between performers and the audience than a proscenium, while retaining the utility of a backstage area. Entrances onto a thrust are most readily made from backstage, although some theatres provide for performers to enter through the audience using vomitory entrances. An arena, exposed on all sides to the audience, is without a backstage and relies entirely on entrances in the auditorium or from under the stage.
Judy Taymor
Julie Taymor (born December 15, 1952) is an American director of theater, opera and film. Taymor's work has received many accolades from critics, and she has earned two Tony Awards out of four nominations, the Drama Desk Award for Outstanding Costume Design, an Emmy Award, and an Academy Award nomination for Original Song. She is widely known for directing the stage musical, The Lion King, for which she became the first woman to win the Tony Award for directing a musical. The Lion King also earned her a Tony for original costume designs
Susan Glaspell
"Her novels and plays are committed to developing deep, sympathetic characters, to understanding 'life' in its complexity. Though realism was the medium of her fiction, she was also greatly interested in philosophy and religion. Many of her characters make principled stands.
prescriptive criticism
Author's criticism
David Garrick
"Perhaps it was Garrick's acting, the most showy of his careers, that brought him the most adulation. Garrick was not a large man, only standing 5'4"" and his voice is not described as particularly loud. From his first performance, Garrick departed from the bombastic style that had been popular, choosing instead a more relaxed, naturalistic style that biographer Alan Kendall states ""would probably seem quite normal to us today, but it was new and strange for his day."" Certainly this new style brought acclamation: Alexander Pope stated, ""he was afraid the young man would be spoiled, for he would have no competitor."" and Garrick quotes George Lyttelton as complimenting him by saying, ""He told me he never knew what acting was till I appeared."" Even James Quin, an actor in the old style remarked, ""If this young fellow be right, then we have been all wrong.""
Andre Antoine
André Antoine (31 January 1858, Limoges (Haute-Vienne) - 19 October 1943, Le Pouliguen (Loire-Atlantique), French actor, theatre manager, film director, author, and critic who is considered the inventor of modern mise en scène in France.
Five Elements of Theater
"1. Performer
What could be considered the Sixth Element of Theater?
Liveness
What are the nine questions?
"1. Who are the characters?
Representative characters
Characters in a play who embody characteristics that represent an entire group.
Stage Right
Actor's Right
Stage Left
Actor's Left
Black Box Stage
The black box theater (or experimental theatre) is a relatively recent innovation,[citation needed] consisting of a simple, somewhat unadorned performance space, usually a large square room with black walls and a flat floor.
Down Stage
Front of the stage
Up Stage
Back of the stage
Choregus
In the theatre of ancient Greece, chorêgos (pl. chorêgoi; Greek: χορηγός, Greek etymology: χορός "chorus" + ἡγεῖσθαι "to lead") was an honorary title for a wealthy Athenian citizen who assumed the public duty of financing and paying the expenses of the preparation of the chorus and other aspects of dramatic production that were not covered by the state.[1] The prizes for drama at the Athenian festival competitions were awarded jointly to the playwright and the chorêgos.
Burlesque
Burlesque is a humorous theatrical entertainment involving parody and sometimes grotesque exaggeration. In 20th century America, the form became associated with a variety show in which striptease is the chief attraction
Melodrama
"The theatrical genre of melodrama uses theme-music to manipulate the spectator's emotional response and to denote character types. The term combines ""melody"" (from the Greek ""melōidía"", meaning ""song"") and ""drama"" (Classical Greek: δράμα, dráma; meaning ""action""). While the use of music is nearly ubiquitous in modern film, in a melodrama these musical cues will be used within a fairly rigid structure, and the characterizations will accordingly be somewhat more one-dimensional: heroes will be unambiguously good and their entrance will be heralded by heroic-sounding trumpets and martial music; villains are unambiguously bad, and their entrance is greeted with dark-sounding, ominous chords.
Three Origins of Theater
"1. Ritual
Tableau
The term describes a striking group of suitably costumed actors or artist's models, carefully posed and often theatrically lit. Throughout the duration of the display, the people shown do not speak or move. The approach thus marries the art forms of the stage with those of painting/photography, and as such it has been of interest to modern photographers. The most recent hey-day of the tableau vivant was the 19th century with virtually nude tableau vivants or "poses plastiques" providing a form of erotic entertainment.
