Theatre 2100H Midterm

Front 1

arouse emotions

produce long lasting intellectual effect

create long lasting receord of civiliztion

Back 1

purpose of art

Front 2

grab attention and move people into the world of the play, want electricity of the audience and performers

Back 2

purpose for entertaining audience

Front 3

draw attention to issues, teach something, mobilize group

Back 3

purpose to educate

Front 4

written plays, bring literature to life, drama = play script

Back 4

meaning of dramatic theatre

Front 5

need conflict to grab attention , escalate and then a release, makes storytelling interesting

Back 5

why is conflict in a play necessary

Front 6

no response, indirect response, direct response, suspension of disbelief

Back 6

how do we respond to the conflict

Front 7

cannot fully enjoy without being able to believe you are in the world of the play, believe circumstances, emotions mind need to enter the play

Back 7

suspension of disbelief

Front 8

physical (man v man)

psychological (man v himself)

metaphysical (man v fate)

Back 8

types of conflict

Front 9

when protagonist is winning and then suddenly is not

Back 9

sudden reversal

Front 10

moment of revelation or truth that the audience sees the protag realizing

Back 10

the discovery

Front 11

what happens in a play

Back 11

dramatic action

Front 12

plot, character, theme, dialogue, music, spectacle

Back 12

aristotle's 6 elements of drama

Front 13

presentational theatre

Back 13

non realistic, actors acknowledge the presence of the audience, in ancient greece theatre was this, actors took in whole audience

Front 14

representational theatre

Back 14

realistic, observe the 4th wall, acotrs do not acknowledge the audience

Front 15

worship, ceremonies, daily routines, important in lives and past cultures lives

Back 15

the nature of rituals

Front 16

tragedy

Back 16

first in ancient greece

for the spring festival (festival of dionysus)

beginning of theatre with this genre

Front 17

catharsis (release emotions, tension), hubris (pride arrogance), hamartia (error in judgment)

Back 17

elements of tragedy

Front 18

hero, person of consequence, strong willpower, accepts consequences, gains insight, stubborn, virtuous, selfless, brave

Back 18

characteristics of the tragic hero

Front 19

brave, person of consequence, strong will, effective at actions, interesting, selfish

Back 19

characteristics of the tragic villain

Front 20

oldest form of drama, lost of conflict, good v evil, god v devil, hero v villain

Back 20

melodrama

Front 21

idealistic, supports belief "good to be good"

asks questions which quiet our fears, reinforce social order

Back 21

purpose of melodrama

Front 22

celebration of life, love/sex, laughter

can show health of society (how much comedy can they tolerate)

can be dangerous to people trying to stay in control

Back 22

comedy

Front 23

romantic, comedy, farce, satire, tragicomedy

Back 23

types of comedy

Front 24

point out society's weaknesses, expose hypocrisy, insure conformity (point of what people do wrong to make them look stupid)

Back 24

comedy as a weapon

Front 25

rule of repitition, mistaken identity, role reversal, violence

Back 25

tools of comedy

Front 26

rule of repitition

Back 26

only do joke 3 times (most laughter the last time0

Front 27

mistaken identity

Back 27

when discover a character not who they seem to be

Front 28

women pretending to me men or vice versa

Back 28

role reversal

Front 29

proponent of "old comedy"

political social, personal satire, sex and physical humor (phallus)

very outrageous by ancient greek standards

Back 29

aristophanes

Front 30

proponent of "new comedy"

domestic comedy (ie, want to marry out of caste)

character types

Back 30

menander

Front 31

farce

Back 31

slapstick humor, physical humor nontintelligent, extremes of physical humor

Front 32

satire

Back 32

intellectual humor, extremes of sarcasm, dangerous comedy, making a point, critical

Front 33

let off steam in an acceptable way, society's safety valve

Back 33

purpose of farce and satire

Front 34

born dumb, if something goes right then it must be an accident

Back 34

buffoon

Front 35

deliberately makes fool of self, actually smart, pretends to be fool, gets what he wants, wit is wisdom in disguise

Back 35

clown

Front 36

others make fool of them, susceptible to making an error in judgment (character flaw)

Back 36

dupe

Front 37

often central character in farce, not vicious but mischeivous

Back 37

rascal

Front 38

often central character in satire, vicious ans threat to society

Back 38

scoundrel

Front 39

funny and sad at the same time

popular in the 21st century, influenced by film and TV

Back 39

tragicomedy

Front 40

realism

Back 40

everything is made to resemble daily life (identifiable), art was first thing to change in the 19th century realist movement

Front 41

melodrama is most popular, time of revolution (social, economic, political, technological) so relaism emerged at the ed of the 19 century`

Back 41

describe theatre in the 19th cent

Front 42

the rise of science and new ways of thinking

-Karl Marx (comm manifesto)

-charles darwin (species)

-freud)

einstein

Back 42

what influenced realist mvmt?

