Theatre History Exam #2

Front 1

False

Back 1

The actual presence of the Audience is one of the elements of drama as described by Aristotle in his work "the poetics."

Front 2

True

Back 2

Drama is a category of literature and theatre is an art form created from drama.

Front 3

False

Back 3

Theatre is considered a non-collaborative art form and requires the ultimate controlling artist in the form of a director.

Front 4

True

Back 4

Dionysus is known as the greek god of wine and fertility and theatrical festivals were held in his honor.

Front 5

False

Back 5

A catharsis is a greek religious rite in which a chorus of fifty men chanted and danced; the precursor to greek tragedy development.

Front 6

True

Back 6

thespis stepped out of the chorus, delivered a prologue, impersonated a character and became the person known as the first actor.

Front 7

true

Back 7

in the ancient greek theatre, the orchestra was a circular ground level acting area in front of the stage house used primarily by the chorus.

Front 8

false

Back 8

the term hamartia refers to the purging of emotions, both pity and fear.

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false

Back 9

many locales, numerous characters, and the span of time all characterize the qualities of climactic structure.

Front 10

false

Back 10

aristophanes outlined the elements of drama in his critical analysis of the greek tragedy, oedipus rex by sophocles.

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true

Back 11

by definition, in classical greek tragedy the protagonist at the center of the drama accepts the responsibility of his actions.

Front 12

true

Back 12

in greek drama the chorus is used to give exposition, add spectacle, move the plot along, add rhythm/music, and act as an ideal audience.

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false

Back 13

in the greek physical theatre at the very center of the parados was an alter for a sacrifice to the gods.

Front 14

false

Back 14

a kothorni is an elaborate headdress worn by the actors.

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false

Back 15

the pariaktoi is a stage house used primarily by the lead actors.

Front 16

true

Back 16

a satyr play is an after piece, presented at the end of a trilogy of tragedies, short bawdy farces that parodied the events of the tragedies and traditional greek myths.

Front 17

false

Back 17

an actress named jocasta was well know for her portrayal of "medea" in the hellenistic period of theatre.

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false

Back 18

greek new comedy employs stock characters and domestic scenes. in the greek theatre, menander is the playwright associated with this style.

Front 19

false

Back 19

political satire and social stabs is at the heart of new comedy.

Front 20

false

Back 20

a messenger scene is a roman theatrical convention by which the happenings off stage are described to the audience, most often violent incidents within the story lines or plot.

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true

Back 21

in roman comedy the characters were stock types involved in comic and domestic situations.

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true

Back 22

the two main roman comic playwrights were plautus and terence.

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true

Back 23

the roman playwright and his work had great influence over many of the playwrights during the elizabethan time period.

Front 24

false

Back 24

terence is a roman playwright that employs the use of low domestic farce and comedy with an edge.

Front 25

true

Back 25

seneca was a playwright who had a style that was marked by the use ghost and super natural characters; he has long bombastic speeches; and main character driven by a single driving objective.

Front 26

true

Back 26

the romans are known for presenting sport type games in which men battle other men or animals, and most often to the death.

Front 27

true

Back 27

the church is one of the main reasons that the roman theatre began to decline (constantine/christianity)

Front 28

true

Back 28

the church is the main reason that the religious medieval theatre began.

Front 29

false

Back 29

miracle plays were performed in cycles and were a type of medieval form of drama that developed from liturgical drama and treated biblical stories and themes. "mystery plays"

Front 30

true

Back 30

morality plays are a form of allegorical medieval plays, in which the characters represent abstractions such as: good deed, death, virtue, everyman, etc.

Front 31

true

Back 31

mansions are simple scenic devices that suggest locale

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false

Back 32

a hamartia is a neutral acting space in midieval theatre. "plateau"

Front 33

true

Back 33

the teatro olympics is an example of a roman theatre moved in doors.

Front 34

true

Back 34

commedia dell arte is a form largely improvised, utilizing masked stock type characters and began as street theatre.

Front 35

true

Back 35

capitano was a stock character in the comedy dell arte know as the braggart coward/soldier.

Front 36

false

Back 36

a zanni is a physical joke or verbal exchange that is a sure fire comic bit of business.

Front 37

false

Back 37

a soliloquy is a dialogue delivered by actors. sometimes played as the character thinking out loud.

