Reading...
Play button
Play button
Use LEFT and RIGHT arrow keys to navigate between flashcards;
Use UP and DOWN arrow keys to flip the card;
H to show hint;
A reads text to speech;
117 Cards in this Set
- Front
- Back
|
what does Burlesque mean in ________ and what language is it
|
"to send up" or "to make fun of"
French |
|
|
what did Burlesque start out making fun of
|
classics
high class society high art and serious work |
|
|
first identifiable burlesque in literary world
|
14th C. England Canterbury Tales
|
|
|
what were the canterbury tales and what did they make fun of
|
fictional stories told by pilgrims poking fun at women, priests, and religion, and existing social structures
|
|
|
Describe 17 C. Italy and France Burlesque
|
made fun of operas and political things
focused on grotesque imitation- dirty jokes, etc |
|
|
Describe 18th C. Europe Burlesque
|
first theatrical burlesque
directed toward middle-upperclass musical parodies of shakespeare and literary works breeched roles- first origin of ties to female body double entendre "classical" or "musical" burlesque |
|
|
what caused dying out of burlesque
|
prohibition
|
|
|
what caused dying out of vaudeville
|
film
|
|
|
how is american burlesque different from european
|
includes european satire, but has performance art, and striptease (adult spectacle)
focused on elaborate costumes, effects, sets SEX |
|
|
Lydia Thompson
|
"British BLondes" gave burlesque foothold in US
became less about satire and more about women |
|
|
what changed in american burlesque
|
largely musical at first
by end of burlesque period- all striptease and no singing |
|
|
Why did american burlesque not become popular in europe
|
it was a reaction against english victorianism which was a very socially conservative time
|
|
|
vaudeville
|
10-15 minutes of several acts; variety shows; circus like; representative and non representative
|
|
|
Tony Pastor
|
polite variety shows; targeted at everyone; cheap and appropriate
|
|
|
Voix de ville
|
voice of the city
|
|
|
B.F. Keith
|
profited hugely from vaudeville circuits
|
|
|
vaudeville circuits
|
ran on loop all day, leave when you want
|
|
|
touring circuits
|
toured across country between vaudeville houses
|
|
|
orpheum circuit
|
biggest touring circuit w houdini, judy garland, three stooges
|
|
|
large circuits
|
one show a night, large amounts of money
|
|
|
medium circuits
|
smaller theatres, houses, 2 shows a day, paid less than large circuit
|
|
|
small circuits
|
in bars, 5-6 shows a day, not paid
|
|
|
specialized circuits
|
jewish, southern, magic
|
|
|
where did black face performances originate
|
1440s in portugal with the slave trade; blacks performed for royals
|
|
|
albee's role in vaudeville
|
respectable; keep burlesque out of it
|
|
|
shakespeare and black face
|
interested in question of identity rather than being racist
|
|
|
Lewis Hallam Jr.
|
Mungo; first official performer; played drunk
|
|
|
Thomas D. Rice
|
Jumpin Jim Crow
|
|
|
blackface becomes popular with?
|
vaudeville
|
|
|
timeline of blackface- where it began and where it ended up
|
started in bars, saloons
then Entr'actes entire show (Minstrel Shows) |
|
|
Acts of Minstrel Show
|
1. singing/dancing
2. "stump" speech 3. slapstick performance piece (failure at famous plays) |
|
|
Dan Emmitt and Virginia Minstrels
|
first group dedicated to entire black face minstrel shows
|
|
|
Mammy
|
married to Old Darky often; takes care of everyone; de-sexualized; large woman
|
|
|
Old Darky
|
old slave, lives to serve whites, respectful, fails at doing so
|
|
|
Wench/"Yaller girl"
|
prissy, sexualized, naive
|
|
|
Dandy
|
less common but similar to old dark; please whites, wants to be white, gives stump speech often
|
|
|
pickaninny
|
unruly child with no manners
|
|
|
William Hengry Lane
|
black minstrel performer- trained ballerina; duet with thomas dillard
|
|
|
Thomas Dillard
|
black minstrel performer; dwarf; duet with william henry lane
|
|
|
The Georgia Minstrels
|
slaves, positively themed
|
|
|
black minstrel shows
|
focused on happy plantation life; still performed with makeup; not equal; questions of authenticity
|
|
|
Eric (frederick) douglas
|
spoke out against minstrel shows but step in right direction?
