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Theatre 2
Test 2
| Question | Answer |
|---|---|
| Group dynamics | the functioning of humans when they come together in groups |
| paper the house | give away a lot of free tickets to the families and friends of cast members in order to make it appear as though the performance is well attended |
| Willing suspension of disbelief | we admit that what is happening is not real and so we don't need to rush up and save the actor who is being attacked or call the police to stop the actor playing the criminal |
| aesthetic distance | the audience's ability to remove themselves from a work of art just far enough so that they can contemplate it or even judge it |
| presentational theatre | makes no attempt to offer a realistic illusion and the actors openly acknowledge the audience and sometimes even invite audience members to participate |
| representational theatre | actors never acknowledge the audience and go about their business as if there were no audience present |
| realism | a style of theatre that attempts to portray life as accurately as possible |
| fourth wall | an imaginary wall between the actors and audience |
| Audience ettiquette | turn off phones and beepers; no txting or tweeting; no talking; trying not to cough; not being late; do not eat; be courteous; go light on scents; no leaving until intermission or end; no photos or recording |
| Will Call | window for those who are picking up tickets they have already paid for |
| curtain | the start of the show |
| road houses | where touring companies perform Broadway plays and musicals |
| LORT theatres | League of Resident Theatres |
| Preview performances | tickets are usually half price; offer another way to save money; open to the public before the play officially opens and are common in the professional theatre but rare in college, community, and amateur theatres |
| director's note | playwright's note; explains what he or she intended to accomplish with the play |
| souvenir programs | have more pictures and information about hte cast and production |
| talk back | a post performance discussion where you get a chance to meet or perhaps ask questions of the directors, actors, and sometimes even playwright |
| reviews | sometimes called notices in theatre lingo, are evaluations of a production, often published in newspapers or magizines |
| dramatic criticism | literary criticism; is not meant to draw people to a particular production or want them away from it nor is it based on opinions; offers the reader a discriminating, often scholarly interpretation and analysis of a play/work/or period of theatre history |
| Plot | aristotle defined it as an arrangement of the incidents;is what happens; characters, meaning, language, and visual elements come together to comment on a single subject |
| Character | the personalities of the story; made up of motivation and action; we are what we do |
| thought | what the play means, the idea its trying to communicate or its themes and messages |
| diction | aristotle describes it as modes of utterance; the dialogue used to create the thought, character, and plot |
| spectacle | the performance's set, costumes, and effects -- the sensory aspects of the production; lease important element of a play, according to aristotle |
| Song | used ot be used in ancient tragedies; not as important now |
| Censorship | the altering, restricting, or suppressing of information, images, or words circulated within a society; can take forms of banning or altering things |
| Licensing Act | 1737; was passed in England; placed the censoring of plays under the authority of the Lord Chamberlain; legitimate theatre; any negative comments about the king or queen, unorthodox opinions or statments considered heretical or seditious could be sensored |
| bowdlerize | means to remove any possibly vulgar, obscene, or otherwise objectionable material before publication |
| defamation | a freedom of speech that isn't covered by the constitution; the publication or statement of alleged facts that are false and harm the reputation of another |
| ensemble | dozens of artists and techniques who join together to make it appear as if a performance were the product of a single creative mind |
| repertory | a group of plays performed by a theatre company during the course of a season |
| ghost light | a solitary illumination which is rolled out onto the onto the stage the night before as a safety precaution |
| costume shop | where costumes are washed from the performances, make minor repairs |
| literary manager | reads and evaluates scripts for each season |
| producer | producing director; someone who financially backs the theatre or orchestrates funding through grant money and ticket sales |
| artistic director | in charge of the overall creative vision or goal of the ensemble |
| Stage manager | SM; runs the show during the performance, and idrects throughout the rehearsal process by taking notes, recording blocking, scheduling rehearsals, and assisting during auditions |
| flat | the standard scenery unit made of wooden frames covered with canvas, muslin, or thin plywood; 12-16ft tall 1-6ft wide |
| technical director | TD; supervises the construction crews; head over all constructions and answers only to the director |