Front 38

true

Back 38

groundlings are spectators of the english theatre who stood in the pit or yard.

Front 39

true

Back 39

sides are smaller portions of a full script with a single actor's lines and cues.

Front 40

true

Back 40

the "master of revels" was the person responsible for the licensing of plays in the english renaissance and beyond.

Front 41

true

Back 41

the main contributions to theatre during the italian renaissance were in scenic design, theatre architecture, and stage spectacle.

Front 42

true

Back 42

shakespeare was an actor, director, and shareholder as well as a playwright.

Front 43

false

Back 43

the "tiring house" in the elizabethan stage refers to a storage place beneath the stage. "backstage"

Front 44

false

Back 44

the public theatres during shakespeare's time were built in the middle of the city to accommodate the puritan audiences.

Front 45

false

Back 45

groundlings were the ticket takers who collected the price of admission in the elizabethan public theatre.

Front 46

false

Back 46

commedia dell arte was characterized by performances built around scripts inspired by moliere.

Front 47

true

Back 47

christopher marlow was an elizabethan playwright who was a contemporary of shakespeare and is known for his work with the history play.

Front 48

true

Back 48

the intermezzi was a form of spectacle in the italian renaissance that inspired the birth to opera.

Front 49

false

Back 49

elizabeth I declared acting un-lawful and forbid religious drama.

Front 50

false

Back 50

the english renaissance saw a period of adherence tot he neo-classical period ideals.

Front 51

well written tragedy

Back 51

not an important contribution from the italian renaissance theatre:

Front 52

emphasis on script

Back 52

not true about commedia dell arte:

Front 53

auditorium, stage, machinery, scenery, (all the above)

Back 53

by 1650, italy had a theatre design which dominated europe for the next 200 years in which of the following ways:

Front 54

tragicomedy

Back 54

this type of drama bridges genres, it maintains a serious theme although the tone varies from gave to humorous.

Front 55

category or kind

Back 55

genre means

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theme

Back 56

aristotle's term for the play's overall statement, topic, central idea

Front 57

repertory

Back 57

the plays a theatre company produces

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style

Back 58

another word for mode/ism

Front 59

farce, incongruity, repetition, and surprise

Back 59

not a point/element in seneca's writing

Front 60

folk play

Back 60

not a type of medieval religious drama

Front 61

church, english monarchs, rediscovery of the classical theatre and drama, (all of these)

Back 61

what led to the decline of medieval theatre

Front 62

straight parts, handsome and sympathetic, no masks, plot orientated, "all the above"

Back 62

which of the following is true about the pair of lovers in commedia

Front 63

the renaissance world held that god, not man, was the measure of all things

Back 63

which of the following is not true of the renaissance

Front 64

the reign of elizabeth "1558-1603"

Back 64

the elizabethan age refers to:

Front 65

the historical period marked by the reign of james I (1603-1625)

Back 65

the jacobean era refers to:

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unhappy endings

Back 66

is not a feature of melodrama:

Front 67

cause and effect events unfolding, clear exposition, logical reversals, mounting suspense, "all are parts"

Back 67

which is not part of the "cause to effect" play structure:

Front 68

dramatic characters emerged from high-class strata: kings and princes

Back 68

which is not true of realist drama:

Front 69

conceptualizing the play and giving it vision and purpose

Back 69

which of the following tasks belong to the director

Front 70

moliere

Back 70

which is not a commedia character

Front 71

ROMAN

Back 71

a period where popular entertainment games were at their height.

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GREEK

Back 72

where western drama is said to have been inspired.

Front 73

MEDIEVAL

Back 73

a time period when the emphasis was on religious drama

Front 74

ELIZABETHAN

Back 74

marked by the legacy of one of the greatest playwrights in history. "shakespeare"

Front 75

ITALIAN RENAISSANCE

Back 75

the picture frame stage got its start

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PROSCENIUM

Back 76

a stage, framed by an arch above and on the sides of the playing area

Front 77

ARENA

Back 77

a stage space with audience on all sides of the acting area.

Front 78

MAIN STAGE

Back 78

the primary acting space in the english renaissance public theatre.

Front 79

THRUST

Back 79

a performance space where the stage is surrounded on three sides by the viewing audience.

