Thtr 3121 Drama I

Front 1

Thespis: (6th Century B.C.E.)

Back 1

• Thought of as first actor because he stepped out of the dithyrambic chorus &
took on the persona of a character.
(first hypocrite?-answerer)
• Tragic Playwright

Front 2

Aristotle: (384-322 B.C.E.)

Back 2

• Materialist philosopher
• The Poetics
o Main purpose: is to justify tragedy as legitimate form different from epic poems
• Is Aristotle talking about the tragedies we have? Or is he talking about “Old Tragedy”?
• Believed mimesis is how humans learn
• Thinks theatre can give pleasure & instruction
• 6 Elements of tragedy, tragic plot, tragic hero,

Front 3

Plato: (429-347 B.C.E.)

Back 3

• He was a Greek philosopher who wanted to explain the world around him.
• Idealist philosopher
• “Allegory of the cave” (from republic)
o Metaphor for how humans see “reality.”
o Ideal reality is objective but transcendent
o Material reality is a poor copy of ideal
o In that sense, theatre (mimesis) is a copy of a copy and therefor, bad.
o Also-poet is excluded form ideal city (they can arouse criticism of a ruler)

Front 4

Aeschylus: (490s B.C.E.)

Back 4

• 7 plays extant
• Widely regarded
• Introduced 2nd actor
• Ex: Orestia (only extant trilogy)

Front 5

Sophocles: (mid-to-late 400s)

Back 5

• 7 plays extant
• Introduced 3rd actor
• Altered choral structure
• Ex: Antigone & Oedipus the King

Front 6

Euripides: (late 400s)

Back 6

• Around 18 plays extant out of 90
• Then; not so popular. Now; pretty popular
• Wrote touchy subject matter for his time
• “Favorable depictions of women”
• Changes structure of tragedy, more adventurous
• Bacchae, Medea
• Only complete satyr play: The Cyclopes

Front 7

Aristophanes: (c. 448-380 B.C.E.)

Back 7

• Political satire
• Made fun of other people/playwrights
• Wrote against Pelopponesian War
• Became much less political after Athens sacked
• Ex: Lysistrata, Thesmophoriosuzae
• Established Old Comedy structure

Front 8

Menander: (342-291 B.C.E.)

Back 8

• Best-known Greek New Comedy playwright
• Ex: (Samia (The Girl From Samos), Aspis (The Shield), Epitrepontes
(The Men Who Went to Arbitration)
• It is believed that Menander’s plays were written in 5 acts and followed the
Aristotlean description of classical structure.
• The role of the chorus was greatly diminished in his works.

Front 9

Plautus

Back 9

• First Roman comic playwright
• Very popular during & after his time
• 130 works known, 21 extant
• Wrote for theatrical performance, not for literary merit
• Said to have copied Menander, but really he was very witty, wrote less pathos/
moral conundrums, and created the comic servant.
• Lots of music (up to 2/3 lines were accompanied by music)
• Plots are sometimes complex and sometimes excuses for slapstick comedies.
• Representative works:
o Menaechmi-source for Shakespeare’s Comedy of Errors
o Miles Cloriosus & Pseudolus-sources for A Funny Thing Happened on the Way to Forum

Front 10

Terence

Back 10

• Freed slave from Carthage?
• First Black playwright?
• Appears to have written only 6 plays; all survive
• Adapted from Greeks, but more complex than Plautus. He sometimes mixed
& matched Greek stories.
o Myth: NOT popular Truth: Popular
o Had prologues, not all for performance
• Instructions for actor-manager
• Defenses against rival playwrights’ attacks.
• Survived thanks to his fine writing

Front 11

Seneca

Back 11

• Known for Sententia-moral soundbites-in his plays
• BEST PLAYWRIGHT EVER IN ROME!
• Advisor to Caligula & Neru-crazy dictators, bad emperors.
• 9 plays survive: Oedipus, Medea, Phaedra, Thyestes, etc.
• The most influential playwright for the Elizabethan era
• First (and for a time only) classical author translated & published in his entirety
• Influences on Renaissance
o Division into 5 acts
o Elaborate, forensic speech
o Morality!
o Extremes of uncontrolled behavior
o Scenes of violence & horror
o Preoccupation with magic, death, & supernatural
o Technical devices like asides, soliloquies, confidants.