Chorus
The Greek chorus (choros) is a group of twelve or fifteen minor actors in tragic and twenty-four in comic plays of classical Athens. They could be portraying any characters - for instance, in Aeschylus' Agamemnon, the chorus comprises the elderly men of Argos, whereas in Euripides' The Bacchae, they are a group of eastern bacchants, and in Sophocles' Electra, the chorus is made up of the women of Argos.
Slatinslavsky
Stanislavski's 'system' focused on the development of artistic truth onstage by teaching actors to "live the part" during performance. Despite being primarily known in The United States for Realism, Stanislavski developed the system to be applied to all forms of theater, directing and producing melodrama, vaudeville, opera, etc. In order to create an ensemble of actors all working together as an artistic unit, he began organizing a series of studios in which young actors were trained in his system. At the First Studio of MAT, actors were instructed to use their own memories in order to naturally express emotions. Stanislavski soon observed that some of the actors using or abusing Emotional Memory were given to hysteria. Although he never disavowed Emotional Memory as an essential tool in the actor's kit, he began searching for less draining ways of accessing emotion, eventually emphasizing the actor's use of imagination and belief in the given circumstances of the text rather than her/his private and often painful memories.
Proscenium Arch
"A Proscenium theatre is a theatre space whose primary feature is a large frame or arch (called the proscenium arch even though it is frequently not a rounded archway at all), which is located at or near the front of the stage. The use of the term ""proscenium arch"" is explained by the fact that in Latin, the stage is known as the ""proscenium"", meaning ""in front of the scenery.""
Auteur
"In film criticism, the 1950s-era Auteur theory holds that a director's films reflect that director's personal creative vision, as if he were the primary ""Auteur"" (the French word for ""author""). In some cases, film producers are considered to have a similar ""Auteur"" role for films that they have produced.
Thrust Stage
In theater, a thrust stage (also known as a platform stage or open stage [1]) is one that extends into the audience on three sides and is connected to the backstage area by its up stage end. A thrust has the benefit of greater intimacy between performers and the audience than a proscenium, while retaining the utility of a backstage area. Entrances onto a thrust are most readily made from backstage, although some theatres provide for performers to enter through the audience using vomitory entrances. An arena, exposed on all sides to the audience, is without a backstage and relies entirely on entrances in the auditorium or from under the stage.
Judy Taymor
Julie Taymor (born December 15, 1952) is an American director of theater, opera and film. Taymor's work has received many accolades from critics, and she has earned two Tony Awards out of four nominations, the Drama Desk Award for Outstanding Costume Design, an Emmy Award, and an Academy Award nomination for Original Song. She is widely known for directing the stage musical, The Lion King, for which she became the first woman to win the Tony Award for directing a musical. The Lion King also earned her a Tony for original costume designs
Susan Glaspell
"Her novels and plays are committed to developing deep, sympathetic characters, to understanding 'life' in its complexity. Though realism was the medium of her fiction, she was also greatly interested in philosophy and religion. Many of her characters make principled stands.
prescriptive criticism
Author's criticism
David Garrick
"Perhaps it was Garrick's acting, the most showy of his careers, that brought him the most adulation. Garrick was not a large man, only standing 5'4"" and his voice is not described as particularly loud. From his first performance, Garrick departed from the bombastic style that had been popular, choosing instead a more relaxed, naturalistic style that biographer Alan Kendall states ""would probably seem quite normal to us today, but it was new and strange for his day."" Certainly this new style brought acclamation: Alexander Pope stated, ""he was afraid the young man would be spoiled, for he would have no competitor."" and Garrick quotes George Lyttelton as complimenting him by saying, ""He told me he never knew what acting was till I appeared."" Even James Quin, an actor in the old style remarked, ""If this young fellow be right, then we have been all wrong.""
Andre Antoine
André Antoine (31 January 1858, Limoges (Haute-Vienne) - 19 October 1943, Le Pouliguen (Loire-Atlantique), French actor, theatre manager, film director, author, and critic who is considered the inventor of modern mise en scène in France.
Five Elements of Theater
"1. Performer
What could be considered the Sixth Element of Theater?
Liveness
What are the nine questions?
"1. Who are the characters?
Representative characters
Characters in a play who embody characteristics that represent an entire group.
Stage Right
Actor's Right
Stage Left
Actor's Left
Black Box Stage
The black box theater (or experimental theatre) is a relatively recent innovation,[citation needed] consisting of a simple, somewhat unadorned performance space, usually a large square room with black walls and a flat floor.
