Theater

Front 1

types of theatrical spaces

Back 1

Arena
Thrust
Proscenium
Blackbox
Found Space

Front 2

Arena?

Back 2

the audience is on all sides of the playing spaceyou are in the room with the
story
•
entrances and exits for actors are located between the audience platforms in the
manner of aisles (voms)
• some modern day concerts and cirque shows use this set-up
•
pros
o realistic performance style (no theatricality in voice or movement)
o high involvement with the audience
o clear line of sight
o intimacy with the audience
o the audience as a unit
• cons
o blocking (stage movement) becomes much more difficult—the actors
have to make sure their back isn’t to the audience at all times
o little or no scenic elements BUT the detail in the costumes and props can
be very highusually lack of spectacle in arena stages
What types of stories might benefit from these conditions?
•
History
o primitive man’s stories (remember the community historian theory??)
 telling stories around a campfire, with people all around
o on a larger scale that requires spectacle

Roman Coliseum

Front 3

Thrust?

Back 3

combination of proscenium and arena
• the audience is on three sides of the stage
• replacing a section of the audience, is a staging area that allows for scenic
elements , entrances, exits, etc.
• the stage literally thrust into the audience
The Wooden ‘O’—Theatrical Spaces 8/29 & 8/30•
pros
o spectacle elements can be incorporated, as well as scenic elements
o audience wraps around the stage/world of the play
o gives a good all-round and closer view of the action
o entrances from upstage and VOMS
• cons
o large scenic elements can only be placed at the rear of the stage
o blocking has to be constantly moving so that the audience doesn’t only get
an actor’s back in the action of the play
•
History
o thrust stage is the first known configuration of a permanent stage, dating
back to the Ancient Greeks
o originally developed with the dramas being performed in a clearing
surrounded by a hillside—the spectators would sit along the hillside and
watch the action
o continued to be used throughout history—most notably in Elizabethan
English theatre with Shakespeare
o with the move towards realistic drama, the thrust faded in popularity but has
since made a resurgence since the 1960s

Front 4

Proscenium

Back 4

the audience is positioned in front of a stage
•
most common stage since the 18th century
•
allows for a presentation style of acting and spectacle in design
• locations on the stage
o apron-small area downstage of the proscenium
o wing space-area offstage of the main playing area
o fly space-area above the stage, where scenery is “flown” in and out
o stage positions
•
pros
o great options for spectacle
o sets and costumes do not have to be uber detailed—can be more bold in
design
o interesting stage pictures—the audience sees the actors/scenery in a flat
line
• cons
o audience is removed and distant from the stage
o actors most project emotions and voices into the auditorium
•
History
o court masque
o more presentational style of writing/performance after the Renaissance

plays that made fun of people/society

Front 5

Elements of Drama

Back 5

1. spectacle
a. heightened*reality
2. music
3. character
a. protagonist&i.e.*Batman
b. antagonist&i.e.*Joker
4. plot
5. thought
a. idea*behind*the*event
b. cultural/societal*importance
6. diction
a. vocal*transmission*of*words*to*an*audience

Front 6

Protaganist

Back 6

Batman

Front 7

Antagonist

Back 7

Joker

Front 8

origins of theatre--how it came about &
theories

Back 8

ow)Old)is)Theatre?
• oral*tradition*in*human*culture
• different*ways*of*telling*stories
o dance
o music
o poetry
o re&enactment*eventually*developed
How)might)have)theatre)developed?
• Hunter/Gatherer*ritual
o Indian*war*dance
 performing*for*the*Gods
 magic
 no*words*are*required
o primitive*foretelling*of*successful*hunt
• community*historian
o one*man’s*job*to*remember*and*pass*down*the*history*of*the*
community/culture*
o oral*tradition—event*where*we*retell*the*stories
 dramatize
 ex.*helping*a*child*learn*to*tie*a*knot*by*telling*a*story
• religious*ritual
reenactment*as*religious*ritual
 Dionysus*ex
• tragedy&in*Ancient*Greek*“goat*song”
 to*appease*numerous*unseen*spirits*that*controlled*early*man’s*
daily*life
o Abydos*Passion*Play
 Egyptian
 stage*annually*from*2500&550*BCE*(that’s*2000*years!!)
 lasted*several*days
 thousands*of*pilgrims*and*slaves*all*had*parts
 Pharaoh*played*Osiris,*story*concerned*with*O’s*resurrection

