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Theatre exam
Stack #186486
| Question | Answer |
|---|---|
| 2 most important elements of theatre | actors & audience |
| 2 parts of angels in america | Millenium approaches Perestroika |
| Angels in america is by... | Tony Kushner |
| 4 wastes of clothing | conspicuous consumptionconspicuous wasteconspicuous leisurevicarious consumption |
| reasons to wear clothes | 1) utility,2) social power,3) seduction |
| given circumstances of costume | 1) previous action,2) environmental facts -politics -religious -social -geographic,3) polar attitude (personal vs. political) |
| costume design speaker | Martin Thaler |
| Production concepts for cabaret | 1) images of hell,2) burlesque,3) present in technical way |
| director of cabaret | greg ramos |
| what is acting in quotes? | standing both inside and outside the character |
| who was Bertolt Brecht? | director/playwrightgerman expressionistencouraged analysis rather than emotion |
| who was Robert Wilson? | director, used total theatre (LARGE ELEMENTS) |
| who was Eugene O'Neill | experimented with form.believed humans are decieving themselves with illusions |
| "The Chairs" | by Eugene Ionesco,absurdism |
| "Machinal" | sophie treadwell,expressionism |
| "The Breasts of Tiresias" | Guillaume Apollinaire,surrealism |
| "The Intruder" | Maurice Maeterlinck,symbolism: symbolic of the arrival of death |
| "Pere Ubu" | Alfred Jerry,symbolism |
| absurdism | there is no meaning in the universe or humanity |
| expressionism | german, machines,light and dark,nightmare,distorted sets |
| Dadaism | "art is shit and we shit in many colors"breaks all rules |
| surrealism | dream-like, imaginative, subconsciousness |
| symbolism | representational.behind all appearances are hidden truths and meanings |
| 5 parts of theatricalism | Surrealism, symbolism, dadaism, expressionism, absurdism |
| European realists | Ibsen (a doll's house)Strindberg,Chekov |
| American realists | Hellman (the children's hour)Williams,Miller |
| Realism | tackles social and personal issues |
| 1850's-1950's realist movements | 1)Freud (psychoanalysis), 2) Darwin, 3) Marx (Socialism), 4) Mendel (geneticist), 5) Lincoln, 6) women's suffrage |
| Actor's equity | 1930's movement for health benefits and pension for actors |
| presentational acting | non-realistic, audience interaction |
| representational acting | realistic |
| acting guest speaker | Peter Tkatch |
| external acting | using conscious choices about language |
| internal acting | connect with characters emotionally |
| pump/water represents | tears, connection to underworld, purifying, cleansing |
| "givens" of set of euridice | elevator, string room, pump |
| set of euridice | grand central station |
| director of euridice | sarah carleton |
| staging | arranging the actors to show their relationship by separation, elevation, etc. |
| 4 approaches to directing | work with actors/playwright, work with other materials, use text, direct own work. |
| director | author of stage action. decides interpretation and style. |
| lighting does 4 things... | draw attention to idea, set the mood, create 3D, allows us to see. |
| lighting controls | intensity, direction, color, texture, movement. |
| lighting speaker | john forbes |
| lighting portrays | mood, focus, time of day, visibility. |
| costume describes | psychology of character, time, place, social status. |
| 5 lighting tools | side light, follow spots, gels, stencils, backlighting |
| scene design speaker | Jeff Modereger |
| stage design began when? | rennaisance & baroque |
| arena stage | surrounding stage |
| thrust stage | audience on 3 sides. |
| proscenium theatre | rectangular, stage at one end. |
| Beijing opera | confuscious, family, myths & legends |
| medieval theatre | catholic church, guilds, story, special effects |
| elizabethan theatre | inherited from green & medieval, power struggles of kings. |
| community aesthetics | nature of elements that construct the performance |
| Meyerhold | murdered for unacceptable theatre styles |
| internal rythym | conflict, rising tension, climax, resolution |
| spectacle | acting style & blocking, special effects (least important) |
| music | comment on character situations, or between scenes |
| language | defines characters. shows authenticity |
| character | actions, motives, history, vocab, & reactions |
| plot | "spine" of play. action, events, outcomes, changes. |
| aristotle's dramatic structure | plot, character, thought, language (text)music, spectacle (performance) |
| greek theatre | 5th century BCE, |
| Frances McDormand | movie actress |
| Neil Marcus | overcame disability by acting |
| Anna Smith | changed character through costume & language |
| Bill Irwin | physical comedist, no speaking |
| Asimali | storytelling to audience |
| kabuki | (ongata) female impersonator |
| bunraku | puppets |
| communitas | sense of community |
| 3 things that theatre and ritual both do | tell story, explain whats going on, control environment |
| ritual | breach, liminality, resolution |
| theatrical conventions | contract that the audience will believe throuh masks, costumes, music, text, etc. |
| what distinguishes drama from a novel? | action |
| Caryl Churchill | crossgender/non-traditional casting and contemporary/historical characters |
Created by:
mia_676
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