Front 43

Theatre Libre "free theatre" to create new ideas

Back 43

what influenced the art theatre movement

Front 44

founded by Andre Antoine, theatre club in paris for experimentation, challenging the censor with new ideas

Back 44

Theatre Libre

Front 45

constantin stanislawski is director of a theatre where he created a new acting mvmt/system that uses psychological motivation

----> repsonse to the art theatre movement

Back 45

moscow russia importance

Front 46

actors should live together for 6 months before puttong ona play so everyone could experiment, became "the method" in the US

focus on the the motivation behind the words they are saying

Back 46

acting system created by stanislawski

Front 47

henrik Ibsen

Back 47

"father of realism"

norwegian playwright --> "a doll's house"

controversial play about victorian husband who makes all the rules and then the wife leave him and the kids

Front 48

August Wilson

Back 48

writes about the african american experience in the each decade in the 20th century

realist playwright

Front 49

to see yourself on stage dealing with life

often ineffectually - not heroic protagonist

we do our best but don't always succeed

the ordinary rather than the extraordinary

Back 49

purpose of realism

Front 50

common man, up to chance chance (not carefully pursued), conforms (not heroic, common), victim of society

Back 50

realistic protagonist

Front 51

producer

Back 51

raises the money to put on the play

can be group of people

find/purchases the play

usually group of businessmen

Front 52

director

Back 52

leads in interpretation of the play

Front 53

dramaturg

Back 53

finds the background info for the play

Front 54

stage manager

Back 54

responsible for stage/backstage after play opens

supervises performers and all the crews

has to have good communication

oversees all aspects of the production

main person to get info

runs the show

Front 55

technical director

Back 55

directs backstage things while they are being created

Front 56

artistic director

Back 56

overseas all artistic elements of the company

suggests/determines plays in season/person in role

Front 57

the house manager

Back 57

in charge of the audience space

deal with comfort and safety of audience

Front 58

preproduction

Back 58

design meetings, auditions, callbacks

Front 59

rehearsal phase

Back 59

read through, getting acquainted, blocking (stage directions) , working (4 to 6 weeks)

Front 60

technical rehearsal

Back 60

rehearsal with lights, sound, moving scenery, props

Front 61

dress rehearsal

Back 61

rehearsal with costumes, makeup, nails, props

Front 62

antirealism

Back 62

dreams v reality, psychological v empirical (subconscious motivates us, internal thoughts and feelings vs what do i see around, what do i feel outside)

Front 63

reactions against the world

artists response to violence of WW1 and WW2

---> art is linked with politics

Back 63

origins of antirealism

Front 64

alfred jarry

Back 64

rebellious young french playwright

sparked antirealism

visionary artist

offends the audience

challenges the censor

creates the anti-hero

had little theatre in paris

wanted to invigorate the audience, aud needs to be shaken out of comfort zone

perceived problems and put culture on display

"dadaism"

---> first one to use a curse word on stage

Front 65

symbolism

Back 65

feeling replaces action, mood is everything,

Maurice Maeterlinck used this, in" bluebird"

(bluebird = happiness)

feeling more important that taking action

Front 66

surrealism

Back 66

Guillaume Apollinaire

dramatizes subconscious details

reveals truth that is deeper than the logical truth

"breasts of tiresias" - woman wants to be man and the breasts float away to become a man

Front 67

expressionism

Back 67

August strindbury

inner turmoil

angst and pain

"To Damascus" man meets a man while on journey and he is his subconscious

Front 68

contemporary in performance, the 21st century

Back 68

Bertolt Brecht, Samuel Beckett are part of this genre

Front 69

Bertolt Brecht

Back 69

German from Berlin

Epic Theatre

theatre of instruction (to learn about life/principles)

intellectual involvement over emotional involvement

wrote peice about low life in london: actors dropped their characters and say that life is not like that

Front 70

epic theatre

Back 70

theatre in which emotion not aroused, the intent is teach lessons, confront audience and make them uncomfortable

