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Drama
| Question | Answer |
|---|---|
| Second City in Chicago was a theatre with | improv-based sketch comedies and many famous alumni (Tina Fey, Jamie Lynch, Steve Carrel, Steven Colbert. |
| Avenue Q | Musical using puppets, written by Jeff Whitty, featured the "It sucks to be me" song |
| The Motherf***er with a hat | Written by Stephen Adly Guirgis, was the broadway debut of Chris Rock. |
| The Motherf***er with a hat plot | A recovering drug addict who just got out jail, sets out to find the owner of a hat he shares with his childhood love, who is also a drug addict and is cheating with his AA sponsor. |
| Chris Rock on differences between standup and theatre: Theatre | Work with someone else’s dialogue ,Pressure to perform well,Less strenuous |
| Chris Rock on differences between standup and theatre: Standup | o Write own dialogue No responsibility for others,Rehearse on own time, On stage for 2 hours alone with no break |
| Greek origins of the word theatre | comes from the Greek “theatron” which means “seeing place”,Physical place you go to see something,Also refers to entire art form of theatrical performance |
| Greek origins of the word drama | comes from the Greek “dran” which means “to do”, Something to be seen, done, performed o Refers to the art or practice of writing or producing plays, Refers to the theatrical plays of a particular kind or period |
| proscenium stage | Contains the proscenium arch, frame that goes around and over the stage, as well as a clear delineation between audience and actor, real life was in front of the arch and imaginary behind |
| Breaking the fourth wall | fourth wall is the imaginary invisible wall between the audience and stage, breaking barrier between audience and performers (comedians, concerts, shakespeare asides) |
| Ancient Greek Theatre/ Theatre of Dionysus | Performing in semicircular orchestra pit, outdoors open to elements, great acoustics, eventually build elevated stage in back of semicircle |
| Naumachiae | Mock roman sea battles, performed in large amphitheaters, like the Coliseum |
| The Roman amphitheater | Enclosed circular shape, outside, open to elements, stadium seating often able to fit thousands, audiences would often come and go |
| The Globe Theatre | Theatre in London linked to Shakespeare, built in 1559 by Shakespeare's playing company |
| The Tiring House | During Shakespeare period (16th and 17ty centuries) audiences in elevated boxes around theatre and pit area very close to actors, interactive experiences, backstage area. |
| Backstage Area | Basic scenery actors perform in front of, included doors for actors to enter and exit and a place for actors to prepare, change costumes, etc. |
| Movement of theatre from outdoors to indoors during the 17th century | proscenium arch theatre becomes standard, better acoustics, control lighting able to perform at night, scenery isn't destroyed by weather non-traditional spaces (homes, forests, trains) |
| Site-specific Theatre | Developed and performed in found and/or natural places, integrates structure of their surroundings into their performance, stairs, woods, wherever and bring the audience with them. |
| Immersive Theatre | Integrates audience into show, audience members interact with actors and the set, breaks the fourth wall as much as possible, asks audience questions, touch them and provoke reactions. Erases traditional seating formation, creates different experience. |
| Sleep No More- Punchdrunk | Immersive theatre production with American Repertory Theatre, punch-drunk was a British theatre company, audience members explore the scenes themselves and choose where they want to go, not all audiences get the same experience. |
| Components of theatre include | playwriting/composing of music, producing, directing, building, crews, stage management, house management, and acting. |
| Playwriging/composing of music | Can take weeks or years. |
| Producing | raising money, securing rehearsal/performance space, hiring directors, stage managers and designers, promoting the show paying bills and salaries, securing legal rights to play and deals with legal issues. |
| Directing | casting the show, directing the actors during rehearsal, creating unified artistic vision (coordinates all elements of productions) |
| Crews | Made up of technicians who operate/run technical prarts of show behind the stage, costume/set changes, laundering/repair of costumes, setting up and organizing props. |
| Stage Management | In charge of running production, oversee technical crews, makes sure play runs smoothly technically, ensure artistic vision remains in tact, calls technical cues, gets actors for their entrance makes sure stage is set properly, runs the show when running |
| House Management | Sells tickets, cleans theatre, manages ushers who seat audience, deals with logistics of theatre house space |
| The paradox of the Actor | Denis Diderot, 18th century, actor must stimulate emotions of his character but not feel them personally |
