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Theatre midterm
study guide, Bathsheba's allowed
| Question | Answer |
|---|---|
| Theatre is known as the ________ art | Lively |
| The most significant difference between films and theatre is the _________ between the performer and the audience | Relationship |
| Types of Art | Literary, visual, and performing |
| Different types of artwork give off | different emotions |
| Reasons to study theatre | historical benefit, culture, it's live, and art reflects life |
| Essentials for plays | Audience, performers, script, director, theater space, design element, and collaboration |
| Set, costumes, sound and lighting are consisted | Design elements |
| What is at the heart of the theater experience? | Performer-audience relationship |
| Theater is the _______ of all drama | Foundation |
| What is a mirror or reflection of life: and extension or projection of how we live, think and feel? | Art |
| Performing arts are | Theater, dance, opera, and music |
| Having to do with any activity- political, economic, artistic, cultural- in which nations and people around the world relate and interact? | Global |
| Referring to any nation, community, or group in which people of various ethnic or cultural origins or beliefs coexist and interact. | Multiethnic/multicultural |
| T or F: Does life encounter theater | True |
| Theater has influence on | TV, Film, Music, Museums, Amusement parks, Sports, Video games, Bible |
| What is an essence to theater? | Audience |
| The want to believe in reality on stage that we put aside all literal and practical considerations to enter into world of drama | Willing suspension of disbelief |
| Where audience must be aware that it's a work of art in order to experience it's aesthetic qualities | Aesthetic distance |
| Different types of audience | Homogeneous (School plays) Heterogeneous (mixture of people) Broadway (upper class) |
| Person who observes, analyzes and comments on theater. This person is informed by having a thorough grounding in the history of theater. | Critic |
| This person describes production and opinion about a plays worth | Reviewer |
| Type of criticism which is the eyes of potential theater goers | Descriptive criticism |
| Type of criticism which offers advice about a certain theater production | Prescriptive criticism |
| maker or builder of a play who creates blueprint or foundation for productions | Playwright |
| Select subject, determine focus/theme, establish purpose, establish point of view, create characters, and develop dramatic structure | Tasks of a playwright |
| Characters with extreme behavior and usually consisted heroic | Extraordinary characters |
| Complex characters. Characters which embody characteristics that represent and entire group. | Representative or Quintessential |
| Characters don't have a lot of depth and have familiar traits/predictable | Stock characters |
| What is the dramatic purpose of a play? | entertain, teach, raise questions, emotional, satirical or multiple |
| The subject can be | historical, personal, or imaginary |
| Monk can be consisted this type of character. One paramount trait or tendency that overshadows all others and appears to control the conduct of the character. | Dominate trait character |
| Other types of characters are | Minor, narrator, chorus, and nonhuman |
| Use of protagonists, antagonists, and fails/counterparts | Juxtaposition |
| The different elements of dramatic structure are | plot, action, conflict, opposed forces, and balance of forces |
| Man vs. Man Man vs. Nature Man vs. God Man vs. Himself | Types of conflict |
| How do you create dramatic structure? | In opening scene, through complications, and climaxes |
| The ________ sets up the tone, style and action of the play | Opening scene |
| Small obstacles in a play | Crises |
| Final, most significant obstacle | Climax |
| The types of dramatic structure are | Climatic: intensive Episodic: extensive |
| Plot begins late in story Time is final hours or days Structure is about 3 acts 1 scene each Restricted to characters Linear: tight; few subplots; Deus ex Machina Action is cause and effect | Climatic structure |
| "God from a machine" Intervention of supernatural forces-usually at the last moment- to save the action from its logical conclusion | Deus ex Machina |
| Plot is early in story Extended time, characters Plots and parallel subplots Juxtaposition of scenes (long:short Public:private) | Episodic Structure |
| Rital, patterns of events, series, nonverbial, and improvisation are | other forms of dramatic structure |
| What are the 2 main types of genres? | Tragedy and comedy |
| This genre has serious actions, moral/philosophical implications, sad endings, explores questions about human existence | Tragedy |
| Type of tragedy which has heroes/kings, tragic irretrievably, acceptance of responsibly, and poetic verse | Traditional Tragedy |
| Type of tragedy with no royalty are protagonists, written in prose, and asks questions about life. | Modern Tragedy |
| Suffering, evil prospers, human achievement, violence/cruelty, and injustice are all | Tragic questions and themes |
| Why produce tragedy? | Depravity of man Despair of life without God Others have also suffered |