Front 80

PLATEAU

Back 80

a neutral stage area that can be used as a generalized playing space

Front 81

PASTORAL

Back 81

a drama staged in the country or woodland setting. some of shakespeare's plays contain elements of this style

Front 82

BURLESQUE

Back 82

the mockery of a writing style by an exaggerated imitation of its predominant characteristics.

Front 83

LAZZI

Back 83

bits of comic business and gimmicks performed by the clowns in the comedy dell arte.

Front 84

INTERMEZZI

Back 84

a style of spectacle that was performed between regular acts of drama and later inspired the birth of opera.

Front 85

JACOBEAN

Back 85

this period was marked by dramatic forms that utilized tabloid-ism and exploitation methods.

Front 86

CLASSICAL GREEK PERIOD

Back 86

where western drama and great tragedy is said to have been inspired.

Front 87

DIONYSUS

Back 87

greek god of wine and fertility

Front 88

DITHYRAMB

Back 88

greek religious rite which a chorus of 50 men chant and dance.

Front 89

THESPIS

Back 89

stepped out of chorus, delivered a prologue, impersonated a character, and became the person known as the first actor.

Front 90

MASK

Back 90

covering of the face, used traditionally by actors in many theatrical periods.

Front 91

ONKOS "ON HEAD"

Back 91

an elaborate head dressing worn by actors in the greek theatre

Front 92

KATHORNI

Back 92

the footwear of the actor in greek theatre

Front 93

CHITON

Back 93

robe used by greeks

Front 94

ORCHESTRA

Back 94

in ancient greek theatre, a circular ground level acting area in front of the stage house used primarily by the chorus.

Front 95

SKENE

Back 95

stage house used by lead actors.

Front 96

PARADOS

Back 96

two entrance areas used by chorus in greek theatre that is also part of the structure within the dramas.

Front 97

ALTAR

Back 97

center of the orchestra in greek theatre, used for sacrifice to gods.

Front 98

MACHINA

Back 98

crane like device..

Front 99

DUES EX MACHINA

Back 99

devine intervention from the gods.

Front 100

EKKYLKEMA

Back 100

wagon type device used to display the remains of a character who has died

Front 101

PERIAKTOI

Back 101

three-sided scenic device

Front 102

AESCELUS "escalate"

Back 102

the greek playwright , added the second actor. made dialogue possible

Front 103

SOPHOCLES

Back 103

added third actor, wrote oedipus rex

Front 104

EURIPIDES

Back 104

greek playwright, was skeptical of the gods, not admired in his day. wrote medea

Front 105

GREEK OLD COMEDY

Back 105

used political satire and social stabs is at the heart of these plays; aristophanes is attributed with this style

Front 106

GREEK NEW COMEDY

Back 106

use of stock characters and domestic sense. menander is the playwright associated with this style.

Front 107

MESSENGER SCENE

Back 107

theatrical convention used in the greek theatre

Front 108

CHORUS

Back 108

group of characters who give exposition, move plot along, add spectacle, etc.

Front 109

CATHARSIS

Back 109

purging of emotions, pity and fear

Front 110

HAMARTIA

Back 110

tragic flaw within the protagonist

Front 111

HUBRIS

Back 111

too much pride within protagonist

Front 112

CLASSICAL GREEK TRAGEDY

Back 112

the protagonist at the center of the drama is upper class birth and accepts the responsibility of his actions.

Front 113

ROMAN PERIOD

Back 113

a period where popular entertainment games and domestic comedy were at their height in popularity.

Front 114

ROMAN COMEDY

Back 114

featured stock characters such as; ridiculous older men, clever slaves, courtesans, shrew wives and comic domestic situations and squabbles

Front 115

PLAUTUS

Back 115

was a roman playwright who employed the use of low domestic farce and comedy with an edge.

Front 116

TERENCE

Back 116

a roman playwright who had a refined romantic style with fairytale endings: wedding

Front 117

ASPECTS OF ROMAN TRAGEDY PLAYWRIGHT SENECA

Back 117

strong and driven main characters-violence called for on stage-long bombastic speeches. obsessed with ghosts and supernatural world.

Front 118

SENECA

Back 118

roman playwright of tragedy. no evidence that his dramas were ever fully staged.

Front 119

THE MIMES

Back 119

troupe of performers

Front 120

DARK AGES

Back 120

time period of famine and survival is marked by the downfall of rome in which there is very little evidence of any theatrical performances.

