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78 Cards in this Set
- Front
- Back
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Director Till late 19th Century
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Chose plays, Cast Actors
Scheduled Rehearsals Staged Action (minimal) |
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New Responsibilities for Directors
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Melodrama
-Complicated stage machinery and cues Realism and Naturalism -Psychological realism in acting 3-D Sets and Scenery -Naturalistic staging Performance Aesthetics & Criticism -Unity and Integration of all components -New styles, genres |
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Education and Background of Directors
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No formalized training till recently
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Analogy
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Script/Score as Playwright/Composer
Director/Conductor as Actors/Musicians |
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Invisible Directors
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Interpretive Directors
Take inspiration from intrinsic values “Conduct” score as written Director’s hand often “invisible” Interpretive |
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Concept Directors
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Insert inspiration from extrinsic values
“Remix” score Director’s hand usually quite visible Creative |
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Interpreting the Story
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Read for Pleasure
-Doe it engage; have suspense; weight Read for Analysis -Character, conflict, world, style, themes -Create “Director’s Approach” Read for Performance -Technical Requirements -Financial Viability |
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How I Learned to Drive- World of Play
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Memory, flashbacks
-Fluid flow between time and place Automobile Lesson Voice Overs Greek Chorus Convention and Function Supporting Characters -Comment on Action Sex Convention -No direct contact/pantomime |
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How I Learned to Drive- Main Characters
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Lil Bit
-Smart, angry, yearning for father figure -Self-conscious; child and sexual being Uncle Peck -“Safe,” sensitive, -capable, “broken” |
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How I Learned to Drive- Conflict
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To control a dangerous force
-Automobile; sexuality |
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How I Learned to Drive- Themes
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Sexual Abuse
Lessons and Secrets (Mentoring the young) |
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Director Responsibilities
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Casting Actors
Coordinating/Approving Designs Conducting Rehearsals |
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Casting
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Casting for Type (Stereotype)
-“Look”; leading man, ingénue, sidekick -Casting against type Casting for Qualities -Energy, Optimism, Weight, Mystery Casting “against” qualities Audition Process -Interviews, Monologues -Call backs and Readings |
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Coordinate/Approve Designs
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Sets, Lighting, Costume, Sound
Create “World of Play” Support Action and Staging Convey Important Themes Groundplans Basis for Staging Action |
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Conducting Rehearsals
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Key Assistants
-Stage Mangers -Assistant Director -Dramaturg Coaching Actors Staging and Blocking Integrating Technical F/X and Cues |
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Stage Manager
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Handles communications, scheduling
Runs Rehearsals, Production Meetings Prompt Book Records blocking, cues, technical notes Calls Show (Conducts); “Becomes” Director |
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Assistant Director/Dramturg
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Assists with Research
Assists with Artistic Issues |
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Coaching Actors
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Very Sensitive Collaboration
-Depends on Trust and Respect Interpretation of Role -Character, Relationships, Objectives Reassurance & Guidance -Positive Feedback & Encouragement |
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First Technical Rehearsal
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Work on Set (Mechanics)
Light Cues (Looks) Being Built Sound Levels Set and Prop Changes |
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Middle Tech Rehearsals
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Timing of Cues (sound, lights, scenery, f/x)
Costumes |
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Final Dress Rehearsal
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Final notes, fixes and corrections
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Design History
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Did not Exist in Early Theatre
No specific localized settings Little spectacle Costumes and Masks earliest technical elements Audience imagined “world of the play” |
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Historic Developments in Design
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Renaissance: Stock Scenery
Garden, forest, street scene, interiors Gaslight in 1830’s: Lighting Design |
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Modern Era of Design
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Scenic Design
T-he “New Stagecraft” -3-D sets unique to each production Lighting Design -Electricity and electric lights Sound Design -Recording and playback technology |
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Goals of Design
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Create the “world of the play” onstage
Time, place, style, mood, culture Serve and support themes of play Support the story and the staging Aesthetic Unity “Beauty,” function, integration |
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Design Process
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Read the Play
-Pleasure, Analysis, Production Generate & Share Ideas -With Director -With Design Team Preliminary Decisions -“World of Play” -Level of Realism vs. Abstraction -Materials, palate, texture, light |
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Computer Aided Design
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-Can sketch, add color, texture