Front 12

Kan’ami

Back 12

• created for coming up with No (Noh) form
• 1300s
• Japanese

Front 13

Zeami

Back 13

• Prefected No (Noh)
• Kan’ami’s son
• 1300s
• Japanese

Front 14

Chikamatsu Monzaemon

Back 14

• Most famous playwright in Kabuki
• 1600s
• Japanese
• wrote both Kabuki and Bunraku plays
• crossed adapted plots form one to the other

Front 15

Okuni

Back 15

• Priestess/courtesan who preformed Kabuki
• 1600s
• Japanese
• prostitutes advertised services through bawdy plots

Front 16

Tertullian

Back 16

• said theatre was bad because it degraded Christians and promoted false gods
• late 100s
• Roman Empire

Front 17

St. Augustine

Back 17

• 400s
• wrote “City of God”
• said theatre was bad put Christians in bad light

Front 18

Hrosvitha

Back 18

• Canoness, not a nun
• 935-1001
• wrote 7 dramas- all in response to Terence’s 7 surviving plays
• importance of Chastity

Front 19

Hildegard von Bingen

Back 19

• 1100s
• Christian mystic, saw visions
• created Ordo Virutum- The play of Virtues
• psychomachis

Front 20

Horace

Back 20

• A poet famous for his lyrical poetry
• The Satires and The Epodes
• The Art of Poetry.
• He focused on rules when it came to drama, one of which
was carries into the Renaissance and
that is that the purpose of drama is to “profit and to please”.
Also carried to the Renaissance was decorum: the idea that the
language and action of characters must fit
traditional ideas of suitable behavior for
their age, gender, social status, and emotional state.

Front 21

Bharata Muni

Back 21

• an ancient Indian musicologist who authored the Natya Shastra,
• a theoretical treatise on ancient Indian dramaturgy and histrionics, dated to between roughly 400 BC and 200 BC.

Front 22

Bhasa

Back 22

Classical India The most productive playwright of classical India

Front 23

Sudraka

Back 23

Classical India Wrote The Little clay Cart

Front 24

Kalid

Back 24

Classical India Wrote The Little clay Cart asa –
Classical India Wrote the master play Shakuntala.

Front 25

Kan ‘ami

Back 25

An actor and a playwright, who wrote Sotoba Komachi (Komachi at the Stupa)

Front 26

Chikamatsu Monzaemon

Back 26

•First important Japanese dramatist since No.
•His most famous history play is The Battles of
Coxinga and his domestic dramas include:
The Love Suicides at Sonezaki, The Uprooted
Pine, The Courier for Hell, The Woman Killer
and the Hell of Oil, and The Love Suicides at
Amijima

Front 27

Okuni

Back 27

A Shinto priestess responsible for developing Kabuki by dancing on a temporary stage set up in the dry bed of the Kamo River in Kyoto

Front 28

Hrosvitha

Back 28

• Earliest known female dramatist. Middle Ages. Plays: Paphnutius, Abraham, Dulcitius, Gallicanus, Callimachus, and Sapienta.

