Thtr 201

Front 1

o The Worshipful Director’s Approach

Back 1

 Playwright centered, believes that nothing should stand in the way of the script as the playwright wrote it
 It is considered betrayal to the play if you go off script

Front 2

o The Heretical Director’s Approach

Back 2

 Director- centered rather than text- centered; puts director on a par with the playwright
 Believes the author’s script is only the beginning of a new theatrical experience
 Playwrights words are the least important feature of the director- centered production

Front 3

o A Continuum

Back 3

 Best of both worlds, unobtrusively blend elements of both directorial approaches

Front 4

• “Concept" for a Play & How it is Developed

Back 4

o A vision is what the playwright had in mind when reading/ writing the play
o Developed through:
 Interpreting the play
 Creating the production
 Developing a ground plan
 Staging the production

Front 5

o First rehearsal: The Read- Through

Back 5

 Cast gathers, director breaks ice between strangers, moving towards cohesion
 Director discusses the play, general ideas and overall direction,
 Designers asked to show and discuss models/ sketches
 Practical matters are gotten out of the way
 The play is read, this is often called “table work”

Front 6

o Rehearsal By Units

Back 6

 French scenes- between the entrance and the exit of major characters
 Scenes- between curtains of blackouts
 Beats or Units- between the initiation and the end of an objective

Front 7

o Run- Throughs

Back 7

 Rehearsal of an entire act or an entire play; gives the director insight into the large movements and progressions of the play
 More and more run-throughs are held the closer to performance they get

Front 8

o Technical and Dress Rehearsals

Back 8

 Technical Rehearsals- integration of lights, costumes, sounds, and scenery into the performance
 Dress Rehearsals- incorporate costumes into the other technical elements, and final dress rehearsals are virtually performances

Front 9

o Opening

Back 9

 Polishing rehearsals may be called after opening night if need be
 Director no longer has control; in the hands of actors/ stage manager

Front 10

• Staging and Composition principles used by director

Back 10

o Picturization- storytelling aspect of staging
o Composition- technical aspect of blocking that leads the audience to see clearly what the director believes is important

o Rhythm- result of repetition at regular intervals

Front 11

• Duke of Saxe Meiningen

Back 11

o German who was cited as the first modern director
o Originally very rich, and had a lot of time to put into plays

Front 12

• Theatre Designer

Back 12

o Creates a performing space for the actors and a physical environment for the play’s action (setting)
o In charge of props for the actors

Front 13

• Design Process

Back 13

o World of the Play
o Tone and Mood
o Level of Abstraction
o Historical Period
o Geographical Place
o Socioeconomic Circumstances
o Aesthetic Effect

Front 14

• Technical Roles Associated with Theatre

Back 14

o Scene Design- physical world of the play
o Costume Design- the outward sign of the character
o Properties Design- Link between physical world of the play and the actor
o Lighting Design- Sound & light are the most evocative of the design disciplines

Front 15

• “Evocative Nature” of Light and Sound Design

Back 15

o Light affects the mood and theme of the play
o Sound designer can assist in creating the world of the play

Front 16

• Difference Between Western and Ritual Theatre

Back 16

o Western: Art, audiences observe, malleable presentation space, realistic representation, and teach entertain $$$
o Ritual: Community, Group participation, static presentation space, non-realistic representation, and heal honor mourn

Front 17

• How Masks Assist in Communicating Character

Back 17

o Character IS the mask, and its spirit, or essence, is contained within the mask
o Communication is through the mask

Front 18

• Para-theatrical Form

Back 18

o Some say it isn’t quite theatre, but is an off form of theatre
o Storytelling- Griots of Africa
o Cultural Transmission- pantomime, song, dance
o Dance- narrative, elaborate costumes, masks
o Puppet Theatre (Bunraku)

Front 19

• Characteristics of Eastern Theatre

Back 19

o Highly stylized, dancelike movements
o Non-realistic make-up or masks
o Years of training is needed to master
o Very precise techniques and forms required for presentation

Front 20

o What is the difference between professional and non‐professional (amateur) theatre?
Professional

Back 20

BROADWAY–NYC Theatres of >500 seats loosely defined by: 1) expectations of the audience 2) high quality of performance 3) advanced degree of spectacle 4) high risk or reward for investors [commercially driven] 5) union labor
ROAD SHOWS, or TOURS
OFF-BROADWAY
REGIONAL THEATRE

Front 21

Non-Professional

Back 21

Educational Theatre
Academic institutions producing theatre as a laboratory experience
Not-for-profit local groups producing theatre for community enrichment
Theatre for Young Audiences (Children’s Theatre or Youth Theatre)
Political or Special Interest Theatre

