Theatre 2

Front 1

when were the first known plays that we know today?

Back 1

ancient greek theatre

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greek theatre origins from

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ancient egypt

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city dionysa

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greek festival started in 534 BC. lasted 5 days in the spring. dionysus: god of wine and fertility. had performances of plays as contests

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contests of city dionysa

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3 tragedies, 1 satyr play, 1 tragedy

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ekkyklema

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cart on wheels that would show the carcasses of people that died on stage. plays didn't show violence or death

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orchestra

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rounded part of the theatre. literally means dancing place

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theatron

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seating for the audience. means seeing place

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skene

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rectangular part behind the stage. didn't really function

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machina

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vertical structure with pulleys that allowed gods to come down on stage

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catharsis

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purge of pity and fear to treat catharsis

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tragedy inspires

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fear, pity, catharsis

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comedy is about

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current issues and politics

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aristophanes

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only his comedies have survived

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comedic structure

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1. prologue: introduces everything usually based off of a happy idea

2. parados: point where chorus enters

3. agon: debate over happy idea

4. parabasis: chorus gives audience advice about an issue or happy idea

5. episodes: shows happy idea in practice, shows results

6. kosmos: exits to feasting and revelry

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lysistrata

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written by aristophanes when the pelophanesian war had been going on for 15 years. role of sex in ancient greece

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proscenium

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any stage that has a frame around it. usually square and used for musicals, melodrama

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thrust

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stage thrusts out to the audience, audience surrounds on three sides

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arena

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literally, in the round. when theatre is on all three sides

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flexible

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black box theatres. not a fixed relationship between theatre and box stage

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what does classical mean?

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ballet, specific steps that are the same in all ballet

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Bharata Natyam

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one of seven types of Indian formal dance. named after the person that created the Natyasastra text.

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sadir

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renamed as tamil nadu. ancient form with female solo dancer in temple. interprets sanskirt text

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devadasis

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female dancers that interpreted natsystara, danced to devotion of gods, highly educated and skilled in arts, sometimes functioned as courtesans

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Abhinaya



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element of sadir. a way of expressing emotions or concepts through mudra; body gestures

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mudrao

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element of sadir.specific hand gesture that corresponds to specific words

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bhaktio

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element of sadir. word for devotion

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anti nauch campaigns

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anti dance campaigns that occurred when british began rule. dancers weren't seen as pure but instead prostitutes

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traditional costume of Bharata Natyam

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pleated skirt with jewelry on the front. had painted nails, toenails

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noh

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dominant form of japanese serious theatre. total theatre: dancing, chanting, mime (sing songy)

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no

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based on literally plays and historical stories. passed down, had wooden masks and stock roles

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jo-ha-ku

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compositional principle of no. slow to fast.

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bunraku

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doll theatre or puppet theatre. puppeteers dressed in black, invisible

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kabuki

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borrowed from no, bunraku. had first all women performers, then all boys then all men. mix of all classes, would respond out loud to what happened on stage

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onnagata

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men who specialized in women's roles in kabuki

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conventions of kabuki

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wooden clappers, kurogo (stage hands), Hanamichi (flowery walkway)

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Bertolt Brecht

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german theorist, playwright. believed theatre should incite audiences into action. advocated epic theatre

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marxism

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advocates equitable redistribution of wealth. if they are given money, they will rise up

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epic theatre

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rejects anything natural or inevitable. denies universality, catharsis, fate. wants us to make an active change in society

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the a effect

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making the familiar strange. can see the actor as both an actor delivering lines and a character.

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paula vogel

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influenced by brecht, wrote about sensitive issues

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techniques of a effect

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direct address, usually out of character, divided to episodes, one actor plays multiple roles

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production techniques of a effect

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stage bare, minimally set, has small props, etc.

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dramaturg

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one who studies dramatic composition. how play is put together

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types of theatre development

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process oriented: workshops, development of performance groups, skills and capacity building programs

product based: performances developed within or outside a community that carry a message of development

process and product oriented: developed in workshops then performed to the public

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colonial vs. traditional african theatre

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pre-colonial: ritual based, for benefit of ancestors, line between audience and characters was blurred

colonial: colonial values, linear, line between audience and characters

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theatre development in botswana

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community awakening. workshop to theatre to discussion. wasn't continued because it was unsustainable

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theatre development in zambia

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reaction to the white only Zambian theatres. had a touring company that was directed by faculty and performed by students. made no attempt to address concerns of the participants

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theatre development in kenya

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identification of ideas in the community. british shut down open air theatres. was communal, effective and reclaimed the kenyan form.