Front 29

Hildegard von Bingen

Back 29

• Middle Ages. German nun.
• Wrote musical plays.
• Liturgical songs accompanied by text, performed on religious days. Also wrote Latin play Ordo Virtutum (Play of Virtues)

Front 30

Han Sachs

Back 30

16th century, medieval, German, farce, The Wandering Scholar from Paradise

Front 31

Ars Poetica

Back 31

Written by Horace, a poet not a playwright.
• Not affective in his own time; very influential later on
• Don’t mix comedy and tragedy
• Five actrs
• Purpose of drama: to teach and to please
• Unity, grace
• Decorum – proper behavior for classes of people

Front 32

Oresteia

Back 32

a trilogy of Greek tragedies written by Aeschylus
which concerns the end of the curse on the
House of Atreus. When originally performed it
was accompanied by Proteus, a satyr play that
would have been performed following the trilogy;
it has not survived. The term “Oresteia” originally
probably referred to all four plays, but today is
generally used to designate only the surviving
trilogy.

Front 33

Ordo Virtutum

Back 33

– (The Play of Virtues)
• created by Hilegard von Bingen in the 1100s
• Psychomachia: battle between allegorical vices and virtues
• Definitely performed, though was it dramatic?
• Music still exists today
• Seen as precursor to morality plays

Front 34

Quem Quaeritis

Back 34

– (“Whome do you seek?”)
• Possible background of Cycle Plays
• trope in 900s
• liturgical drama that possibly led to cycle plays / mystery plays

Front 35

Regularis Concordia

Back 35

– (“Monastic Agreement”) of 965-975
• Possible background of Cycle Plays
• a how-to guide for monks. Laid out strict orders for days
• created Visitatio Sepulchri

Front 36

Visitatio Sepulchri

Back 36

– created by Regularis Concordia
• Possible background of Cycle Plays
• (Visit to the Tomb)
• scene out of Quem Quaeritis in late 900s
• the scene appears to be mimetic (and therefore theatrical)
• increasingly elaborate staging of this and other scenes

Front 37

Jeu d’Adam

Back 37

(Play of Adam) – in 1100s France
• Possible background of Cycle Plays
• Staged on doorway of church
• Stage directions in Latin
• Dialogue in French

Front 38

The Peony Pavillion

Back 38

– a play written by Tang Xianzu in the Ming Dynasty
and first performed in 1598 at the Pavilion of
Prince Teng. One of Tang’s “Four Dreams.”
It is by far the most popular play of the Ming Dynasty.

Front 39

The Little Clay Cart

Back 39

a prakarana by Suraka

Front 40

Sakuntala and the Ring of Recognition

Back 40

– a nataka by Kalidasa
• the best-known Sanskrit drama
• widely considered a masterpiece
• based on an episode from the Mahabharata

Front 41

Oberammergau Passion Play

Back 41

• Current cycle play
• A passion play performed since 1634 as a tradition by the inhabitants of the village of Oberammergau, Bavaria, Germany

Front 42

Natyasastra

Back 42

– an ancient Indian treatise on the performing
arts, encompassing theatre, dance, and music.
It was written during the period between 200 BC
and 200 AD in classical India and is traditionally
attributed to the Sage Bharata. While it primarily
deals with stagecraft, it has come to influence
music, classical, Indian dance, and literature as
well. It covers stage design, music, dance,
makeup, and virtually every other aspect of
stagecraft. It is very important to the history
of Indian classical music because it is the only
text which gives such detail about the music
and instruments of the period. Thus, an
argument can be made that it is the foundation
of the fine arts in India.

Front 43

Satyr Play

Back 43

chorus of satyrs, poked fun at gods, licentious
• ex: Cyclopes by Euripides

Front 44

Dithyramb

Back 44

choral dance hymns to Dionysus
• had political element – 10 tribes of Athens

Front 45

Greek Old Comedy

Back 45

• 400s
• Aristophanes
o Political satire
o Made fun of other persons/playwrights
o Wrote against war
o Became less political in his later years
o Example play: Lysistrata
• Old comedy structure
o Prologue – sets forth “happy idea”
o Agon – argument by a character and chorus that expresses a point of view about the happy idea
o Parabasis – divides play in two; chorus addresses audience, often to critique them
o Series of scenes that explore application of happy idea
o Komos – reconciliation scene and restoration of previous order