| Prompt book | a book in which every aspect of the production is recorded including lighting cues, blocking, technical notes, and director's notes. Productions bible, can be used by any stage manager |
| performance report | records any of the problems that occurred and what needs to be fixed before the next performance |
| draper's job | to study the costume designer's drawings and renderings and then find a way to cut fabric into patterns that realize the design |
| stitchers | sew the fabric patterns together creating the full costumes |
| rehearsal costumes | costumes temporarily used during rehearsals so that the actors get a feel for the actual costumes long before they are ready |
| prop master | makes the props for the productions |
| prop | theatre lingo for properties, which includes hand props or any objects actors handle while on stage or set props, what the actos interact with |
| rehearsal props | props used during rehearsals to represent the real property that the actors will not be able to use until the last week of rehearsals |
| musical director | supervises all aspects of a musical and conducts the orchestra during performances |
| choreographer | has created new dance numbers and is teaching the steps to the dancers |
| movement coach | is showing the actors how people moved during the Restoration - a time when graceful mannerisms were the norm |
| fight director | experts at stageing safe, realistic make believe fights |
| vocal coach | helps the actors with speech clarity, volume, and preservation of their voices for the long run of a show |
| sound designer | is working with various effects recordings as she synthesizes the sounds |
| set designer | programs a set on a computer |
| dramaturg | can be difficult to define because no two theatres use them the smae way; a literary advisor and and expert in theatre history who helps the director understand specifics about a plays performance history |
| production meeting | a meeting in which all aspects of the production are discussed and evaluated; has the director, stage manager, and the technical director present |
| mission statement | declares in clear and concise terms the theatre's purpose and key objectives |
| publicity department | is working on promoting the next play |
| concept meeting | is an artistic gathering held long before the play is cast or the sets and costumes designed |
| stage door | usually located behind the theatre and has a little lobby where there is a notice board, where actors sign in; hang out before the show and where the actors enter |
| call | when the actors show up |
| curtain | when the show starts |
| prop table | has each prop laid out and clearly labeled |
| sound board operator | runs various sound cues and makes sure that all the speakers, mixers, amps, backstage monitor, and intercom are working |
| house | theatre lingo for where the audience sits |
| prop check | a check to make sure each prop is where it is supposed to be |
| house manager | is in charge of all the ushers |
| greenroom | the place where actors wait before their entrances with a TV so that the actors know when to enter |
| running crew | includes stagehands, dressers, riggers; shift scenery and generally set up for the play or next scene |
| stagehands | shift scenery and generally set up for the play or next scene; are very talented and do this in the dark |
| dressers | help actors make quick costume changes |
| riggers | flymen; mount and operate all curtains, sets, and anything else that must move via the fly system above the stage |
| legs | curtains used on the sides |
| teasers | curtains that frame the top of the stage |
| scrims | are used to make the stage appear opaque when a scene downstage is lit, and transparent when the scene upstage it is lit |
| cyclorama | cyc; a large, stretched curtain suspended from a U shaped rod; makes a background that curves around the back of the stage to suggest unlimited space; clear when lit from bakc; white or plastic material |
| closed shop union | sometimes called a union shop; a union to which all employees must belong and which the employer formally recognizes as their sole collective bargaining agent |
| Writers Guild of America | WGA; a powerful, closed shop union that television and screenwriters are a part of |
| Open shop union | membership is optional |
| Dramatists Guild of America | DGA; a playwrights union; can champion the rights of playwrights but can do little to demand higher pay; a weak union; considered as writers for hire |
| Dialogue | the spoken text of the play, the words the characters say |
| parentheticals | short descriptions enclosed in parentheses and are usually italicized |
| stage directions | notes that indicate the physical movements of the characters |
| theme | the central idea or moral of a play |
| actions | are the characters' deeds, their responses to circumstances, which in turn affect the course of the story |
| subtext | the hidden meaning behind words, the real reason a character chooses to speak |
| plot | tells how everything fits together |
| story | is everything that happens |
| plot structure | the playwright's selection of events to create a logical sequence and as a result to distill meaning from the chaos of life |