Front 121

MIDDLE AGES

Back 121

time period giving us a legacy of religious drama instituted by the church.

Front 122

MYSTERY/CYCLE PLAYS

Back 122

a type of medieval drama that treated biblical stories.

Front 123

MORALITY PLAYS

Back 123

a form, in which the characters represent abstractions such as: good deeds, virtue, gluttony, etc

Front 124

MIRACLE PLAYS

Back 124

presented lives of saints/martyrs.

Front 125

MANSIONS

Back 125

simple scenic devices that suggest locale

Front 126

PLATEA

Back 126

A medieval neutral acting space in medieval theatre.

Front 127

PAGEANT WAGONS

Back 127

rolling stage platforms traditionally moved to specific locals within the city/towns and presented a specific portion of a cycle/mystery play.

Front 128

HELLS MOUTH

Back 128

a locale, generally on the left of a fixed stage. earthly locals are depicted in the center stage areas and heaven is on the right.

Front 129

TRADE GUILDS

Back 129

groups that helped to sponser the religious dramas of the middle ages. was a honor or civic duty to help mount these religious plays.

Front 130

SECULAR DRAMA

Back 130

non religious plays of the middle ages.

Front 131

HENRY VIII

Back 131

this ruler broke with the roman church and set stage for a later rime period in which religious drama would be forbidden.

Front 132

DECLINE OF MEDIEVAL THEATRE

Back 132

church distances itself and ends sponsorship-english monarchs restrict and forbid religious drama-renaissance spreads and man rediscovers the classical theatre of the greeks and romans.

Front 133

IMPORTANT CONTRIBUTIONS FROM THE ITALIAN RENAISSANCE

Back 133

proscenium arch stage, development of perspective scenery, theatre architecture, scene shifting devices, birth of opera, comeddia dell arte.

Front 134

ACADEMIES

Back 134

schools of study organized by the italians where the greek and roman classical periods were examined

Front 135

PASTORAL

Back 135

a drama staged in the country or woodland setting which emphasized spectacle and the creatures from mythology which inhabited these woods. shakespeare.

Front 136

TEATRO OLYMPICO

Back 136

an example of a classical roman theatre architecture built indoors.

Front 137

TEATRO FARNESE

Back 137

oldest existent picture frame stage built by the italians in the renaissance period.

Front 138

PROSCENIUM ARCH STAGE

Back 138

a stage framed by an arch above and on the sides of the playing area developed by the italians to frame the scenic designs of the time.

Front 139

ITALIAN RENAISSANCE

Back 139

picture frame got its start and spectacle was a predominate element.

Front 140

INTERMEZZI

Back 140

a style of spectacle that was performed between the regular acts of drama and later inspired the birth of opera. commercial break

Front 141

COMMEDIA DELL ARTE

Back 141

italian art form that is improvised working from scenarios utilizing stock type characters and adaptable to any playing space

Front 142

LAZZI

Back 142

bits of comic business and gimmicks performed by the clowns and servants in the comeddia dell arte.

Front 143

PANTALONE

Back 143

a ridiculous older man character that was a tight wad and generally concerned with his childrens love affairs.

Front 144

CAPITANO

Back 144

this character is known as the braggart soldier and runs from any fight.

Front 145

DOTTORE

Back 145

a quack doctor who is a seller of potions or the fake academic who spouts false knowledge

Front 146

ZANNI

Back 146

servant characters who made fools of their masters. can be smart or dumb. acrobatics and other performance arts.

Front 147

SOLILOQUY

Back 147

theatrical convention in which a character delivers a speech alone on stage

Front 148

GROUNDLINGS

Back 148

were audience members of the english theatre who stood in the pit or yard.

Front 149

SIDES

Back 149

smaller portions of a full script with a single actor's line and cues

Front 150

CHRISTOPHER MARLOW

Back 150

an elizabethan playwright known for his work with the history play.

Front 151

BEN JOHNSON

Back 151

famous for creating characters who suffer from an abundance of humors.

Front 152

THRUST STAGE

Back 152

stage space with audience on all sides of the acting area

Front 153

MAIN STAGE

Back 153

this is the primary acting space in the english renaissance

Front 154

ARENA

Back 154

A performance space where the viewing audience surrounds the stage on three sides.

Front 155

MOLIERE

Back 155

best comic actor of his day with plays inspired by the commedia dell arte.