Front 46

Greek New Comedy – Menander (300s-)

Back 46

• Domestic, sit-com-ish
• Chorus has little to do with plot
• Stock characters – broad character types
• Very popular, second only to Homer at the time
• Copied by Roman playwrights Plautus and Terence
• Example: The Grouch by Menander

Front 47

Greek Tragedy

Back 47

• Tragedy structure
o Prologue – introduction/exposition
o Parados – entrance of chorus
o Several episodes/stasimon exchanges
• Episode – action of play (several episodes)
• Stasima – singular stasimon; choral dance / odes between episodes
o Exodus – conclusion
• Rules of thumb for Greek tragedies
o Mostly sung chanted (with dancing)
o Two to three main actors with a chorus
o Long speeches / songs mixed with scenes of stichomythia (quick, back and forth dialogue)
o Late point of attack
o Violence offstage
o Continuous action
o Occurs in single place
o Based on myth

Front 48

Greek mime (phylakes)

Back 48

• included women
• probably first professional actors
• jack of all trades performers: singers, skit players, acrobats, etc
• ill repute

Front 49

Atellan Farce (fabula atellana)

Back 49

• short, mostly improvised
• lowbrow humor, mostly about rural life
• often appeared as after-pieces
• appeared in 400s BCE (influenced by Greek mime?)
• written down in 0s BCE
• four stock characters
o braggart
o comic old man
o gluttonous fool
o hunchback
• disappeared around 0s BCE as Roman mime took over

Front 50

Roman Mime (fabula ricinata)

Back 50

• seems to be a can’t-fit-it-anywhere else performance
• very popular with common folk
• form
o could be serious or comic
o mostly short, though it could be elaborate
o lots of sex, nudity, and violence
o mime troups did acrobatics
• history
o first evidence in 200s BCE
o gains popularity (even written down) until Empire
o often made fun of Christians, public officials
o often overtly pornographic
o dissipates along with Roman Empire as Christians hated it
o key historical points
• emperor Heliogalabus ordered live sex acts as part of performance
• Emperor Justinian married mime actress Theodora in 500s CE

Front 51

Roman Pantomime (fabula sattica)

Back 51

• solo performance – storytelling through movement – with a chorus singing / chanting explanatory text
• performers wore masks
• usually dealt with historic or mythic themes
• could be comic or serious, though serious became most popular
• history
o known in Greece during 400s
o rose in popularity
o probably supplanted regular tragic performances by 0s
• often cited as precursor to ballet

Front 52

Roman Comedy-

Back 52

(Roman subject comedy in notes)
not as popular
only 3 playwrights we know of
no works survived

Front 53

Roman Tragedy

Back 53

fabula praetexta
possibly celebratory declamations or pageants staged at festivals
not necessarily tragic
only one known play: Octavia
thought to be by Seneca
Seneca as a character, along w/ Nero
Probably written after Seneca and Nero died

Front 54

Naumachinae

Back 54

form of Roman entertainment
• sea battles

Front 55

Venationes

Back 55

– form of Roman entertainment
• wild animal fights

Front 56

Nataka

Back 56

well-known story of heroism and love
• epic heroes
• “fairy-tale” mix of supernatural and domestic

Front 57

Prakarana

Back 57

invented story of love between merchants and courtesans

Front 58

No (or Noh)

Back 58

History
o Innovated (?) by Kariami in late 1300s
o Really innovated (?) / perfected by Zeami
o Combined elements of dance, storytelling, and Zen Buddhist principles
Structure
o Plays tend to involve characters (ghosts, demons, gods, people)
whose souls cannot rest because they are still attached to desire
o Character roles
Shite (“doer”) – usually masked character in need of letting go; often undergoes transformation / transfiguration
Maeshite – pre-transformation shite
Nochijite – post-transformation shite
Waki (“sideman”) – unmasked character who guides shite into realization
(Tsure – secondary lead role, also masked)
chorus members (onstage all the time with musicians)
miscellaneous actors (children; kyogen actors)
o about 240 plays in canon (out of 1-3,000 or so) style of performance much changed from Zeami’s time