Front 22

o What is meant by Broadway theatre? Off‐Broadway? Off‐Off Broadway?
Broadway Theatre

Back 22

An area of New York where most of New York’s commercial theatres are located
Theatres of >500 seats loosely defined by:
1) expectations of the audience 2) high quality of performance 3) advanced degree of spectacle 4) high risk or reward for investors [commercially driven] 5) union labor
Broadway shows may also open on the road (out of town) before going to NYC, and they may tour after

Front 23

Off Broadway

Back 23

Still located in Manhattan, Off-Broadway theatres are defined more by mission and level of craft rather than by location
100-499 seats, providing an intimate space
An “incubator” for new works and talent
Lower ticket prices and corresponding lower production values, though still union stages
Home to serious drama, revivals from classical repertory, and original plays
Off-Broadway successes may transfer to Broadway

Front 24

Off-Off Broadway

Back 24

Artistic rather than commercial
Both professional and amateur companies
Often controversial and/or innovative material or styles
Experimental and often social/political subject matter

Front 25

o Can you explain the differences between commercial and not‐for‐profit theatre?
Not-For-Profit

Back 25

Provides the overwhelming majority of professional employment in theatre across the United States – much more than New York
Though they provide employment for their employees, these theatres do not have investors and therefore do not need to generate a profit – thus “not-for-profit”
the event is created to serve the art form, to pay the company, and to serve the community (example: Indiana Repertory Theatre)

Front 26

Commercial

Back 26

Independent productions that receive little to no government subsidy

Front 27

o What is the difference between a producer and an artistic director?
Producer

Back 27

Then the producer raises enough money to pay for the project. Some producers use their own money, but many find investors who are willing to risk their money on the project.
The producer usually hires a director who makes most of the artistic and day-today decisions on the project. Nevertheless, it is the producer—the one who controls the money—who makes all the final decisions.

Front 28

Artistic Director

Back 28

The artistic director is very similar to a commercial producer, but with supervision of the artistic qualities of an entire season at a given theatre, such as a regional theatres/not-for- profit theatres
Raises money
Picks season (with Managing Director)
Hires personnel
Oversees quality of productions

Front 29

o How are labor unions involved in presenting professional theatre?
PROS

Back 29

Salary standards
Contract negotiation
Housing
Transportation

Front 30

o How are labor unions involved in presenting professional theatre?
CONS

Back 30

Hard to become a member
Dues are expensive
Catch-22: members can only work at union theatres

Front 31

AEA – Actors’ Equity Association

Back 31

Labor union representing over 49,000 American actors and stage managers working in the professional theatre. Negotiates minimum wages and working conditions, administers contracts, and enforces the provisions with theatrical employers. Actors cast in an Equity role must apply.

Front 32

USA – United Scenic Artists

Back 32

Represents artists, designers, stylists, sculptors, craftspeople. Membership requires an exam and portfolio review.

Front 33

SDC – Stage Directors and Choreographers

Back 33

Independent labor union for directors and choreographers. Bargains with producer organizations, creating national standards for professional stage direction/choreography. To qualify for union, must provide proof of professional credits.

Front 34

o What is a playwright?
Playwrights

Back 34

Playwright (the noun) is spelled like wheelwright and implies CREATION: making something exist where nothing existed before
Playwriting is both an art and a craft, using skill and talent to create something that functions and also has beauty. (Note spelling of verb!)

Front 35

o What is the difference between ordinary language and dramatic dialogue?
Ordinary>
Dramatic>

Back 35

Cat on a Hot Tin Roof is a play by Tennessee Williams.
One of Williams' best-known works, the play won the Pulitzer Prize for Drama in 1955.
Set in a plantation home in the Mississippi Delta, the play examines the disfunctional relationships within a family in extreme crisis.
The short exchange we will study today is between the character of Big Daddy Pollitt and his alcoholic son, Brick (who has recently injured his leg and requires a crutch to walk).
-Self explanatory, remember this example from class and how different tones affect how the audience interprets the scene

Front 36

o How does a playwright create and develop play?

Back 36

Genesis (might be a story, a person, and idea, language, situation, or history)
See your chapter for more details!
Situation
Tone
Plot
Form
Dialogue
Drafts/Reworking
Practicalities
Write what you know
Write for your own time
Include conflict
Write action (doing) not speeches
Write for actors, not armchair readers
Be passionate, not timid; truthful, not nice

Front 37

o How do playwrights make money?

Back 37

Catalogs—each play service publishes play catalogs for theatres, giving your play a chance for further production
Performance rights: the play service manages “rights” to perform the play; theatres contact the service to obtain a contract
Royalties: the playwright gets a “cut” or percentage of fees. Do not expect much!
Copyright: Anyone can copyright his/her own work through the Library of Congress