Front 9

theatre vs. drama

Back 9

• theatre&theatron*in*Greek—“seeing*place”
• drama—dran)*in*Greek—“to*take*action*or*to*do*something”
o where*is*theatre—as*an*act—though?**
 it*is*the*space*between*the*actor*and*audience
o drama*is*a*part*of*Theatre*(with*a*capital*T)

Front 10

Theatre vs. theatre

Back 10

where*is*theatre—as*an*act—though?**
 it*is*the*space*between*the*actor*and*audience
o drama*is*a*part*of*Theatre*(with*a*capital*T)

Front 11

conflict

Back 11

conflict
o Peter*Brook—he*can*have*a*person*walk*across*stage*and*call*it*
Theatre
• example
o LionKing—Simba’s*tricked*into*thinking*he*kills*his*father,*and*the*
Scar*claims*his*throne
 conflictSimba’s*struggle*to*reclaim*his*throne
o Batman—spurred*by*his*parents*death,*Bruce*Wayne*sees*injustice*
everywhere
 conflictBatman’s*fight*against*injustice*in*an*unjust*Gotham*
o Jerry*Spring
 conflictwhose*baby*is*it?!

Front 12

elements of theatre

Back 12

1. what*is*being*performed
a. what’s*the*story*or*event
b. scripted*or*unscripted
2. the*performance
a. translation*of*the*story*in*a*public*area
b. collaborative*efforts*between*designers,*actors,*directors,*producers,*
etc.
3. audience
a. most*important*element
b. cannot*have*theatre*unless*there*is*someone*to*watchNotes&What*is*theatre*and*Where*did*it*come*from?
8/22*&*8/23
c. provides*energy*and*creates*Theatre

Front 13

playwright

Back 13

• person'that'writes'the'play
• defined'the'characters'in'several'ways
o through'stage'directionsChow'the'characters'move
o dialogueCwhat'the'characters'say
• some'playwrights'give'detailed'stage'directions,'while'others'use'them'
sparingly'
o O’Neil'and'WilliamsCdense,'detailed'stage'directions
o GreenbergChardly'none'at'all

Front 14

subtext

Back 14

subtextCmeaning'behind'the'words
Subtext'is'more'prevalent'in'modern'plays—more'layer'detailed'and'
ambiguous'character'for'the'audience'to'watch.
Shakespeare'and'Greek/Roman'Theatre'do'not'have'subtext.''The'
characters'are'saying'exactly'what'they'feel,'and'explain'it'to'the'
audience.'''

Front 15

objective vs. super-objective

Back 15

• objectiveCwhat'the'character'wants
• superobjectiveCthe'primary'goal'a'character'is'attempting'to'reachScript'Structure'8/24'&'8/25
Objective Superobjective
3'Pigs Pig'1'wants'to'escape Escape'the'wolf'forever
his'house
Batman defeat'the'Joker defeat'injustice
Oedipus question'his'uncle to'uncover'the'truth

Front 16

tone

Back 16

• the'mood'of'the'play
• does'the'tone'of'a'play'change?''what'does'that'do'to'the'audience?
• What'creates'the'tone'of'a'play?
o physical
o emotional
 ex.'grandma’s'house'makes'you'feel'how?
 a'sharp'object'on'stage'creates'tension,'brings'up'feelings'of'fear'
and'impending'danger
• the'gun'above'the'mantle'
What'is'the'tone?
• differences'in'the'witches'in'Macbeth'vs.'Witches'in'Sleeping'
Beauty?
• difference'in'secret'agents'in'James'Bond'and'Austin'Powers?

Front 17

theme

Back 17

theme@the'central'thought'of'the'play
results'of'the'characters'and'their'actions

Front 18

Aristotle and the Poetics

Back 18

• Aristotle'&'The+Poetics
o plays'are'full'of'dramatic'action
 shape'of'the'events'of'the'storyScript'Structure'8/24'&'8/25
 cause'and'effect'relationship—Why'is'this'happening?
 uses
• structure
• evoke'a'response'from'an'audience