Front 59

Kyogen

Back 59

unmasked actors; comedic skits in between acts of Noh plays

Front 60

Zaju-

Back 60

Form
4 acts w/ 1 or 2 wedges (prologues/interludes)
songs sung by protagonist
music didn’t survive, some lyrics survived
one mode of song per act
story covers months-years
poetic justice usually prevails
Performance conventions
simple stage
colorful costumes; stylized makeup
male and female actors played both sexes
mo- male; dan- female; jing- villain; chou- clown
The Orphan of Zhao (Chi Chun-hsiang)
Snow in Midsummer (Guan)
Romance of the Western Chamber (Wang Shifu)
The Story of the Chalk Circle (Li Hsing-tao)

Front 61

Kutiyattam

Back 61

related form of Sanskrit
comb. Of dance and drama
visual sacrifice to the gods, not a commercial venture
performed only in particular shrines in one part of India (Kerala)
adaptions of some Sanskrit plays
typically perform only one or two acts from a play

Front 62

Ramlila

Back 62

- devotional drama form
starts basically in 1600s
long month of pageants, chants, parades
re-enacting life of Ram
ends with burning an effigy of a demon
very popular- in everyday language

Front 63

Wayang Kulit-

Back 63

- Indonesian (Javanese/Balinese) Shadow Puppet Drama
o est. by 1000 CE
o intricate puppet cut-outs
o performed by one person (dalang) accmp. By musicians
o performed at night (~8:30-dawn)
o situation
o intrigue
o hero appears
o battle (3 am)
o triumph of hero
o audience sits on both sides of screen

Front 64

Marvel Drama (chuanqui)

Back 64

later southern form of zaju (mid 1300s)
o longer and more complex
o popular play: Lute Song by Gao Ming

Front 65

Ming Dynasty Drama-

Back 65

1600s Ming alters southern form (kunqu)
o The Peony Pavillion (55 acts; by Hsien-tsu)

Front 66

Cycle plays (AKA mystery plays)- 1200s?-1500s

Back 66

Possible backgrounds
o Liturgical drama
o From processions
o Cycles
o Diff guild take diff sections
o Some evidence of women acting
o English- several extant cycles
o York- (late 1300s) 48 parts
o Chester- 24 parts
o Towneley (Wakefield)- 32 pts, lots of masterful revisions
o N____-Town- 42 pts, unusual subject matter
o Bits of other plays (mybe cycles, maybe not)
o Current: Oberammergau Passion Play
o Cycle plays became racy in parts
o Processional staging
o Pageant wagons
o True processional; stop-and-go; audience processional
o Stationary staging
o Mansion- set structures tied down to particular locale
o Platea- neutral space in front of mansions

Front 67

Morality Plays- (late medieval)

Back 67

o Allegorical plays in which an everyman character must chose btwn good and evil
o Presence of pagan elements (backbiter- devil character; demons)
o Increase of pagan elements and racy parts leads church to resist morality and cycle plays
o Ex. Everyman
o Castle of Perseverance

Front 68

Miracle Plays

Back 68

Apocryphal events and marvels
o Ex: Croxton Play of the Sacrament (1400s/1500s)

Front 69

Kabuki

Back 69

• gains in popularity through 1600s, hiccups in 1700s, then regains in 1800s
• most famous playwright of 1600s: Chikamatsu Monzaemon
• stage
o lots of machinery (traps, turntables, etc) for special effects
o lots of scenery (usually painted flat)
o Hanamichi – bridge out into audience
• Character types
o Loyal, good, courageous men
o Villanous men
o Comic roles
o Children’s roles
o Onnagata – men playing women in white face and rouge
• Acting styles
o Elaborate costumes
o No masks – but often patterened makeup
o Emblematic props – simple prop used to mean stand for a number of things
o Movement – stylized
• Kata – movement forms, building blocks / vocab for movement
• Ma – pauses between movements
• Mie – extreme, expressive pose at the climax of a series of kata and ma
• Structure
o Four performers in a program
• Historical play glorifying samurai
• Dance
• Domestic drama
• One-act dance drama (often humorous)
o 18 and 19 centuries – 12 hour performances
o now shortened (selections from dramas), but still with 4 forms

