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Theatre App. FINAL
Theatre appreciation final spring 2023
| Term | Definition |
|---|---|
| Arena Seating | stage is entirely surrounded by audience. Also known as a theatre-in-the-round |
| Chorus | a group of performers who sang and danced, sometimes participating in the action but usually simply commenting on it |
| Commedia dell' arte | form of comic theatre from 16th cent. Italy in which dialogue was improvised around a loose scenario calling for a set of stock characters. Highly improvisational, used masks, and was staged by traveling professional performers. |
| Cues | any prearranged signal - such as the last words in a speech, a piece of business, or any action or lighting change - that indicates to a performer or stage manager that it is time to proceed to the next line or action |
| Dramaturg | the individual who works on itinerary and historical issues with members of the artistic team mounting a theatre production |
| Exposition | imparting of information necessary for an understanding of the story but not covered by the action onstage; events of knowledge from the past, or occurring outside the play, which must be introduced for the audience to understand the characters or plot. |
| Fourth Wall | convention in a proscenium-arch theatre wherein the audience is looking into a room through an invisible fourth wall |
| Hubris | excessive pride, the most common tragic flaw found in tragic characters in traditional tragedies. |
| Managing Director | In nonprofit theatre organizations, the individual who control resources and expenditures |
| Motivated Sound | sounds called for by the script |
| Neoclassical Ideals | Rules developed by critics during the Italian Renaissance, supposedly based on the writing of Aristotle |
| Pit | Floor of the house in Renaissance theatres; could also be the space in which the orchestra is |
| Producer | (in American usage) the person responsible for the business side of the production, including raising the necessary money |
| Protagonist | principal character in a play, one whom the drama is about |
| Realism | presents people, places, and events corresponding to those in everyday life. Once of the five strands of theatre in the modern era that coveys everything onstage to resemble observable, everyday life to promote audience recognition and identification |
| Romanticism | 19th century dramatic movement that imitated the episodic structure of Shakespeare and thematically focused on the gulf between human beings' spiritual aspirations and physical limitations |
| Spine | the main action; it is determined by the goal or primary objective if all the characters in the play, both collectively and individually |
| Surrealism | Departure from realism that attempted to present dramatically the working of the subconscious. |
| Preview | Tryout performances of a production before an audience, preceding the official "opening" performance |
| Thrust Seating | space that is surrounded on three sides by audience seating |
| Turntable | a circle set into the floor of a stage, which is rotated mechanically or electronically to bring one set to view as another disappears |
| Willing Suspension of Disbelief | the audience's desire to believe in the reality of what is happening onstage |
| David Garrick | The first director |
| Callback | |
| Choreographer | |
| Stanislovsky | Relaxation Concentration and Observation Specificity Inner Truth (outer expression) Motivation – (Action onstage – what, why, where) Superobjective (continuity or spine) Ensemble play |
| Laban | the aim of the study is to break down how movement can be expressed into it's simplest forms, allowing a performer to call upon them and experiment in a thorough manner. |
| Blocking | Pattern and arrangement of performers' movements onstage with respect to each other and to the stage space, usually set by the director. |
| Strike | The day after the last show when the set is torn down |
| Alley Seating | stage arrangement where the audience faces the stage on two separate sides. It is much like a catwalk |
| Auteur Director | French term for author. When used to describe a director, it suggests one who makes drastic alterations and transformations to a traditional script. |
| Climax | often defined as the high point in the action of the final and most significant crisis in the action |
| Community Theatre | semiprofessional and experienced amateur groups that present plays that appeal to their specific audiences. |
| Deus ex Machina | literally "god from a machine"; resolution device in Greek drama; hence intervention of supernatural forces - usually at the last moment - to save the actions from its logical conclusion. In modern drama it is arbitrary and coincidental solution |
| Domestic Tragedy | serious dramas written in the 18th century that focused on family life issues |
| Dress Rehearsal | the first full performances of a production before performances for the public |
| Farce | a subclass of comedy with emphasis in exaggerated plot complications and with few or no intellectual pretensions |
| Genre | French word meaning type or category; in theatre is denotes the category into which a play falls: for example tragedy, comedy, or tragicomedy |
| Immersive Theatre | type of theatre puts the audience in the position of moving through and often participating in the action of the play |
| Melodrama | dramatic form made popular in the 19th century that emphasized action and spectacular effects and also used music to underscore the action, it had stock characters, usually with clearly defined villains and heroes. |
| Mystery Plays | Also called cycle plays; short dramas of the middle ages based on events of the old and new testaments and often organized into historical cycles |
| Non-Mediated Theatre | theatre that us not observed through an electronic medium (live theatre) |
| Platform Stage | elevated stage with no proscenium |