Front 19

plot

Back 19

o plot
 Completeness+and+Magnitude:''Aristotle'says'that'something'is'
complete'if'it'has'a'beginning'(something'to'start'something'
else),'a'middle'(an'event'that'expectantly'follows'something'in'
addition'to'preceding'something),'and'an'end'(something'that'
completes'an'event'or'story).''
 Like'this'structure,'he'also'says'that'the'length'should'be'just'
enough'for'something'good'to'go'bad,'or'the'reverse,'in'addition'
to'being'able'for'the'audience/reader'to'be'able'to'hold'it'in'
memory.
 Further+Remarks+on+Unity''Only'the'important'essential'parts'
should'be'included'and'organized'in'such'a'way'that'they'are'
essential'to'the'story.
 organization'of'the'plot
• story'begins
• point'of'attackmoment'the'plot'takes'off
• inciting'accidentconflict'begins/introduced
• rising'actioncharacters'faces'more'conflicts'and'
struggles
• climaxpoint'of'highest'dramatic'tension
o recognition
o reversal
• denouementaction'reverts'back'to'some'sort'of'stasis

Front 20

dithyramb

Back 20

• the%state%sponsored%events/religious%rituals
o Dionysic%celebrations—hymns%to%Dionysus
o Dionysus—god%of%wine,%fertility,%frivolitygod%of%partying
• phallika—the%penis%parade
o state%sponsored%remember
o parades%in%honor%of%Dionysus
o penis=symbol%of%fertility,%sexwhen%you%have%sex,%climax,%you%are%closer%
to%the%gods
o giant%phallus’s%were%carried%by%city%officials
o it%was%a%giant%party,%where%EVERYONE%got%drunk—later%there%would%be%
mass%ritualistic%orgies%on%occasion
o sacrifices%of%goats%were%made%to%the%god
o bringing%up%the%rear%of%the%parade%were%several%different%chorus’s%of%boys
• dithyramb—songs/hymn%sung%unto%the%god%Dionysus
o military%trained%boys%would%form%a%chorus’s%of%50
o sung,%choreographed%hymns%would%be%performed%in%a%competition%for%
the%state
 much%like%modern%marching%band%competition

Front 21

Thespis

Back 21

534%BCE—Thespis%wins%this%competition%with%a%performance%he%wrote%and%acted%
in
o regarded%as%the%first%actor
o stepped%forward%from%the%chorus%of%the%dithyramb%and%performed

Front 22

structure of Athenian competitions

Back 22

• specs
o government%sponsored
o all%citizens%required%to%go%as%their%duty%as%citizens%of%Athens
o requirements%for%playwrights
 3%tragedies
 1%satyr%playGreek%Theatre%8/31%&%9/1
 each%playwright%would%get%their%own%day%in%a%competition
o each%playwright%had%a%choregos,%which%was%a%private%citizen%that%
provided%the%finances%and%housing%for%the%playwright,%actors,%chorus
o prize—RESPECT!

Front 23

Greek tragedy

Back 23

• tragedy
o tragōidia—goat%song
o considered%the%highest%form%of%art%in%Greco=Athenian%culture
o subject
 ancient%my%or%story
 dealt%with%a%removed,%higher%social%class
• OedipusKing
• Trojan%Womenaftermath%of%the%Trojan%War
• modernHamletPrince%of%Denmark
 characters
• usually%had%tragic%flaw%called%hamaratia
• common%was%hubris—pride

Front 24

satyr play

Back 24

satyr%play
o satirical%in%nature
 South%Park
 DailyShow
o chorus’s%were%dressed%as%satyrs%with%large%erect%phallus’s%

Front 25

Greek actors/chorus

Back 25

performers
o males%only
o masked%actors,%with%large%bright%costumes
o only%1=3%actors%that%played%all%the%main%roles
• chorus
o same%as%dithyramb
o the%voice%of%the%city%and%thus%the%audience
o comment%on%the%action%of%the%play—back%story,%present%action%of%the%
play,%what%happened%offstage
o control%the%reactions%of%the%audienceGreek%Theatre%8/31%&%9/1
 remember%arena%theatre%and%the%audience%as%a%unit??