Front 70

Bunraku (aka Ningyo Joruri Bunraku)

Back 70

• 1590s: court story song chanters joined puppeteers
• performers
o puppeteers (Ningyotsukai)
• first one, now three
• foot controller
• left arm controller
• head and right arm controller
• most experienced
• only one fully seen
o chanters: Tayu
• performs / recites all dialogue
• expresses all vocal emotions
• different chanters assigned different scenes
o shamisen player
• structure
o history play
• five acts
• 8-10 hours
• each act divided into 3 scenes
• climax scene is Act 3, scene 3
o domestic play: followed history play
• three acts
• now considered the more interesting form

Front 71

Chambers of Rhetoric (Netherlands, 1500s)

Back 71

• philosophical question posed to learn societies (ex: “What is the greatest consolation to a person who is dying?”)
• societies would each devise allegorical dramas to answer the question
• dramas staged on two-story stage
• best drama won a prize (given by “Lady Wisdom”)
• could be very elaborate

Front 72

Mummings (mummers plays)

Back 72

based on earlier “Morris Dances” (sword dances with costumes)
•standard plot: a character dies and a doctor brings him back
•standard characters: father Christmas, clown, fool, Hobby horse, Maid Marion
(man in drag), St. George,
a dragon

Front 73

Disguisings

Back 73

• general name for costumed playlets
• could be for commoners, but later just for royal events / tournaments
• royal versions are elaborate, allegorical, tailored to praise a single personage

Front 74

Royal Entries (1200s into Renaissance)

Back 74

• elaborate processionals through towns
• often included playlets or tableaux vivants
• basically cycle play processionals except w/ secular/royal emphasis

Front 75

Sermon Joyeaux

Back 75

• parody sermons by parody priests
• Feast of Fools type event
• Done by secular societies in France

Front 76

Sotties

Back 76

form of farce in 1400s-1500s
• political satire; all characters in it are fools
• Feast of Fools type event
• Done by secular societies in France

Front 77

Feast of Fools (high middle ages)

Back 77

• inversion of status: lesser clergy could ridicule superiors
• ringing bells improperly, singing out of tune, using food or shoes as censers
• “Bishop Fool” presided over things

Front 78

Epistemology

Back 78

– how do we know what we know?

Front 79

Discursive Truth

Back 79

• discourse – ongoing conversations that construct the objects of which they speak
• truth = ever-changing cultural consensus
o some people/groups/forces influence or dominate that consensus
o others resist or contest that consensus
o there are always influences and resistances in discourse
• also – “truth” changes over long periods, not day-to-day
o any cultural truth feels objective when you’re in the middle of it, but…
o a wider view; many truths change over time or across spaces

Front 80

“Tragedy” (Aristotle)

Back 80

• wrote about it in The Poetics
• tragedy has 6 elements
o plot – most important; arranged events
o character
o thought (or theme)
o diction (or language)
o music (or song)
o spectacle
• tragic plot
o has anagnosis (recognition)
o has peripeteia (reversal of fortune)
o inspires pity and fear
o involves katharsis (purgation)
• who gets purged? Character? Actor? Audience?
• Tragic Hero
o Upper-class
• Very important: tragedy = upper class; comedy = lower class
o Neither too good nor too bad
o Harmartia (mistake, flaw): not wickedness, not sin, but a “missing the mark,” a bum rap
o Remember big question:
• Lots of Greek tragedies have no “tragic hero”
• Lots of Greek tragedies don’t seem to fit Aristotle’s Poetics

Front 81

City Dionysia

Back 81

This festival was held about three months after the rural Dionysia, during the month of Elaphebolion (corresponding to the end of March and the beginning of April), probably to celebrate the end of winter and the harvesting of the year’s crops

Front 82

Ludi

Back 82

public games held for the benefit and entertainment of the Roman people. They were held in conjunction with, or sometimes as the major feature of Roman religious festivals.