-Can create 3-D “walk-throughs” -Allows mutiple views (sightlines) -Can auto create elevations/plans -Can calculate material costs |
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Scenic Designer
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Number of settings
Shape and size of theatre Sightlines Means of shifting scenery Special effects needs on scenery Properties Budget and Schedule |
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Technical Director
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Key Management Position
Responsible for everything Backstage Scheduling Stock of scenery, props, lights Paint, tools, consumables Oversees set construction Oversees light hang |
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Lighting Designer
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Manipulates
Color, Direction, Intensity Create mood, direct focus Color - gel Intensity - dimmers Light plot |
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Sound Designer
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Background sound
Musical underscoring Environmental sounds (crickets) Vocal enhancement for actors Cued sound Doorbells, explosions, thunder |
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Origins of Theatre
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Some Controversy on Origins
Early Tribal Rituals -Ceremonial, cultural, religious Storytelling: tribal myths Theatre Elements Developed -Masks, costumes, music, dance Audience, performers, defined space |
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Birth of Western Theatre
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Festival to Dionysus
-God of wine Play Competition -Tragedy & Comedy -Daylong Outdoor -Subsidized by Patrons 6th Century BCE - Thespis Won -First dramatist to use an “actor” 5th Century BCE - Golden/Classical Age |
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Ancient Greece
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City-States (Polis)
Individual rulers/governments Own currency and armies |
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Golden Age of Athens
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-5th Century BCE
-Only 100,000 people -Ruled by Pericles -Created Democracy -Peace & Prosperity -Civic Investment -Art, Architecture and Philosophy Flourish |
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Greek Plays
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-Tragedy
-Comedy -Satyr |
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Greek Tragedy
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Origin from dithyrambs
--Sung/chanted poems around goat sacrifice -Most respected form at Festival Dionysia |
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Greek Comedy(Old Comedy)
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-Origins from phallic songs
--Sung/chanted poems about male potency -Only one day devoted at Festival Dionysia |
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Greek Satyr
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-Origins unknown
-Burlesques performed after tragedies -Irreverent -Broadly sexual |
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Greek Tragedy Composition
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Prologue
Parados (Entrance of Chorus) Episode & Choral Ode Alternation Exodus (Exit of Chorus) Epilogue |
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Greek Playwrights
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Tragedians (chronologically)
Aeschylus Sophocles Euripides Comic Dramatist Aristophanes |
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Aeschylus
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Wrote Austere, lofty diction
Simple powerful plots Solitary Heros in conflict with gods Often wrote in Trilogies (Oresteia) Introduced 2nd Actor |
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Sophocles
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-More “realistic” than Aeschylus
-Imperfect Heros -Chorus less predominant -More action; less explanation -Introduced 3rd Actor -His Masterpiece (Aristotle’s Fave) Oedipus Rex |
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Euripides
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-Most “realistic” of three
-More conversational language -Social and interpersonal themes -Lots of action and intrigue |
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Aristophanes
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-Only 12 Extant Greek Comedies
--All but one by Aristophanes Wrote form called “Old Comedy” -Chorus often Animals (Birds) -Thinly Veiled Political/Social Satires -Masks often resembled known citizens |
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Old Comedy
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-Unique 2 Part Dramatic Structure
--Part One ---Prologue introduces “happy idea” ---Debate about whether to adopt idea ---Decision to put “happy idea” to action --Part Two ---Songs & Episodes show idea in action |
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New Comedy
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-Foundation of Modern Comedy
-Family & Romantic Circumstances -Themes of Rebellion -Comic spirit defies authority -Old order overturned -Endings with Marriages/Reunions |
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Greek Theatre Structure Components
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Theatron
-Seeing Place Orchestra -Dancing Place Skene -Backstage Building Parodoi -Entrances |
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Stage Machinery
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“Eccyclema” - rolling platform
-Rolled out from skene -Special entrances and appearances “Machene” - crane -Flying actors into a scene |
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Greek Masks
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-Ubiquitous
-Generally Realistic -Helped Identify Characters |
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Greek Costumes
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Simple to Elaborate Robes
Platform Boots: Cothurnus Satyr Plays: Grotesque padding |
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nature/function of chorus
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15 Men (No women)
Chorus Leader (Choragos) -Sometimes took speaking role Commented on Action; Gave POV Gave Advice and Warnings Heightened emotions and drama Added Song, dance, spectacle |
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Aristotle's Ideal Play
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Unified Plot
-Single Action, Setting, Day -No Subplots Events follow Probability/Necessity Recognition with Reversal Miscalculation and Tragic Flaw Catharsis |
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Oedipus Point of Attack