| Today most western acting techniques require | actors to conjure up real emotions from own life experiences and use it to express emotions of character. |
| Elements of performance | Necessity of the audience, presentation (direct) performance (breaking 4th wall) representational (indirect) performance (maintaining 4th wall) live and immediate or scripted and rehearsed, unique (same or different production) text of play NOT perfor. |
| The Book of Mormon | Written by Trey Parker, Matt Stone, and Robert Lopez,Makes fun of religion |
| Duration | length of play |
| Plays typically made up of divisions called | acts and scenes |
| Full length modern plays usually are broken up into | 2 or 3 acts with intermission |
| Acts usually made up of smaller divisions called | scenes. |
| Scenes | Single space and time period, usually marked by a stage cleaning and noticeable change in lighting |
| A single act usually had 3 to 5 | scenes |
| One Act play is | one hour or less |
| Standard Wester Play | between 3-5 acts, last between 2-3 hours. |
| Major genres of theatre | Tragedy, comedy, history play and musical |
| Tragedy | Serious play where protagonist and/or other usually ends in death, exile, or some other tragic fate. Epic in scale; focus on universal themes (good vs. evil, fate), aristotelian def |
| Aristotelian def of Tragedy | character from noble/upper classes fall from grace, resulting in death, exile |
| Comedy | Optimistic play that ends with a love match, wedding, triumph over adversity or reconciliation |
| Aristotelian def of Comedy | middle/lower class protagonists; often had bawdy or topical humor |
| History Play | Docudrama, presents historical facts in a non-fictionalized (or slightly fictionalized) manner, made popular by shakespeare, involve a real historical figure or event |
| Musical | Mix singing and dancing with spoken dialogue |
| Contemporary definition of tragedy | Serious play, protagonist usually ends in death/exile/tragic fate, epic in scale, focuses on universal themes. |
| Contemporary definition of comedy | Optomistic play, ends with love match, wedding, triumph over adversity, focus on ordinary individuals and life, sometimes but not always funny |
| Greek definition of Tragedy | high status people fall from grace resulting in destruction. |
| Greek definition of Comedy | common man experiences everyday life in topical/comical way |
| Elements of tragedy include | Harmartia, peripeteia, anagorisis, and catharsis. |
| Harmartia | Missing the mark, an error mad in ignorance, "fatal flaw" |
| Peripeteia | sudden, unexpected reversal of fortune, a catastrophe resulting from a deed |
| Anagorisis | self-recognition, moving from ignorance to knowledge |
| Catharsis | purgation of pity and fear |
| Script | Comprises dialogue and stage directions, written foundation upon which performance is built. |
| Performance | Comprises dialogue, movement, scenery, costume, staging, etc. |
| Playwrights process deals with lots of | development and revision |
| All plays deal with 3 major areas | Dialogue, conflict, and structure. |
| Staged readings | done in front of audience, audience gives feedback |
| Exposition | dialogue which conveys important info or a back story of events that occurred before the play begins |
| Rising Action/Conflict | events that lead up to the climax |
| Climax | the point of the highest tension, conflicts of play at fullest expression |
| Falling Action | events after the climax |
| Denouement | resolution/aftermath, final scene, devoted to tying up loose ends |
| Fat Pig | Written by Neil Labute, Good looking man falls in love with overweight woman but is embarrassed by her appearance so he avoids being with her in public |
| Konstanin Stanislavski | Grandfather of acting, director and actor in Russia, worked with the Moscow Art Theatre, developed system in response to acting system of 1960s over the top, soap opera style, psychological realism, emotional recall or affective memory |
| Psychological Realism | bring out inner life of character through your own emotion and experience |
| An Actor's Work (1949) | Complete work of Stanislavski's theories,included outside, technical techniques, abandonment of emotional recall, repertoire of trained skills to meet character/audience demands |
| How actor breaks down a scene | fusion of inside and outside, pursuit of character's goal/objectives, identification of tactics, identification of motives |
| Three historical stages to directing are | Teacher-director, realistic director, and stylizing director. |
| Teacher-Director | o Director was someone who wrote the play o Teach actors how to play characters Director roles intertwined with other roles, Director not the most powerful person, writers and actors were,standard blocking, sets, contemporary costumes reused |
| Realistic-Director | Wanted his actors to rehearse, to practice their lines so that it would look more real Duke of Saxe-Meiningen,first person who was ONLY director and nothing else, Historically accurate period plays, Detailed sets and costumes,Rise of realism and director |