Front 83

Tetrology

Back 83

a group of three tragedies followed by a satyr play

Front 84

Hypokrite

Back 84

means answers in Greek. Thestis was the first one. It is the answerer to the chorus.

Front 85

Peripetea – reversal of fortune

Back 85

reversal of fortune

Front 86

Anagnorisis

Back 86

recognition

Front 87

Hamartia

Back 87

– mistake, flaw. Not wickedness, not sin, but a “missing the mark,” a bum rap

Front 88

Katharsis

Back 88

purgation

Front 89

Rasa

Back 89

major emotional flavor or sentiment in audience

Front 90

Santarasa

Back 90

– wholeness, unity, peace

Front 91

Bhava

Back 91

actions used to express the rasas. There are 8. A bhava for each rasa. Expressions of emotional state.

Front 92

Sudtradhara

Back 92

actor manager involved in all productions that a troupe does

Front 93

Sahrdayatva

Back 93

with-heartedness. Describes trained / specialized audience members that attend Sanskrit drama

Front 94

Mudra

Back 94

conventional gestures

Front 95

Shite

Back 95

• “doer” in Noh theatre
• usually masked-character in need of letting go; often undergoes transformation / transfiguration
o maeshite: pre-transformation shite
o nochijite: post-transformation shite

Front 96

Waki

Back 96

• “sideman” in Noh theatre
• unmasked character who guides shite into realization

Front 97

Yugen

Back 97

• Noh theatre
• “gentle gracefulness” or “subtle mystery”
• mysterious beauty of impermanence that combines elegance with an awareness of fragility

Front 98

Onnagata

Back 98

men playing women in white face and rouge in Kabuki theatre

Front 99

Kata

Back 99

– movement forms, building blocks/vocabulary of movement in Kabuki theatre

Front 100

Ma

Back 100

– pauses between movements in Kabuki theatre

Front 101

Mie

Back 101

extreme, expressive pose at the climax of a series of kata and ma in Kabuki theatre

Front 102

Tayu

Back 102

– the highest class of female entertainers in Noh and Kabuki theatre

Front 103

Hanamichi

Back 103

bridge out into audience in Kabuki theatre

Front 104

Hashigakiri

Back 104

– the name for the bridge-like section in Noh theatre connecting the main stage protruding into the kensho and connecting the stage with Nagami No Ma.

Front 105

Mansion (or loci or scaffold)

Back 105

• set structures tied down to a particular locale
o often contained special effects
o most common: heaven and the Hellmouth
o used throughout cycle and morality plays

Front 106

Platea (or place):

Back 106

• neutral space in front of mansions
• it became wherever the scene required
• used throughout cycle and morality plays

Front 107

Stock character

Back 107

• in Atellan Farce
• Four stock characters
o Braggart (Bucco)
o Comic old man (Poppas)
o Gluttonous fool (Maccus)
o Hunchback (Dossenus)

Front 108

Psychomachia

Back 108

battle between allegorical vices and virtues in Ordo Virtutum

Front 109

Pageant wagons

Back 109

• Processional staging in England of Cycle Plays

Front 110

Feast of Corpus Christi

Back 110

• possible background of Cycle Plays
• including procession

Front 111

Fourth Lateran Council of 1215

Back 111

• possible background of Cycle Plays
• transubstantiation

Front 112

Six elements of Drama (Aristotle)

Back 112

• plot – most important; arranged events
• character
• thought (or theme)
• diction (or language)
• music (or song)
• spectacle