| genre | a category of an artistic work that has a particular form, style, or subject matter |
| exposition | the back story; lets the audience in on what happened to the characters before the play began and what happens between the scenes and offstage |
| back story | what happened to the characters before the play began |
| protagonist | the central character who pushes forward the action of the play |
| antagonist | what the ancient Greeks called the opposer of action; its the adversary who stands in the way of the protagonist's goals |
| sequence of events in theatre | event, distrubance, point of attack/decision; conflict, crisis, and complications; dark moment; enlightenment; climax; denouement |
| event | an unusual incident, a special occasion, or a crisis in the characters' lives |
| disturbance | is an inciting incident that upsets the balance and gets the action rolling by creating an opportunity for conflict between protagonists and antagonists |
| point of attack | when the protagonists must make a major decision that will result in conflict; when the plot fuse is lit |
| Major dramatic question | MDQ; the hook that keeps people in the theatre for two hours because they want to know the answers |
| rising action | instability of a play that means that each conflict, crisis, and complication is more dramatic and more serious than the ones before; the path of most resistance |
| Conflict | the struggle of opposing forces in the play |
| Crises | events that make it necessary for the characters to take action |
| Complications | roadblocks that stand in the way of success |
| dark moment | when the protagonist fails for internal or external reasons, the quest collapses, and the goal seems unattainable |
| Enlightenment | occurs when the protagonists come to understand how to defeat the antagonist |
| climax | the point of the greatest dramatic tension in the play, the moment when the antagonist is defeated |
| denouement | the final outcome of the play, a short final scene that allows the audience to appreciate the protagonist, becuase of the preceding events has learned a great or humble lesson |
| full length one act play | no intermission, beginning, middle, and end flow without interruption |
| short one act plays | are used as filler pieces between plays often used as companion pieces |
| ten minute plays | relatively new format and are growing in popularity; may stage 10 in one evening; no formal intermission |
| King's New School | Shakespeare:where he went to school |
| Logic, rhetoric, history, and latin | what Shakespeare studied at school |
| Anne Hathaway | who Shakespeare married |
| Lord Chamberlain's Men | King's men; Shakespeare was a member and later a part owner of this; is where he started as an actor |
| Globe Theatre | Shakespeare was the primary investor of this theatre in 1599; it burned down during one of his plays |
| what plays Shakespeare wrote | 38 total; 14 comedies; 10 historic; 10 tragedies; 4 romance and possibly three others; 154 sonnets |
| Elizabethian England | a predominantaly rural and verbal society; very brutal; <50% of the audiences could read or write |
| Verbal scene painting | Shakespeare's common method; didn't build scenery because of short time periods; very little costuming, lighting was awful, telling the scene was part of the dialogue |
| soliloquies | Shakespeare used these; talking to the audience |
| Language | characters of Shakespeare are seen in a matter of language |
| Language | mix of old and very new language and words; rural and urban words/images; understandable by the lowest pheasants and the highest nobels |
| Verse | poetic talking |
| prose | normal talking |
| iambic pentameter | a form Shakespeare formed |
| rhetorical technique | is compelling to humans cuz it is like our own hearbeats |
| audience for Shakespeare: | very rough; more like a concert for today |
| Shakespeare | still the most produced playwright of the wolrd; fave audiences what they wanted, formed blank verse and iambic pentameter; coined over 17000 words and phrases |
| Camadia del Art | took stereotypes and put them into humerous situations |
| group dynamis | how people function as a group; emotion overcomes intellect; laughter becomes infectious |
| suspension of disbelief | we accept that what is happening on stage is not real |
| aesthetic distance | the audiences ability to remove themselves so that they can contemplate and evaluate the performance and the play |
| presentational theatre | a sself-conciously theatrical and will often acknowledge the audience and may even invite them to participate |
| representational theatre | is based on the idea of the fourth wall, in which the actors never acknowledge the presence of the audience |
| bertolt brecht | epic theatre; constantly reminded the audience they are watching theatre |
| etiquette in the theatre:now | don't come late; turn off cells and beepers; don't take photos or sue recording devices |
| etiquette in the theatre:past | eat and drink throughout the show; throw food at the actors if you are displeased; stop the show with your applause |
| programs | have the directors note which says why they did what they did |
| reviews | are often short evaluations of a production presented in the print or electronic media; in thier opinion, worth attending; just someones opinion; always explain why |