Down Stage
Front of the stage
Up Stage
Back of the stage
Choregus
In the theatre of ancient Greece, chorêgos (pl. chorêgoi; Greek: χορηγός, Greek etymology: χορός "chorus" + ἡγεῖσθαι "to lead") was an honorary title for a wealthy Athenian citizen who assumed the public duty of financing and paying the expenses of the preparation of the chorus and other aspects of dramatic production that were not covered by the state.[1] The prizes for drama at the Athenian festival competitions were awarded jointly to the playwright and the chorêgos.
Burlesque
Burlesque is a humorous theatrical entertainment involving parody and sometimes grotesque exaggeration. In 20th century America, the form became associated with a variety show in which striptease is the chief attraction
Melodrama
The theatrical genre of melodrama uses theme-music to manipulate the spectator's emotional response and to denote character types. The term combines "melody" (from the Greek "melōidía", meaning "song") and "drama" (Classical Greek: δράμα, dráma; meaning "action"). While the use of music is nearly ubiquitous in modern film, in a melodrama these musical cues will be used within a fairly rigid structure, and the characterizations will accordingly be somewhat more one-dimensional: heroes will be unambiguously good and their entrance will be heralded by heroic-sounding trumpets and martial music; villains are unambiguously bad, and their entrance is greeted with dark-sounding, ominous chords. Melodramas tend to be formulaic productions, with a clearly constructed world of connotations: A villain poses a threat, the hero escapes the threat and/or rescues the heroine. The term is sometimes used loosely to refer to plays, films or situations in which action or emotion is exaggerated and simplified for effect. As against tragedy, melodrama can have a happy ending, but this is not always the case.
Three Origins of Theater
1. Ritual 2. Storytelling 3. Pleasure
Tableau
The term describes a striking group of suitably costumed actors or artist's models, carefully posed and often theatrically lit. Throughout the duration of the display, the people shown do not speak or move. The approach thus marries the art forms of the stage with those of painting/photography, and as such it has been of interest to modern photographers. The most recent hey-day of the tableau vivant was the 19th century with virtually nude tableau vivants or "poses plastiques" providing a form of erotic entertainment.
Chorus
The Greek chorus (choros) is a group of twelve or fifteen minor actors in tragic and twenty-four in comic plays of classical Athens. They could be portraying any characters - for instance, in Aeschylus' Agamemnon, the chorus comprises the elderly men of Argos, whereas in Euripides' The Bacchae, they are a group of eastern bacchants, and in Sophocles' Electra, the chorus is made up of the women of Argos.
Slatinslavsky
Stanislavski's 'system' focused on the development of artistic truth onstage by teaching actors to "live the part" during performance. Despite being primarily known in The United States for Realism, Stanislavski developed the system to be applied to all forms of theater, directing and producing melodrama, vaudeville, opera, etc. In order to create an ensemble of actors all working together as an artistic unit, he began organizing a series of studios in which young actors were trained in his system. At the First Studio of MAT, actors were instructed to use their own memories in order to naturally express emotions. Stanislavski soon observed that some of the actors using or abusing Emotional Memory were given to hysteria. Although he never disavowed Emotional Memory as an essential tool in the actor's kit, he began searching for less draining ways of accessing emotion, eventually emphasizing the actor's use of imagination and belief in the given circumstances of the text rather than her/his private and often painful memories.
Proscenium Arch
A Proscenium theatre is a theatre space whose primary feature is a large frame or arch (called the proscenium arch even though it is frequently not a rounded archway at all), which is located at or near the front of the stage. The use of the term "proscenium arch" is explained by the fact that in Latin, the stage is known as the "proscenium", meaning "in front of the scenery." In a proscenium theatre, the audience directly faces the stage, which is typically raised several feet above front row audience level, and views the performance through the proscenium "arch". The main stage is the space behind the proscenium arch, often marked by a curtain which can be lowered or drawn closed. The space in front of the curtain is called the "apron". The areas obscured by the proscenium arch and any curtains serving the same purpose (often called legs or tormentors) are called the wings. Any space not viewable to the audiences is collectively referred to as offstage. Proscenium stages range in size from small enclosures to several storeys tall. In general practice, a theatre space is referred to as a "looking in gods eye" any time the audience directly faces the stage, with no audience on any other side, even if there is not a formal proscenium arch over the stage. Because it seems somewhat incongruous to refer to a proscenium theatre when no proscenium arch is present, these theatres are sometimes referred to as "end-on" theatre spaces.