| This genre is humorous to entertain, provoke laughter, and make us think. Suspension of natural laws, slapstick, contrasts society norms | Comedy |
| Type of comedy with exaggeration, excessive plot complications, and character sterotype | Farce |
| Type of comedy using physical humor. | Burlesque |
| Type of comedy which uses witty language to expose or attack | Satire |
| Type of comedy using verbal wit to charm and exposes pretenses | Comedy of manners |
| Type of comedy using family situations | Domestic |
| Type of comedy using intellectual ideas | Ideas comedy |
| Type of drama having heroic characters, elevated language, extreme situations, and happy endings | Heroic |
| Type of drama using music, strong emotions, and good vs. evil where good truimphs | Melodrama |
| Type of drama using everyday people in everyday life | Domestic |
| Type of drama which is a combination of both tragedy and comedy | Tragicomedy |
| Assuming role on stage in order to develop a character. | Acting |
| Russian actor and father of realist acting. He was the first person to make system to be a good actor | Konstantin Stanslavski |
| Actor needs to be relaxed Concentration and observation Specifics Inner truth Action on stage Through line Ensemble play | "The System" made by Konstantin Stanslavski |
| What is magic if | if I was in this situation how would I act |
| Character's overall goal is | Superobjective |
| 2 modern types of acting are | Method acting and psychophysical acting |
| Type of acting where you use emotional and sensory recall | Method acting |
| 3 main tools of an actor are | body, mind/imagination, and voice |
| Some physical acting skills are | Conditioned, Relaxation, Flexibility, and mastery of physical skills like centering |
| Some vocal acting skills are | Projection, Power, articulation, and breath control |
| staying in character as in private acting publicly | Public solitude |
| Integration of internal and external results in an instrument (actor) who is flexible, resourceful, and disciplined | Approaching role |
| Process of character development is | Analyze script Physical appearance Dialogue Gestures Walking/Movement Unknown characteristics |
| Types of theater spaces | Thrust, arena, found spaces/Blackbox, and Proscenium |
| This type of theater space has audience on 3 sides, sight lines are an issue and must act to all 3 sides | Thrust space |
| This type of theater space have audience on all sides, sight lines are an issue, and must act towards all sides of the audience | Arena |
| This type of theater space has environmental spaces that can be created or transformed into any type of space which is usually small | Found space/ Blackbox |
| This type of theater space is also called picture frame. Audience is on 1 side. Has 4th wall and apron. | Proscenium |
| theater convention that imagines the audience looks in through this of a room-a voyeur of sorts into the lives of the characters | fourth wall |
| short extension beyond the proscenium arch | apron |
| Area on or under the floor of the stage/house which houses band. | Orchestra pit |
| Storage for scenery and entrances/exits | Wings |
| fabrics hung to hide actors and scenery offstage- used to help with suspension of disbelief | Wings/Borders or Tormentors/Teasers |
| Theater seats | House |
| Lobby of theater | Front of the House |
| Area above the stage which allows scenery, people, drops, battens, electrics to be flown out of the audience's sight lines | Fly loft |
| Materials and soft goods used as legs, borders, masking, scenery, and lighting effects. | Scrim/drops |
| Wood or fabric covered frames that are used to represent walls | Flats |
| Wood covered frames that are used to represent the floor or various levels | Platform |
| A platform on wheels. | Wagon |
| A series of platforms that roll, in a circular pattern. | Revolve |
| Platforms that have an incline. This helps create the illusion of distance | Rake |
| Down toward the audience, up away from the audience, and left and right is from the actor's point of view not directors | US, DS, SL, SR |
| What are the 3 questions you can ask if you are going to criticize a play? | What is the playwright attempting to do How well has it been done Is it worth doing |
| Form of comic theater originating in 16th century in which dialogue was improvised around a loose scenario calling for a set of stock characters. | Commedia dell' arte |
| Type of comedy or comic business that relies on ridiculous physical activity-often violent in nature- for its humor | Slapstick |
| Plays expressing the dramatist's sense of the absurdity and futility of existence | Theater of the absurd |
| Actors main goals are | Make characters believable, physical acting, and combining inner and outer skills |
| Performer's exercise to feel character's emotion by thinking of an event in his own life that led to a similar emotion | Emotional recall |
| How does performer communicate with audience? | Presence, charisma, personality, and star quality |
| When a performer conceives of the situation in which a character exists it is called | Given circumstances |
| Business is | the term for activities of performers such as opening an umbrella, writing a letter, etc. |
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