Td 301 Test #1

Front 1

A ceremony, often religious, that expresses community values or beliefs.

Example: Kachina cycle of the Hopi

Back 1

Dramatic/Community Ritual

Front 2

Developed in associated with religious festivals

Back 2

Greek theatre & Medieval Cycles

Front 3

A religious event

Back 3

Kachina Cycle of the Hopi

Front 4

closely connected to the religious and political life of the community

Back 4

Greek Theatre

Front 5

Elements of dramatic construction & performance accepted by theatre practitioners & audience members in a given community that facilitate the presentation of plays

Back 5

Theatrical Conventions

Front 6

Death Cart

Back 6

Ekkyklema

Front 7

Productions were community efforts which communicated the stories of the Bible to a largely illiterate public

Back 7

Medieval Mystery Cyles

Front 8

The artistic expression formulated over many years that has precise meaning for a particular community

Back 8

Community Aesthetics

Front 9

Tells a story through a sequence of connected parts or episodes (symmetry, special effects).

Back 9

Episodic format

Front 10

Secular (nonreligious) forms of theatre produced by professional theatre practitioners

Back 10

Beijing Opera and Elizabethan Theatre

Front 11

Plays focused on the complexity of human motivation

Back 11

Elizabethan Theatre

Front 12

According to Cassidy this playwright’s works and performances are often misinterpreted as lofty, proper, and solely for the upper class

Back 12

Shakespeare

Front 13

The combination of expressive choices made by the playwright, director, designers, and actors that construct the world of the play

Back 13

Style

Front 14

Theatre that seeks to give the appearance of everyday life

Back 14

Realism

Front 15

An imaginary wall enclosing the space of the stage; a convention of realism. The actors perform as though the audience is not there.

Back 15

4th Wall

Front 16

Realism that is heightened through symbols, the selection of details, and eloquent language

Back 16

Poetic Realism

Front 17

An internal approach to acting used in the U.S. that was influenced by the work of Konstantin Stanislavsky

Back 17

Method Acting

Front 18

Everyday speech

Back 18

Vernacular

Front 19

Norwegian playwright who wrote about very contemporary subjects.

Wrote A Doll's House

Back 19

Henrik Isben

Front 20

Swedish playwright who wrote about love-hate relationships among couples.

Wrote Miss Julie.

Back 20

August Strindberg

Front 21

Russian playwright who used little action and worked with Konstantin Stanislavsky.

Wrote The Cherry Orchard

Back 21

Anton Chekhov

Front 22

American playwright who wrote about the morality of characters and details of their lives.

Wrote The Children's hour

Back 22

Lillian Hellman

Front 23

American playwright who used poetic realism

Wrote A Streetcar named desire

Back 23

Tennessee Williams

Front 24

American playwright who used poetic realism.

Wrote Death of Salesman

Back 24

Arther Miller

Front 25

Exchange between cultures

Back 25

Acculturation

Front 26

Participating in a different culture's customs and tradtions. Adopting them as your own

Back 26

Assimilation

Front 27

Performer dressed in black (with a hood) who changes props & scenery and helps actors with onstage costume changes. Convention of Kabuki theatre

Back 27

Kuroko

Front 28

Works of this playwright reflect her own life experiences

Back 28

Wakako Yamauchi

Front 29

L.A. based theatre formed to provide opportunities for Asian American theatre practitioners

Back 29

East West Players

Front 30

Color-blind casting

Back 30

Nontraditional casting

Front 31

Relying on generalizations or stereotypical notions of a character's appearance when choosing actors

Back 31

Type Casting

Front 32

The arrangement of characters on stage to communicate character relationships

Back 32

Stage Pictures

Front 33

Using or creating a text to support their own vision

Back 33

Auteur directors

Front 34

Jerzy Grotowski’s kind of theatre, which uses only materials necessary to extend the the expression of the actor

Back 34

Poor theatre

Front 35

Goal to lift the audience into an otherworldly experience

Back 35

Ping Chong

Front 36

A style of play writing or theatrical production that makes bold use of the resources of theatre. Nonrealism

Back 36

Theatricalism

Front 37

Creates a complete realistic illusion

Back 37

Representational Realism

Front 38

Makes obvious use of the theater's resources

Back 38

Presentational Theatricalism

Front 39

Critique of capitalism arguing that it disempowers the worker by alienating them from the products and benefits of their labor

Back 39

Marxism

Front 40

Developed his theory of Epic Theatre

Back 40

Bertolt Brecht

Front 41

Goal is to strategically & periodically disrupt the audience's emotional connection to engage them critically. Not simply alienation

Back 41

V-Effect

Front 42

This style features common people as characters, stories about everyday life, and maintains the 4th wall

Back 42

Realism

Front 43

This playwright and director adapted poems into a play we have read

Back 43

Mary Zimmerman

Front 44

This production used music, commonly broke the forth wall, and its characters played multiple roles

Back 44

Threepenny Opera

Front 45

When the cast reads the play aloud, usually as the first thing done in the rehearsal process

Back 45

Read Through

Front 46

This play Uses both fictional characters and representation of real people

Back 46

Angels in America

Front 47

Example of men in tights video clip

Back 47

Theatricalism

Front 48

Outside in

Back 48

External Acting approach

Front 49

Bertolt Brecht’s theatre is in this style, but not all theatre in this style follow Brecht’s ideas

Back 49

Theatricalism

Front 50

We talked about this play as featuring examples of assimilation and acculturation

Back 50

And the Soul Shall Dance

Front 51

looked at 3 examples of this play for example of directing

Back 51

Hamlet

Front 52

Began as a student production

Back 52

Metamorphoses

Front 53

When an actor's gender, sex, race, and/or ethnicity is not that of the character

Back 53

Cross-gender Castings and/or nontraditional casting

Front 54

claim space, identity, and the right to represent ones’ self and ones’ history. resistance and advocacy

Back 54

Political Project

Front 55

humor as a mode of survival in a hostile world. incongruity, theatricality, and exaggeration.

Back 55

Camp

Front 56

based on psychological investigation of the character and actor identification with the character.

Stan the Man uses this approach

Back 56

Internal Acting Approach (inside-out)

Front 57

beings with text and movement

Back 57

External Acting Approach (outside-in)

Front 58

distinct gender roles

Back 58

Pas de Deux