| Prop | properties; objects that are used by performers onstage or are necessary to complete the set |
| Pull, Shop, Rent, Build | |
| Regional Theatre | Permanent, professional, non-profit theatres offering first-class productions to their audiences. |
| Satire | Comic form, using irony and exaggeration, to attack and expose folly and vice |
| Temporal Arts | art forms that exits for only a specific period of time |
| Off and On Stage | |
| Symbolism | movement of the late 19th century and early 20th that sought to express inner truth rather than represent life realistically |
| Tech Rehearsal | focuses on running through the production with scenery, props, lighting, costumes, and sound for the first time |
| Absurdism (Theatre in the Absurd) | applied to the works of certain playwrights of the 1950s and 1960s who expressed a similar point of view regarding the absurdity and futility of the human condition and believed that this should be reflected in the dramatic action |
| Tragedy | a serious drama in which there is a downfall of the primary character |
| Unit Set | single setting that can represent a variety of locales with the simple addition of properties or scenic elements |
| Master Electrician | Assists the Lighting designer by hanging, focusing, cabling, and putting color in the lights that the designer has given them. In charge of the electricians and the light shop. |
| Meisner Technique | emotional preparation, repetition, and improvisation. These components all work together to help actors observe their scene partner and remain present instead of relying on memory or rehearsal |
| Projection | |
| Suzuki | Movement training; martial arts based, from the feet up, exhaustion = honesty |
| Table Work | |
| Antagonist | opponent of the protagonist in a drama |
| Black Box Theatre | theatre space that is open, flexible, and adaptable usually without fixed seating. stage-audience can be rearranged to suit the individual requirements of a given production |
| Comedy of Manners (Sentimental Comedies) | Heavily poked fun at the upper class and emphasized gossip, decorum, infidelity, sexuality, conspiracies, dialogue around sexual double meanings (influenced by Moliere - Tartuffe) |
| Conflict | tension between two or more characters that leads to crisis or a climax; a fundamental struggle or imbalance - involving ideologies, actions, personalities, etc. - underlying a play |
| Dialogue | conversation between characters in a play |
| Downstage (all stage directions) | downstage center stage upperstage |
| Environmental Theatre | a type of theatre production in which the total environment - the stage space and the audience organization - is transformed in order to blur distinctions between performers and spectators |
| Flat | a scenic unit consisting of canvas stretched on a wooden frame often used with similar units to create a set |
| Ground Plan | a blueprint or floor plan of the stage indicating the placement scenery, furniture, doors, and windows, and the carious levels of the stage, as well as the walls of rooms, platforms, etc. |
| Liturgical Drama | Early medieval church drama, written in Latin and dealing with biblical stories |
| Morality Play | Medieval drama designed to teach a lesson. The characters were often allegorical and represented virtues or faults |
| Naturalism | attempts to put on stage exact copies of everyday life; sometimes also called "slice of life" |
| Non-Realism | also known as "departures from realism"; means all types of theatre that depart from observable reality |
| Proscenium | Arch or frame surrounding the stage opening in a box or picture stage |
| Rake | an upwards slope of the stage floor away from the audience |
| Sound Reinforcement | amplification of sounds produced by a performer or a musical instrument |
| Script | the blueprint for a production, the material staged by the various theatre artists |
| Superobjective | what the character wants able all else during the course of the play |
| Dress Rehearsal | the first full performances of a production before performances for the public |
| Thespian (Thespis) | synonym for "performer"; from Thespis, who is said to have been the first actor in ancient Greek theatre |
| Tragicomedy | a play having tragic themes and noble characters but a happy ending; today; a play in which serious and comic elements are integrated |
| Unities | Neoclassical rules in drama demanded that plays happenin 24 hours or less (time), in one location (place), and that there was one main story without subplots (action) |
| Master Carpenter | First in charge in the scene shop (after the Technical Director) and ensures that the technical drawings of the set made by the technical director are built properly and on time. Typically, in charge of any wooden construction projects for the production. |
| Audition | |
| Fight Choreographer | Choreograph combat sequences (fight sequences) which can range from martial arts to swordplay to mock gunfights while keeping the Director’s vision in mind |
| Emotional Recall | Stanislavski's exercise that helps the performer to present realistic emotions, The performer feels a character's emotions by thinking of the conditions surrounding an event in his or her own life that led to a similar emotion |
| Timing | |
| Plot | as distinct from the story; the patterned arrangement in a drama of events and characters, with incidents selected and arranged for maximum dramatic impact |
| Works | |
| Types of Dramatic Characters - Extraordinary | |
| Types of Dramatic Characters - Representative | |
| Types of Dramatic Characters - Stock | character who has outstanding trait of human behavior to the exclusion of virtually all other attributes. These characters often seem like stereotypes and are most often used in comedy and melodrama |
| Types of Dramatic Characters - Dominant Trait | one paramount trait or tendency that overshadows all others and appears to control the conduct of the character - includes greed, jealousy, anger, and self-importance |