(Bertolt Brecht)

Front 71

samuel beckett

Back 71

proponent of Absurdism

Writer/student in Dublin, went to paris and had theatre of the absurd

characters have no backstory/must discover during play

***conveys that we have a failure to communicate in life

"Waiting for Godot"

Front 72

solo performance, devised play, reinterpreted interdisciplinary, installations

Back 72

new ways to create theatre:

Front 73

devised play

Back 73

a group of people get together and create a play

Front 74

interdisciplinary

Back 74

a type of play that involves other arts: music, design, song, dance

Front 75

installation

Back 75

something is created and turned into a new peice of theatre

Front 76

provide unified vision for the play

communicate that vision to an audience through production choices

Back 76

director's function

Front 77

director reads the text and decides what is the basic story, what is the playwright trying to say, and what he/she wants to convey to audience

Back 77

approaching the text for the director

Front 78

looks at the historical (look at versions, history of the play, motivation behind writing it), critical (what critics said at different time periods), biographical, and literary

Back 78

director's research

Front 79

directors concepts, "production concept"

Back 79

a central idea that unifies all elements of the production to make it unique

can be faithful to the original intent

can be totally new interpretation

can be a mixture of the two

Front 80

supports performers by creating costumes

create the world of the play in a particular play

use the set to inform the audience

Back 80

the designer's job

Front 81

design team

Back 81

scenic designer, lighting, costume, sound, make-up, properties

Front 82

design process

Back 82

-read script

-meet with director

-preliminary ideas

-initial drawings

-more meetings

-finalize designs

-build process (begins before auditions even start)

Front 83

the audience

Back 83

a community (different ones respond differently)

a group transformed

group projects itself into another situation

Front 84

characteristics of the audience

Back 84

participates in the artistic process

willing suspension of disbelief

witness to the performance

how expresses itself

active is better than passive

Front 85

how the audience expresses itself

Back 85

laughter, standing ovation, exclamations, gasps, can leave/walk out

Front 86

permissive audience

Back 86

when the audience permits itself to watch

allows itself to be presented the ideas it might not necessarily agree with

permits actors to perform action

Front 87

guarenteed expectation principle

Back 87

when more people go to see a certain thing, more of it will be produced

audience 'chooses' what is produced ---> influences marketing

Front 88

good audience is prepared, knows something about the play (background context)

Back 88

good audience preparation and willingness

Front 89

empathy

Back 89

feeling for the character or the situation, sometimes we want emotional involvement

Front 90

distancing devices

Back 90

odd design to make an objective rxn from audience

playwright trying to teach lessons

Front 91

aesthetic distance

Back 91

physical relationship of audience to performance state

sometimes separation needed to appreciate a work of art

Front 92

a critic of one

Back 92

says that each person in the audience have to be their own critic, but shouldn't pass judgment until the end and need to be open to experience if you want to get something out of it

Front 93

art (the imagination) and craft (skill of writing that can be learned)

Back 93

playwrighting combines these two things

Front 94

clarity of thought, insight/inspiration

Back 94

what the playwright communicates through the script

Front 95

dramatic idea

Back 95

something that can sustain audience interest

-conflict, tension, resolution

Front 96

conceive dramatic idea that has theatrical possibilities (possible to make effective and exciting instage)

Back 96

functions of the playwright

Front 97

conventional : satisfies audience expectations

unconventional: something unexpected, sometimes controversial or avant garde

Back 97

conventional vs unconventional script

Front 98

who is the audience?

what is the space?

who are the performers?

Back 98

questions the playwright asks

Front 99

producer, design team, performers, audience

Back 99

people the director need to communicate with

Front 100

bring play to life, artistic unity, director as artist

Back 100

directors task during rehearsals

Front 101

teacher, organizer, researche,r leader, artist

Back 101

characteristics of a director

Front 102

-picturization (create the "tableau"-still picture), ---historical authenticity

-movements that have a reason

Back 102

directors tools

Front 103

stage business

Back 103

how to make people believe you are the character

making small gestures and using props

reveal character by how you deal with props and gestures

Front 104

line reading

Back 104

where you place the emphasis in the sentence, tonal changes how line is internalized

Front 105

how much emotion is too much for a play

how far must the emotion reach

intensity of emotions

Back 105

emotional tools

Front 106

temp and rhythm

Back 106

rate at which a play moves/progresses

play has a pace

similar to music in that it can be fast or slow