| dramatic driticism | offers a more indepth analysis of the play; study of playwright, historical, movement, backgroudn,genre; not opinion; message behind the play |
| 3 questions dramatic criticism should address | what is the artist trying to do; how well has the artist done it; is it worth doing |
| what the artist is trying to do | not your opinion of what the artist was doing or whatever but rather the message of the play |
| aristotles poetics: the six elements of drama | plot, character, thought/theme;diction/speech; spectacle; song |
| plot | the main story of a play/how the stories fit together; works the best? unclear? unnecesary? |
| character | who is doing the action? Advance in plot or thought? |
| thought/theme | what do the actions in the play mean? Ideas that are trying to be communicated |
| diction/speech | how is the dialogue used to reveal character and set the environment |
| spectacle | how do each of the visual and elements of the play contribute to the performance |
| song | how do the musical elements of the play move the plot to its conclusion? |
| Freedom of Speech and Arts | is protected by the first amendment |
| defamation | can not state publicly or publish alleged facts that are false and can harm the reputation of another |
| sedition and incitement to crime | if one's words incite another to commit a crime |
| censorship | the altering, restricting, or suppressing of information, images, or words |
| wright | the root word of playwright comes from the middle ages and means one who builds |
| playwright | the primary artist who conceives the theme, cahracters, dialogue, and the story |
| copyright | a legal concept enacted by govs giving the creator of an original work of authorship exclusive rights to it |
| differences between playwrights and screenwrites | dramatists guild of america vs. writers guild of america; ownership vs. writers for hire |
| closed shop union | all employees must belong and employer recognized as their sole collective bargaining agent |
| open shop union | membership is optional; no strikes; dramatists guild of america; will not initiate on behalf of you |
| reasons to be a playright | the ownership and no one can tell you what or how to write; it is about you and what you believe in |
| Script parameters | dialogue, stage directions, and parentheticals |
| dialogue | spoken text of the play |
| stage directions | notes that indicate the physical movements of the characters |
| parenthetical | short descriptions in parentheses to help the actor and reader to interpret a dialogue |
| 5 basic tools of playwriting | theme, plot, characters, conflict, language |
| Themes | statements about hte central idea that generates the life of the play |
| story | everything that happens, often stated chronologically |
| action and conflict | bring the plays to life |
| the formula for conflict | desire + obstacle x lack of compromise = conflict |
| text | what characters say |
| subtext | what the characters are really thinking but dont say |
| listening | to understand psychological state of a character |
| imagery | dialgoue and words to help see mind's eye |
| music of language | character can be found here; rhythm, tempo, tone |
| genre | a category of an artistic work that has a particular form, stlye, or subject matter |
| formulaic plot/play | follows a specific recognizable blueprint |
| nonformulaic plot/play | grow organically from the character's actions, otivations, or needs; writers who abandon formula to try to look at life the way it is, or as they perceive it, rather than fit it into a standard structure |
| beginning of a plot | exposition or back story; protagonist and antagonist; event;disturbance; point of attack; MDQ |
| Middle of a plot | rising action; conflicts; crisis; complications; dark moment |
| The end of a plot | enlightenment; climax; denouement |
| SM | stage manager; attends prerehearsal meeting w/director and designers; assists director at auditions; schedules rehearsals; takes notes, records blocking, writes up rehearsal reports; creates prompt book; calls the show; makes detailed performance reports |
| Flats | 4*8 framed scenery |
| Scrims | solid from the front, open from the back |
| legs/borders | drapes |
| Different types of designers | sets, ligths, sound, costumes, makeup, props, and projection |
| construction crews | production crewtechnical director; supervises the construction crews; painters, carpenters, electricians; stitchers; wigmakers |
| production crews | stage manager and assistants; house manager; sound board operator; light board operator; running crews |
| the quality available | all shows of a theatre match this |
| dramaturg | the historian |
| the director and the artistic director | In most theatre's there is a difference between the ________ and the ______ |
| Administrative team | producer, artistic director, literary manager, publicity personnel, bx office, fundraisers, administrative staff |
| theatre ensemble | a creative collection that includes playwrights, actors, directors, designers, painters, carpenters, drapers, stagehands, and electricians who join together to produce a performance that looks like it came from a single creative mind |
Created by:
hopekn