| Types of Dramatic Characters - Minor Narrator | |
| Types of Dramatic Characters - Staged Reading | |
| Oedipus Rex Protagonist | Oedipus Rex |
| Oedipus Rex Antagonist | Oedipus Rex |
| Oedipus Rex Climax | he carves out his eyes after he has found out what happened and what he did |
| Oedipus Rex Author | Sophocles |
| Oedipus Rex Spine | |
| Tartuffe Author | Molière |
| Tartuffe Protagonist | |
| Tartuffe Antagonist | |
| Tartuffe Climax | |
| Tartuffe Spine | |
| Hamilton Protagonist | Hamiltion |
| Hamilton Antagonist | Burr |
| Hamilton Climax | a duel with burr |
| Hamilton Author | Lin-Manuel Miranda |
| Hamilton Spine | |
| Aesthetic Distance** | the separation of audience member from the performance or art work to experience its aesthetic qualities |
| Director** | (in American usage) the person responsible for the overall unity of a production and for coordination the work of contributing artists. The equivalent to a producer |
| Stage Manager** | hardest working person |
| Actor** | |
| Technical Director** | staff member responsible for scheduling, construction, and installation of all equipment; he or she is responsible for guaranteeing that designs are executed according to the designer's specifications |
| Scenic Designers and Process** | |
| Lighting Designers and Process** | |
| Costume Designers and Process** | |
| Vernacular Drama | drama from the middle ages performed in the everyday speech of the people and presented in town squares and other parts of cities |
| Minor Characters | in a drama, those characters who have small, secondary, or supporting roles. These could include soldiers and servants |
| what special element defines theatre or a theatrical event? | Live audience |
| Theatreaudeiiences and creators have an unspoken agreement that what is happening on stage will be accepted as intended, despite the obvious flaws and limitations created in the presentation. What is this called? | Willing suspension of disbelief |
| List two modern events or items that are actually theatrical events | Comedy Shows and/or concerts |
| The dramatic structure of a play begins with the information that the audience need to understand and to be able to follow the remaining segments of the play and is called the what? | exposition |
| A flexible type of theatre that allows versatile seating arrangements is what a what? | Black Box |
| Audience seating on all four sides of the stage is considered what type of seating? | Areana |
| The first actor to step out of the chorus and deliver a solo line was who? | Thespis |
| What was the seating arrangement for Greek theatre known as? | Theatron |
| This improvisational comedy out of Italy during the renaissance was characterized by stock characters wearing recognizable costumes and masks | Comedia dell arte |
| This country holds the honor of being the first to allow women in theatre, including having several surviving plays during the renaissance period by women playwrights | Spain |
| The height of the American Musical Theatre is referred to as the what Age? | Golden |
| T/F the spatial arts are characterized by art the occupies a space, such as a traditional paintings and sculptures, without intentionally changing over time | True |
| T/F the perceived intimacy or separation of the audience and the performers/subjects is referred to as aesthetic distance | True |
| T/F Aristotle's book the Theatre Defined divided theatre into Drama, Lyrical Poetry, and Epic Genre's | True |
| T/F the area of the stage furthers from the audience and closes to the back wall of the stage is called Downstage | False |
| T/F the area offstage to either side of the performers area is known as the apron | False |
| T/F It can be argued that Oedipus was both the antagonist and the protagonist | True |
| T/F The Christian church sponsored many Liturgical plays in the medieval theatre period | True |
| T/F The lord Chamberlain was responsible for licensing of theatre in London during the restoration | True |
| T/F realism was only popular during the restoration period | False |
| T/F in Greek Theatre, masks are used to accentuate facial expressions and allow for audience members farther away to see better | True |
| T/F The imaginary place that separates an actor from the audience is called the fourth wall | True |
| T/F Spain led the way in scenic and lighting innovations during the Renaissance | False |
| T/F In the resolution of Oedipus Rex, he literally gouges out his own eyes and banishes himself | True |
| T/F the majority of French and Spanish playhouses were large Ampitheatres following the Renaissance | False |
| What type of arts is characterized by moving through time; advancing and changing | Temporal Arts |
| What are potential goals for putting on a good theatre | Entertain, Educate, Spark debate, etc |
| The Aristotelian element of theatre is perhaps the most important and familiar to you, it is the description and the arrangement of the incidence within the play | Plot |
| This type of stage has one sided seating and a "picture frame" around the view of the action | Proscenium |
| Is the mechane, proscenium, or perspective a Renaissance Scenic Innovation | Perspective |
| The contemporary of William Shakespeare was known for his famous "might line" | Christopher Marlowe |
| During the English Restoration, what social class did the comedy of manners pick fun at? | Upper class |
| This man is credited as being the first director and established many of our rehearsal and production norms | David Garrick |
| The fatal flaw of pride, most often the central tragic theme of Greek Tragedies was known as what? | Hubris |
| The stage directions we use (stage left, upstage, downstage) originate what what type of stage? | Rake |
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phebe
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