Front 26

Sophocles/Oedipus

Back 26

• Sophocles
o big%work:%%Oedipus%Cycle
o premiere%in%the%Festival%Dionysia%463%BCE
o added%one%more%actor—3%actor%format%was%established
o shrank%the%chorus%even%further,%and%established%a%standard%15%chorus%size
o 120%play%written,%7%survived
o OedipusRex%
 first%play%in%the%Oedipus%cycle
 this%is%the%play%that%many%people%in%the%theatre%circle%throughout%
history%refer%to%as%the%most%perfect%tragedy
o characters
 kings
 known%for%introducing%psychological%motivation%to%characters
o master%writer,%with%complex%subtle%dialogue

Front 27

Greek comedy

Back 27

The*Comedian
• subject%matter%
o social%issues%such%as%political%and%social%issues%

Front 28

ludi Romani

Back 28

Ludi&Romani
• ludi—state&sponsored&religious&festivals&
• ludi&Romani&given&in&honor&to&Jupiter&each&September
• established&6th&century
o 364&BCE—performances&were&included&
o 240&BCE—comedy&and&tragedy&was&incorporated

Front 29

fabulua

Back 29

fabula—story&or&tale
o fabula%Atellana—Atellan&farce
o fabula%crepidata—tragedy&adapted&from&Greece
o fabula%palliata—comedy&adapted&from&Greece
o fabula%praetexta—original&Roman&drama
o fabula%Rhinthonica—merry&tragedy
o mime
o tragedy
o comedy

Front 30

Roman comedy

Back 30

Comedy
• what&we&know&of&comedy&comes&from&the&plays&of&Platus
• farce—a&zany&comedy&with&lots&of&running!
• humor—dramatic&irony
• characteristics
o eliminated&chorus
o featured&musical&&accompaniment&under&the&dialogue
o all&of&the&action&takes&place&in&the&streets
o eavesdropping&is&common&and&many&complications&turn&on&overheard&
conversations
o action&is&continuous&(happens&in&one&day/hour)
o situational&comedy
o like&modern&day&sitcoms—Friends

Front 31

stock characters

Back 31

Stock&Characters
o the&young&lovers
o the&pimp
o courtesan
o the&annoying&warrior/prick
o the&old&man
o the&free&loafer&of&the&main&character
o the&cunning&and&tricky&slave

Front 32

Roman tragedy vs. Greek tragedy

Back 32

Tragedy
• adapted&from&Greek&originals
o didn’t&really&stray&from&the&originals&as&far&as&stories,&but&emphasized&
bolder&effects&of&the&characters&actions
• we&only&have&tragedies&from&Seneca
• Seneca
o tutor&of&emperors
o his&tragedy—Revenge&Tragedy—shaped&modern&tragedy
o characteristics/developments&of&Seneca&Revenge&Tragedy
 divided&play&in&5&episodes
 elaborate&speeches&to&the&audience
 interest&in&morality,&reflected&through&sensation&deeds&that&
illustrate&the&evils&of&unrestrained&emotions
 featured&graphic&violence&and&horror
• i.e.&&Thyestes—bodies&of&children&are&served&at&a&banquet
 concentrated&on&magic,&death,&and&the&world&of&the&death&and&
living
 characters&have&one&obsessive&drive,&displayed&in&an&extreme&
manner

Front 33

use of theatre in the Middle Ages

Back 33

• Roman(empire(falls
• Europe(left(in(sort(of(chaos
o Black(Death
o scattered(towns(and(unorganized(government
o people(had(skills(though(in(the(form(of(labor(and(trade
• pagan(religions(of(old
o superstitions(
o witchcraft
• Crusades

Front 34

mummers

Back 34

o mummers
 masked(performers
 akin(to(Roman(mimes

Front 35

jongleurs

Back 35

jongleurs
 wandering(poets(and(singers

Front 36

Liturgical Drama

Back 36

Liturgical(Drama
• drama(that(is(performed(within(the(walls(of(the(church(during(mass
• festival/religious(holiday
• subject:((bibilical(stories

Front 37

mansions

Back 37

mansions—small(booths(containing(a(stage(arranged(elliptically(in(the(
nave(of(a(church

Front 38

pageant wagons

Back 38

• drama(moved(out(from(the(control(of(the(church(and(into(the(control(of(guilds
• guilds—groups(of(organized(trade(workers(that(worked(to(better(the(workplace(
and(community
o like(modern(unions(or(Freemason(groups
o they(would(compete(to(create(the(best(scene
• tableau$roulant—rolling(scene
• tableau$vivant—living(representation
• pageant(wagons
o booths(with(wheels(on(them(that(held(scenic(elements(for(the(
production
o lined(up(by(each(other(to(make(a(stage—sometimes(massive
o each(wagon(would(often(be(sponsored(by(a(guild—and(they(would(be(
responsible((for(the(construction(of(the(special(effects
• general(atmosphere(was(like(that(of(a(carnival(or(music(festival

