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threatre
| Term | Definition |
|---|---|
| Aesthetic Distance | physical or psychological separate or detachment of audience from dramatic action, usually considered necessary for artistic illusion |
| Anachronism | a device used in drama which involves placing some character or event outside its proper time sequence (ex: having people from the past speak and act as if they were living today). |
| Auteur- French for “AUTHOR” | term used to describe certain film directors, who were really the authors of the films they made; used to describe directors that make drastic alterations in the play, while taking responsibility for every element in the production..including the script. |
| Beats | Units of a scene; each unit contains an objective. Idea first developed by Stanislavsky |
| Blocking | pattern and arrangement of performers movements onstage with respect to e/o and to the stage space, usually set by the director |
| Boxes | small private compartments for groups of spectators built into the walls of a traditional proscenium arch theatre |
| Casting Against Type | when a director will deliberately put someone in a role who does not appear to be right for the part. |
| Circle of Attention | Stanislavsky’s idea of ‘range of attention on stage’ ... can be compared to a circle of light on a darkened stage |
| Corrales | Theatre building of the Spanish golden age, usually located in the courtyard of a series of adjoining buildings |
| Counterweight | device for balancing the weight of scenery in a system that allows scenery to be raised above the stage by ropes and pulleys |
| “Deus ex machina’ | Literally “God from a machine”, a resolution device in classic Greek drama; hence, intervention of supernatural forces (usually at the last moment) -to save the action from its logical conclusion. |
| Directorial Concept (or approach)- | a way for the director to embody the spine in a production and to implement style; derives from a controlling idea or POV that unifies the experience for the spectators |
| Drama Therapy | theatre techniques used for educational and therapeutic purposes |
| Dramaturg | literary manager’ ---> common in not-for-profit theaters. They analyze scripts, advise directors, and works with playwrights on new pieces |
| Dress Rehearsal | The first full performance of a production before performances for the public. |
| Ensemble Playing | Acting that stresses the total artistic unity of a group performance rather than individual performances |
| Flashback | In a narrative story, movement back to a time in the past to show a scene or event before the narrative resumes at the point at which it was interrupted. |
| Fly loft | Space above the stage where scenery may be lifted out of sight by ropes and pulleys. |
| Fourth Wall | Convention, in a proscenium- arch theatre- that the audience is looking into a room through an invisible fourth wall |
| Front of House | Portion of a theatre reserved for the audience; sometimes simply called the house |
| House | any part of a theatre that is not the stage, or backstage |
| Illusion | initiated by the creators of theatre but completed by the audience |
| Inner Truth | Internal/subjective world of the characters, their thoughts and emotions |
| “Magic If” | technique by Stanislavsky for developing empathy with a character. it involves searching for the answers to the question "What would I do if I were this character in these circumstances?". This allows actors to find similarities btw them and and cast |
| Managing/Executive Director | The behind-the-scenes counterpart to the director who focuses on the business component of a nonprofit production |
| Naturalism | human beings, often in wretched circumstances, as products of heredity and environment. On stage action seems real and mimics real life down to the smallest detail, i.e. toaster makes real toast |
| Orchestra | the ground floor of the theatre where the audience sits |
| Platform stage | A type of stage used during medieval times esp. in churches and religious fairs, a simple platform set on trestles with a curtain at the back where performers entered with a closed off space underneath |
| Preview | The point in the process before opening night when the show is first performed for an audience and the director and performers discover which parts of the play are successful and which are not. |
| Producer | The behind-the-scenes counterpart to the director who focuses on the business component of a commercial production |
| Psychodrama | uses same techniques as sociodrama, but is more private and interpersonal and should only happen under the supervision of a professional therapist. individual fears, anxieties, and frustrations are explored. |
| Psychophysical Action | physical actions linked by the circumstances of the play. Always think of the why/what/how of an action |
| Rake | the slant of the stage floor |
| Relaxation | fluid and life-like motion; letting the behavior of the character come through effortlessly. No unwanted tension in actions or voice |
| Run-through | The point in the process when the show is performed from beginning to end |
| Sociodrama | members of participating groups such as children, students, parents, and teachers- explore their own attitudes and prejudices. One successful approach is role reversal. |
| Spine | in the Stanislavsky method, a character’s dominant desire or motivation. Usually thought of as an action and expressed as a verb |
| Stage house | stage floor and the space around it to the side walls, as well as the space above it up to the grid |
| Superobjective | The primary goal or desire the character has for the entire play |
| Symbol | a sign, a visual image, an object, or an action that signifies something else; a visual embodiment of something invisible. A single image or sign stands for an entire image or idea. |
| Technical Rehearsal | The point in the process when performers are onstage for the first time with costumes, scenery, lighting and sound. Oftentimes the actors don’t act full out since there is a lot of stopping. |
| To “double”- | to perform several parts in one play |
| Typecasting | The process in which the director fits the actor to the role to which he closely resembles in real life. |
| Visual Composition | The physical arrangement of performers onstage that through spatial relationship and body position communicates information about the characters |
| Wagon stage | A raised platform on wheels |
| "Willing suspension of disbelief" | a term coined by Coleridge; the deliberate putting aside of the audience's or reader's critical beliefs in order to accept the unreal world the author creates. Seperating the reality of art from the reality of every day life. |
| Wings | |
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jdh8483