| Stylizing Director | Focus on originality, theatricality, spectacle, style, use of music Anti-realistic theatre in reaction to rise of realism, Go against regular expectations of audience,Ex- Quentin Terrentino |
| Core concept | importnat images, ideas, and emotions in the play |
| High concept | unexpected insights into character, story or style |
| The director's process consists of | preperation/conceptualizing, casting process, implementing, coordinating, presenting,opening night, and the run. |
| Preperation/conceptualizing | high concept and core concept. |
| Casting Process | Auditions, cold readings, call backs |
| Implementing | Staging/blocking, stage directions, actor-coaching |
| Coordinating | set, lights and costume appearance, communication through all parts of show, tech rehearsals and dress rehearsals. |
| Presenting | Giving your art over to the audience, sharing their artistic vision to see how it is, preview it to audience. |
| Opening Night | First night the play is open to public, director usually leaves after |
| The Run | Duration the play stays on stage and is still selling tickets |
| Julie Taymor | Highly stylized director,Brings international insight into the concepts of her shows,Spider-Man: Turn off the Dark, Developed over 7 years,Cost $75 million, Taymor fired by producers because of “artistic differences”, The Lion King |
| Casting Director | Selects actors from his/her database,Holds preliminary auditions without director to weed out actors,Provides director with list of qualified actors,Works with director on final auditions to select final cast |
| Casting directors look for | Personality, physical and vocal characteristics, sheer talent, presence, technical abilities (history of training, special talents), past experiene |
| Staging | placing scenery, props, actors |
| Blocking | movement patterns for actors |
| The Rehearsal Process | Blocking rehearsals, tech rehearsals, dress rehearsals, preview, opening night, during the run. |
| Dramaturgy | definition for play structure, also refers to work of the dramaturg |
| The Dramaturg assist the | director in researching the play |
| Dramaturg responsibilities include | Assists director in researching the play, Read manuscripts/find new plays, Adapt novel/film into play format,Writes program notes, Works with playwrights on revisions and editing |
| Role of a drama critic | The role of the drama critic,Professionals and amateurs,Blogs, newspapers, magazines,Analyze play and communicate to audience whether or not play is worth seeing,Any notable actors, price of tickets, short summary of plot, design elements, and records. |
| Famous Drama Critics of today | Ben Brantley and Charles Isherwood, both write for New York Times |
| Rent | Jonathan Larson, Update of Puccini’s opera, 1896 La Boheme,Autobiographical was based on Larson’s life/friends,Premiered on Broadway 1996,Played on Broadway 1996-2008, 9th longest running Broadway show,Won Pulitzer Prize for drama in 1996, young audience |
| Lighting Design | Physical and psychological components of lighting design |
| Lighting Design Responsibilities | Lighting actors for visibility, lightning scenery,Conveying mood, location, time of day,Collaborating with Director and Creative Team to create a unified vision for the show,Generating concepts and ideas about the script and expressing them through light |
| Process of lighting designer | Read script,Meet with design team,Research/create collages based off of visual materials to present to director,Work with scenic designer to understand how to best light set,Create scene by scene breakdown and create “concept magic sheets” for each scene |
| Process of lighting designer Part 2 | Take budget and staff abilities into consideration when designing,Create final design,Electricians hang lights, lighting designers focus lights during technical rehearsal; programs lighting cues into computer, Opening night ,last night of work |
| Magic Sheets | quick, organized way to see all lights in the rig, clean sheet |
| Realistic set design | Photographic/realistic, literal interpretation |
| Metaphoric set design | Theatrical rather than realistic, conceptual rather than literal |
| Box sets | most common representation of realistic set design popularized in late 19th/early 20th century. |
| Process of scenic designer | meetings, research, concept art |
| Timothy Bird | projection designer for Sunday in the Park with George 1984 Steven Soundheim musical, inspired by painting 2008 production at Roundabout Theatre NYC used entirely projection design |
| Projection design | Digital projections designed and edited by computer, still and moving images, used as backdrops in place of sets, combine roles of set and lighting designer, actors can move around images without shadows/distorting images. |
| Technical director | Coordinates building of sets, supervises tech crews coordinates sets, lights, and sound, oversees tech budget. |
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