Front 39

Morality play

Back 39

• very(popular(form(of(medieval(drama
• subject:((salvation(through(stories
o not(Biblical
• allegorical(drama
o characters=moral(quality
• stories
o hero’s(qualities(or(morals(are(attacked(by(a(“sin”
o often(had(comic(relief,(but(the(subject(was(very(serious
o good(vs.(evil

Front 40

The Renaissance

Back 40

• explosion(of(arts,(culture(and(trade
• reintroduction(and(interest(in(the(culture(of(the(classical(world(
• education(suddenly(became(important(in(society

Front 41

University Wits

Back 41

• group(of(educated,(successful(teacher(who(turned(to(writing(for(the(public(stage
o writings(influenced(by(both(the(Classics(and(Medieval(drama
• wrote(intelligent(plays(for(both(a(learned(audience(and(a(common(audience

Front 42

revenge tragedy/characteristics

Back 42

• most(popular(form(of(drama(in(the(Renaissance/Elizabethan(Era(
• Senecean(tragedy(retranslated(into(a(current(mode
• Characteristics
o motiverevenge,(either(for(real(or(imaginative(events
o revenge(accomplished(by(a(great(deal(of(ingenuity
o types
 sacred(–hero(
 animosity(of(ambition(–villain(
o plot(plays(with(sexual(and(political(intrigue
 often(wages(between(the(two(ideas—the(personal(and(the(
political(lines(become(fuzzy
o revenge(degenerates(the(revenger
 either(in(madness((real(or(faked),(fury,(or(obsession
o actionviolent(and(sensational
o characters
 noble(or(courageous(lover(treacherously(murdered
 a(kinsman(who(must(avenge(the(murder(victim,(but(who(is(
psychologically(frustrated
 a(villain(who(uses(others(to(carry(out(his(villainry
 a(beautiful(lady(wronged(and(destroyed(by(circumstances(beyond(
her

Front 43

Shakespearean tragic hero

Back 43

tragic(hero
 possesses(high(or(important(rank(in(society/politics
 exhibits(extraordinary(talents
• intelligent
• physical(skill
 tragic(flaw
 downfall(is(often(faced(with(dignity(and(courage

Front 44

Medieval tragedy vs. Renaissance

Back 44

Tragedy
o often(called(Shakespeare’s(greatest(works
o inspired(in(structure(from(the(Greek(tragedies
o BIG(DIFFERENCE
 Medieval(tragedyman(is(brought(down(by(bad(luck/fortune
 Renaissance(tragedyman(is(brought(down(by(human(error(or(
morale(weakness

Front 45

tragedy

Back 45

Tragedy
o often(called(Shakespeare’s(greatest(works
o inspired(in(structure(from(the(Greek(tragedies
o BIG(DIFFERENCE
 Medieval(tragedyman(is(brought(down(by(bad(luck/fortune
 Renaissance(tragedyman(is(brought(down(by(human(error(or(
morale(weakness

Front 46

Charles II

Back 46

Charles in France
•
Neoclassicism
o originally from Italy during the Renaissance
o exploded in France
o this was the word in France
o Neoclassical Ideals

demand was for verisimilitude—the appearance of truth

unities
• time—no more that 24 hrs
•
place—one location
•
action—one plot, with little subplots if any
Charles returns
•
Parliament reinstates the limited monarch, and Charles II comes back from
France
•
he brings with him, French Theatrical ideas
• issued royal permits, or patents
o theatre is now licensed by the government in order to control it

Front 47

Neoclassicism

Back 47

Neoclassicism
o originally from Italy during the Renaissance
o exploded in France
o this was the word in France
o Neoclassical Ideals

demand was for verisimilitude—the appearance of truth

unities
• time—no more that 24 hrs
•
place—one location
•
action—one plot, with little subplots if any

Front 48

Neoclassical Unities

Back 48


unities
• time—no more that 24 hrs
•
place—one location
•
action—one plot, with little subplots if any

Front 49

comedy of manners

Back 49

comedy of manners
o most popular of all comedies
o characters drawn from the upper classes
English Restorationo characters interest
 sex and seduction

arranged marriages
 the latest fashions

witty repartee
o often use one word in substitution for another—this is how they got
around the censors

Front 50

Ballad Opera

Back 50

• 1728—first ballad opera was produced
o Gay’s The Beggar’s Opera
•
emerge in part out of the vogue for Italian opera
• included spoken dialogue with lyrics set to popular tunes of the time
o the audience could sing along, drunkenly