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58 Cards in this Set
- Front
- Back
The three challenges of acting |
1. Making characters believable
2. Physical acting-the use of voice and body
3. Synthesis and integration- combining inner and outer skills |
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Stanislavski |
A technique for realistic acting |
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Realism |
the quality or fact of representing a person, thing, or situation accurately or in a way that is true to life. |
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Psychophysical action |
Purposeful action undertaken to fulfill a characters goals was the most direct route to the emotions |
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. The magic if |
Actor must ask themselves what would I do in the circumstance |
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Emotional recall |
A tool intended to help performers achieve a sense of emotional truth |
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Centering |
when you feel completely balanced within yourself and breathing comfortably with a high breastbone and your chest comfortably filled with air. |
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Method acting |
technique of acting in which an actor aspires to complete emotional identification with a part |
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A triple threat |
person in theatre who can sing, dance and act |
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Technical acting |
use of learned skills of acting, movement, speech, and interpretation to create roles, no emotional response is used |
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Ensemble playing |
unified effect achieved by all members of a cast working together on behalf of the play |
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Through line |
a connecting theme or plot |
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The Paradox of the actor |
great actors do not experience the emotions they are displaying. |
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George II Duke of Saxe Meiningen |
Influenced theater |
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Director |
Most closely associated with the performers, responsible for overall style and visual appearance. |
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Spine |
the characters major goal or objective, the internal forces that drives the characters choices |
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Duties of the director |
Casting, auditions, rehearsal |
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Casting |
Finding an actor for each role |
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Auditions |
Demonstrating actors skills |
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Rehearsal |
a practice or trial performance of a play , run through |
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Blocking |
the precise staging of actors in order to facilitate the performance of a play |
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Technical rehearsal |
It runs through the entire production, including lights and sound. |
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Stage picture |
How the entire scene on stage will appear to the audience |
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Stage manager |
Coordinates all the rehearsals and actual Runnings of performance |
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Dramaturg |
Discover's Andrea in new place, develop new Scripts. |
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Producer |
Directors counterparts in the business management side of theater production. Raises money for the production, secures writes the scripts, hires directors, performers, designers, and stage crew. Pays for everything |
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Commercial theater |
For-profit |
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Non commercial theater |
Nonprofit |
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Artistic director |
selection and interpretation of the works performed by a theater, |
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Proscenium |
The frame that separates the stage from the audience. |
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Fourth wall |
the space that separates a performer or performance from an audience. |
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Rake stage |
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Orchestra |
circular space used by the chorus in front of the proscenium |
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Fly Loft |
The space between the roof and the performance area that is not visible to the audience |
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Thrust stage |
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Arena |
Area surrounded by seats |
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Found space |
performance space that wasn’t designed to be one |
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Corrales stage |
open-air theatre |
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Theatre in the round |
form of theatrical presentation in which the audience is seated in a circle around the stage or on at least three of its sides. |
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Black box theater |
classroom, audience and actors are in same room, flexible |
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Aesthetic distance |
gap between a viewer's conscious reality and the fictional reality |
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Multi Focus Theatre |
More than one playing area where something is going on simultaneously and each area, like a circus |
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The scene designers objective |
The visual elements of design to provide an audience with understanding of time, place, and mood. |
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Scene designer |
Responsible for the stage set |
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Elements of scene design |
Scene designer, costume designer, lighting designer, and sound designer |
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Costume designer |
Responsible for the outfits and accessories worn by the performers |
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Lighting design in theatre history |
Lighting used to be the sun, because the plays are outside in the daytime. Then oil lamps, then light bulbs |
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Lighting designer |
Responsible for the light, Illuminating onto the stage |
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Sound designer |
Responsible for the aural world of the play and the sound system |
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Light plot |
a document like an architectural blueprint used specifically by theatrical lighting |
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Gobo |
a dark plate or screen used to shield a lens from light. |
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Follow spot |
Spotlight |
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Floodlight |
a large, powerful light, typically one of several used to illuminate a stage |
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Focus |
the specific point of attention on stage at any moment |
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Fade |
gradually grow faint and disappear. |
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Cue |
thing said or done that serves as a signal to an actor |
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Black lighting |
ultraviolet or infrared radiation, invisible to the eye. |
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Blackout |
The sudden extinguishment of all stage lights in a theater to indicate the passage of time or to mark the end of an act or scene |