Auteur
In film criticism, the 1950s-era Auteur theory holds that a director's films reflect that director's personal creative vision, as if he were the primary "Auteur" (the French word for "author"). In some cases, film producers are considered to have a similar "Auteur" role for films that they have produced. In law the Auteur is the creator of a film as a work of art, and is the original copyright holder. Under European Union law the film director shall always be considered the author or one of the authors of a film.[1] Auteur theory has had a major impact on film criticism ever since it was advocated by film director and film critic François Truffaut in 1954. "Auteurism" is the method of analyzing films based on this theory or, alternately, the characteristics of a director's work that makes him an Auteur. Both the Auteur theory and the Auteurism method of film analysis are frequently associated with the French New Wave and the film critics who wrote for the influential French film review periodical Cahiers du cinéma.
Thrust Stage
In theater, a thrust stage (also known as a platform stage or open stage [1]) is one that extends into the audience on three sides and is connected to the backstage area by its up stage end. A thrust has the benefit of greater intimacy between performers and the audience than a proscenium, while retaining the utility of a backstage area. Entrances onto a thrust are most readily made from backstage, although some theatres provide for performers to enter through the audience using vomitory entrances. An arena, exposed on all sides to the audience, is without a backstage and relies entirely on entrances in the auditorium or from under the stage.
Judy Taymor
Julie Taymor (born December 15, 1952) is an American director of theater, opera and film. Taymor's work has received many accolades from critics, and she has earned two Tony Awards out of four nominations, the Drama Desk Award for Outstanding Costume Design, an Emmy Award, and an Academy Award nomination for Original Song. She is widely known for directing the stage musical, The Lion King, for which she became the first woman to win the Tony Award for directing a musical. The Lion King also earned her a Tony for original costume designs
Susan Glaspell
Her novels and plays are committed to developing deep, sympathetic characters, to understanding 'life' in its complexity. Though realism was the medium of her fiction, she was also greatly interested in philosophy and religion. Many of her characters make principled stands. Susan Keating Glaspell (1 July 1876 – 27 July 1948) was an American Pulitzer Prize-winning playwright and bestselling novelist. She was a founding member of the Provincetown Players, one of the most important collaboratives in the development of modern drama in the United States. She also served in the Works Progress Administration as Midwest Bureau Director of the Federal Theater Project.
prescriptive criticism
Author's criticism
David Garrick
Perhaps it was Garrick's acting, the most showy of his careers, that brought him the most adulation. Garrick was not a large man, only standing 5'4" and his voice is not described as particularly loud. From his first performance, Garrick departed from the bombastic style that had been popular, choosing instead a more relaxed, naturalistic style that biographer Alan Kendall states "would probably seem quite normal to us today, but it was new and strange for his day." Certainly this new style brought acclamation: Alexander Pope stated, "he was afraid the young man would be spoiled, for he would have no competitor." and Garrick quotes George Lyttelton as complimenting him by saying, "He told me he never knew what acting was till I appeared." Even James Quin, an actor in the old style remarked, "If this young fellow be right, then we have been all wrong." While Garrick's praises were being sung by many, there were some detractors. Theophilus Cibber in his Two Dissertations on the Theatres of 1756 believed that Garrick's realistic style went too far: His over-fondness for extravagant attitudes, frequently affected starts, convulsive twitchings, jerkings of the body, sprawling of the fingers, flapping the breast and pockets; a set of mechanical motions in constant use; the caricatures of gesture, suggested by pert vivacity; his pantomimical manner of acting, every word in a sentence, his unnatural pauses in the middle of a sentence; his forced conceits; his wilful neglect of harmony, even where the round period of a well-expressed noble sentiment demands a graceful cadence in the delivery. But Garrick's legacy was perhaps best surmised by Rev Nicolas Tindal, the historian, when he said that: The 'deaf' hear him in his 'action, and the 'blind' see him in his 'voice'.[15]
Andre Antoine
André Antoine (31 January 1858, Limoges (Haute-Vienne) - 19 October 1943, Le Pouliguen (Loire-Atlantique), French actor, theatre manager, film director, author, and critic who is considered the inventor of modern mise en scène in France.
Five Elements of Theater
1. Performer 2. Audience 3. Desgn 4. Space 5. Text
What could be considered the Sixth Element of Theater?
Liveness
What are the nine questions?
1. Who are the characters? 2. Where are they? 3. What time is it? 4. What objects surround them? 5. What are their relationships? 6. What are the given circumstances? 7. What is in their way? 8. What do they do to obtain their goal? 9. What are their goals?