|
|
|
Bamboozled
|
modern day Minstrel Show
|
|
|
harlem renaissance
|
great movement of african american culture
|
|
|
Allen Locke
|
New Negro Movement
|
|
|
New Negro Movement
|
kicked off harlem renaissance; harlem is a place of AA identity
|
|
|
three plays for the negro theatre
|
written by white playwright
FIRST SYMPATHETIC VIEW OF BLACK EXPERIENCE most important event in AA theatre |
|
|
Lorraine Hansberry
|
lived in all white neighborhood
Hansberry vs. Lee inspired A Raisin in the Sun |
|
|
A Raisin in the SUn
|
first play by AA on broadway; fam spends life insurance check on house in white neighborhood, landlord tries to buy them off the land
|
|
|
Amiri Baraka
|
essential in Kicking off Black Arts Movement
against capitalism violent The Dutchman Spirit House Theatre |
|
|
Black Arts Movement
|
starts after assassination of Malcom X
theatres should be producing plays by black playrights, directors, and stage designers- NO WHITES because they dont get what it means to be black |
|
|
Dutchman
|
Amiri Baraka- black man on train killed by white woman
-sexualization of white women victimization of black man by white society black men fetish for white women |
|
|
where does Amiri Baraka get his ideas
|
Totem Press
|
|
|
Spirit House Theatre
|
founded by Amiri Baraka; produced all black shows
|
|
|
who founded Negro Ensemble Theatre Company
what was it; why was it unique |
founded by Douglas Turner Ward and Robert Hooks;
exploration of black life based on Stanislavskian Method (first all black company to use method) educational outreach and field trips |
|
|
Douglas Turner Ward and Robert Hooks
|
founded Negro Ensemble Theatre Company
|
|
|
George C WOlfe
|
Colored Museum
Jelly's Last Jam (won 11 Tonys) Bring in Da Noise, Bring in Da Funk (dance show) argues for exploration of racial identity |
|
|
Suzan-Lori Parks
|
The American Play- black impersonator of Abe Lincoln
Topdog/Underdog- how do we perform history lyrical language dialogue > narration black feminist screenwriter (their eyes were watching god and Girl 6) |
|
|
Ntozake Shonge
|
For Colored Girls
parents exposed her to black artists at home |
|
|
Ntozake
|
she who carries her own things
|
|
|
Shonge
|
she who walks with lions
|
|
|
Negro Ensemble Theatre Company
|
includes black actors in traditionally white roles (colorblind casting); educational; field trips
|
|
|
Jazz Aestheic
|
reaction against realism; Joni Jones/Omi Oson Olomo; process over product; ensemble over protagonist; polyrythmic
|
|
|
For Colored Girls- what is significant about staging it in a womens bar
|
community is more important than stage
|
|
|
how did spanish conquerors influence theatre
|
used theatre to convert to christianity; show how great the spanish were
|
|
|
what decreased latino theatre
|
depression and film
|
|
|
United Farm Workers Union and Delano Grape Strike
|
led by Cezar Chavez's National Farm Workers Assoc. and Dolores Huerta
non violent, hugely successful, demanded minimum wage |
|
|
El Teatro Campesino
|
performed in flatbed trucks;
Founded by Luis Valdez drew on elements of mexican religion and culture celebrate mayan and aztec culture |
|
|
Luis Valdez
|
founded El Teatro Campesino
father of Chicano theatre San Fran Mime Troupe La Bamba and Zoot Suit |
|
|
San Fran Mime Troupe
|
- all shows free, agitprop
|
|
|
Zoot Suit
|
first chicano play on broadway
combined Sleepy Lagoon Murder Trial and Zoot Suit Riots |
|
|
Cherrie Moraga
|
Chicana lesbian
founded Kitchen table Press- first publishing house publishing women of color A Bridge Called My Back- feminism Heroes and Saints- migrant farm workers |
|
|
New Play Dramaturgy
|
work on play while in production
|
|
|
Production dramaturgy: before rehearsals
|
research, script analysis, time period, setting
|
|
|
production dramaturgy: in rehearsals
|
help build world of play
|
|
|
production dramaturgy: for audience
|