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Late in Story
City well into famine and scurge Oedipus has already sent Creon |
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Oedipus Inciting Incident
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Ceon reports back from Oracle
Murderer of Laius “infests” land Murderer must be exiled or killed Decision by Oedipus Oedipus resolves to find and banish killer Oedipus opens an investigation Teiresias summoned |
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Oedipus First Turning Point
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Teiresias accuses Oedipus of killing
“You yourself are the pollution of this country.” Oedipus reaches a conclusion Creon wants the throne Creon framing Oedipus for murder |
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Oedipus Second Turning Point
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Oedipus Remembers
Place where three roads meet His own killing at that place Oedipus Begins to Believe… That he may have killed Laius Does he suspect his true identity? New Decision to Find out More Summons Witness to killing (servant) |
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Oediupus Improbable Event
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Messenger Arrives from Corinth
Oedipus now King of Corinth; Why? Oedipus’ “father” is dead Oedipus did not kill “father” Died of natural causes But now Oedipus fears… Sleeping with mother |
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Recognition for Jocasta
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Messenger Reveals
No need for “O” to fear his “mother” Oedipus adopted Messenger got baby “O” from Laius’ man Laius’ man is servant Oedipus summoned Jocasta realizes Truth Oedipus is her son Tries to stop him from questioning servant |
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Reversal for Jocasta
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Oedipus refuses to stop inquiry
Jocasta exits - kills herself |
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Climax for Oedipus
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Recognition and Reversal
Servant arrives & reveals all Oedipus sees who he is Main Event Oedipus must banish self Necessary Oedipus decides to blind self Necessary or Probable? (ironic) |
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Oedipus Themes
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Self-knowledge; identity; belonging
Outsider proves self; makes it big Information as power Struggle with Gods to know Truth Puzzles, riddles, cleverness Struggle with Gods to control Destiny Ignorance as bliss Blind can see; Irony in ending |
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Elizabethan Era
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Queen Elizabeth I
Reign: 1558 - 1603 Expanded England’s Power Protestant who Promoted Religious Tolerance |
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Challenges facing Elizabeth
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Religious Turmoil
-Protestant Reformation -Church of England vs. Catholics Internal and External Threats Mary Stuart (Queen of Scots) Spain: Economic Rival/Ally of Mary |
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Era of Peace and Prosperity
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With Threats Neutralized
England Politically Stable Wealth and Prestige Increases Middle Class grows |
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Religious Problems in England
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Promotes Religious Tolerance
Outlaws Religious Drama |
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Impact of Religion on Theatre
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No more Liturgical Drama
Plays had been Church Driven Secular Theatre Thrives Private sector takes over from Church Colloquial stories & themes introduced |
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Secular Theatre Blossoms
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Professional Companies Emerge
Organized as “Sharing Companies” Maintained Noble Patronage Lord Chamberlain’s Men Licensed by the Master of Revels Theatre Structures are Built Public Theatres Private Theatres |
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Public vs. Private Theatres
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Public Theatres (The Globe)
-Outdoor Polygonal Structures -Thrust Stages -Roofed galleries and open pit Private Theatres -Indoors (out of the elements) -More Affluent Audience |
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English Plays
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Drawn from Folk Tales and Classics
Structure imitates Liturgical Drama Very Episodic in Structure Expansive in settings, plot, characters |
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English Playwrights
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“University Wits” College Educated
First commercial playwrights Preceded (influenced?) Shakespeare |
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Shakesphere Play types
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Comedies
Tragedies Histories Romances |
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Cromwell
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Theatre banned
Considered decadent |
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English Restoration
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Monarchy Restored
-Charles II Returns From France in 1660 Theatre Revived -20 year gap in English Theatre History -Charles influenced by French Court Drama -Elizabethan conventions ignored/forgotten |
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English Romance
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Not defined like Romance genre today
-Romantic Love not emphasized Set in unusual parallel worlds -Exotic locales; Islands; Magical places -Supernatural Elements Hero/Heroine on Quest/Journey -For Identity; Reunion; Redemption -To fulfill True Destiny |
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Tragedy contrasts
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Nature of Evil
-Tragedy emphasizes it -Romance acknowledges it Necessity and Probability -Tragedy: Irreconcilable choices lead to fate -Romance: Second chances allow destiny |
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Comedy Contrasts
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Nature of Evil
-Comedy minimizes it -Romance acknowledges it Necessity and Probability -Comedy often ironic -Romance rarely irony |
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Contrasts Melodrama
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Nature of Evil
-Melodrama exaggerates it -Romance acknowledges it Nature of Hero -Romance: Epic journey for redemption -Melodrama: Intervention to save a victim |
