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52 Cards in this Set

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How does aristotle define "acting"
imitation of action
What are aristotle's 6 parts of tragedy
Plot, character, thought, diction, music, spectacle
Hamartia
tragic character flaw that cannot be helped and does not mean that a character is necessarily inherently evil
Katharsis
emotional purging that would ideally overcome an audience after watching a tragedy
Perpetia
Reversal that helps lead to katharsis
Deus ex Machina
Help of a god/machine to help resolve questions. Not good because it is a probable impossibility
Protagonist
character that resolves the action
Antagonist
Character that opposes the protagonist
Tritagonist
3rd actor who usually complicates or advances the conflict in some way
Tetragonist
4th actor (doesn't have to be a person) who is acted upon by other characters
Inciting incidence
an occurance that may take place before the play begins and forces the MDQ to surface
Point of Attack
Point in the play in which the audience discovers the MDQ
Major Dramatic Question
Major question that the audience expects to get answered. Draws the audience into the play
Complication
an event or action that temporarily prevents the resolution of the MDQ
Climax
The point at which the MDQ is answered
Resolution
the answer of the MDQ
Denouement
Period after the climax that answers all of the secondary questions
Disovery
When the character or the audience finds out information that is essential to the development of the plot
Reversal
A major and usually unexpected change in the fortunes of some character
Affective Memory
Recalling an emotion from a memory which creates the stimulus to drive the action. Accessing the unconscious through conscious technique
Peripetia
Reversal that helps lead to katharsis
Deus ex Machina
Help of a god/machine to resolve things. Not good because it is an improbable possibility
Protagonist
Character who resolves the action; answers the MDQ
Antagonist
Opposes the protagonist
Tritagonist
3rd actor that advances or complicates the conflict
Tetragonist
4th actor that is usually passive and acted upon by others
Inciting incident
make take place before the play begins, sets up a condition for the MDQ to surface
Point of Attatck
The point of a play in which the audience discovers the MDQ
Major Dramatic Question
major question that the audience expects to get answered. Draws the audience in
Complication
an event or action that temporarily prevents the resolution of the MDQ
Climax
The point at which the MDQ is answered
Resolution
Answering of the MDQ
Denouement
The period after the climax during which secondary questions are answered
Discovery
When an important character of the audience learns something new that is essential to the development of the plot
Reversal
A major and unexpected change in the fortunes of a character
Affective Memory
Recalling an emotion from memory to create the stimulus which drive the action. Important in Strasberg's method
Sensory Imaging
recalling sensory feeling in order to portray an action
Magic if
that actor imagining himself/herself in the characters position
What are the types of bad acting according to aristotle
Intuitive, Representational, Mechanical, Conventional
What is the problem with intuitive acting
it is unreliable, sometimes cannot be repeated
What is intuitive acting
acting that happens right on the spot, empowering the unconscious
Representational acting
Pressing the "save" button
Mechanical Acting
Based on deeply embedded procedeure
Conventional acting
based on theatrical convention, imitation of life, or imitation of another actor
"True Art of Acting"
Actor is affected in the moment by a stimulus which results in an action that is portrayed to an audience which evokes emotion on the part of the audience
Aristotle and Action
Action brings about moral choices
Stanislavski and Action
Action is a stimulus that results in a reaction. How does a character act in order to attain a goal
Given circumstances
all of the circumstances that are given to an actor to take into account when he/she creates his or her role
Indicating v. Acting/Doing
Conventional/mechanical = indicating. Acting/Doing is what comes from the subconscious
Beat
A piece of action that has a beginning and and end and contains an objective of some sort
Alignment of objectives
Making sure that the actors objectives match the character's objectives. Finding character motivation for what the director tells you to do
Meisner Technique
Repetition that helps fuel the unconscious