lobby displays; program notes; etc to help convey world to audience
|
|
|
three main genres of western theatre
|
history, tragedy, comedy
|
|
|
The Persians
|
first history play; about war heroes, not about mythical objects, emphasizes Greek as world power
|
|
|
Aeschylus
|
wrote the Persians
|
|
|
Medeival cycle plays/mystery plays
|
told story of the Bible from creation to doomsday
in marketplaces in normal clothes |
|
|
Tudor/Renaissance Plays
|
largely from shakespeare
|
|
|
Cycle vs. Tudor
|
Cycle; all time periods run together
Tudor; chronological; cause and effect |
|
|
Phyllis Rackin
|
history is worth passing down; move into time
|
|
|
Freddie Rokem
|
power of actor; acts as bridge between past and present
|
|
|
Christopher Marlowe
|
first Renaissance history playwright
Edward II |
|
|
Richard III
|
power of characterization
|
|
|
Henry 5
|
glorious Henry vs. Henry wanting to rape and kill babies and women
one play can show two distinct depictions |
|
|
Examples of Modern history plays that use historical setting to comment on modern politics
|
Camelot, the Crucible, the Lion in Winter
|
|
|
examples of modern history plays that have historical settings that are symbolic
|
The American Play
|
|
|
example of modern history play that are explorations of recent history
|
The Laramie Project
Zoot Suit |
|
|
Lynn Nottage
|
International Women; Ruined- focuses on lives of 3 diff women, sad but shines lights on invisinble areas
|
|
|
The Renaissance
|
rebirth of classical material
humanism- what will make a good citizen observation science and art Queen Elizabeth stabilized England "Golden Age" |
|
|
Professional Theatre Companies
|
commercial money making venture
|
|
|
William Kempe
|
first clown/fool character of Shakespeares- acrobat
|
|
|
WHAT genres were Shakespeares plays
|
histories, tragedies, comedies, romances
|
|
|
how many plays, sonnets and narratives did Shakespeare write
|
38 plays 154 sonnets 2 narratives
|
|
|
Quarto texts
|
compiled by people other than shakespeare
|
|
|
Folio texts
|
from shakespeare and publishers
|
|
|
Upstart Crow
|
shifted to theme of endearment
"who thinks he can come and write like this" referring to shakespeare |
|
|
Ben Johnson
|
popular playwright who focused on 16th century london; less specific
|
|
|
first and second and third renaissance theatre
|
The Red Lion
The Theatre- taken apart and crossed river and become The Globe |
|
|
galleries vs. pit
|
galleries; seating around theatre
pit- where poor would stand |
|
|
the heavens
|
partial roof over stage painted to look like heaven
|
|
|
the tiring house
|
permanent backdrop with two doors
|
|
|
prose
|
metaphors simlies, hyperboles, lists, puns, stichomuthia
|
|
|
stichomythia
|
quick dialogue between characters back and forth
|
|
|
three questions actors must know
|
who am i
where did i come from what do i want |
|
|
lititurgical drama
|
enacted by priests during catholic mass
|
|
|
Queen Quaertis
|
1st play ever in medeival europe
He is risen in latin |
|
|
why does theatre move out of church
|
people began to portray God and Jesus
|
|
|
Saints Plays
|
graphic; acts that lead to sainthood; not necessarily from bible; leads to developing playwrights
|
|
|
Morality plays and example
|
Everyman
allegory; illustrates importance of christian morals; leads to development of costume designers |
|
|
Miracle (passion) plays and example
|
last days of Jesus to crucifixion; development of special effects and better actors
Oberammergau |
|
|
Oberammergau
|
city hit hard by plague; perform play for God every 10 years; anti semitic once Hitler took over
|
|
|
Hrotsvitha
|
first person since ancient greece to write dramas for latin west; female nun; frightened kids into obeying; horrifying plays
|
|
|
mystery plays
|
way of accessing biblical stories perhaps for first time
|
|
|
guilds
|
beginning of labor unions; allowed sense of identity
|
