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ENG200 Midterm
| Term | Definition |
|---|---|
| Aristotelian Tragedy | According to Aristotle, a play that arouses pity and fear, and purges these through catharsis. States that events of a tragedy must be serious, complete, and of a certain magnitude, and that the language of a tragedy must be elevated and artistic. |
| Aristotelian Unities | According to Aristotle, a good play should exhibit unities of time, place, and action. There should be one story (no subplots) that happens in one location, over the course of one day. |
| Catharsis | A term that connotes both purging and clarification |
| Uncanny | A situation that seems both strange and familiar; often leads to a disturbing awareness of oneself |
| Hamartia | Tragic flaw or mistake made by the tragic character in a Greek drama |
| Anagnorisis | A sudden realization in which a character comes to understand the truth of his or her situation |
| Skene | The structure, with doors for entrance and exit, that was located behind the actors in a Greek amphitheater. |
| Chorus | A group of characters who comment on the progress of the tragedy, often vocalizing the audience's likely reactions; mostly typical of older Greek drama, but found in plays written since. |
| Plato | Anti-theatrical philosopher; felt that drama should not have an ideal state |
| Antitheatricalism | Plato, as well as Puritans, concerned with moral implications of a stage performance |
| Old Comedy | Associated mostly with Aristophanes (Lysistrata); includes political satire, sexual references, and exaggerated characters |
| Satire | Comedy that reveals its target as ridiculous. |
| Farce | Low version of dramatic humor, emphasizing the ridiculous aspect of human nature and employing stock characters |
| Comedy | In the broadest sense, a story or play that moves toward a happy resolution (everyone gets married) |
| Romance | Dreamy and magical plays often concerned with resolving dark episodes from the past; reminds reader of medieval "romances" which were stories of knightly adventure |
| Sock and Buskin | Two masks: Sock representing comedy, which was performed in stocking feet, and buskin representing drama which was performed in elevated boots called buskins. Has become the logo for drama |
| Mystery Play | A medieval form of drama, often performed in public square that dramatizes key parts of the Bible, beginning at creation and ending with the last judgement |
| Morality Play | A form of drama typical of later medieval period that used the stage to explain medieval morals and ethics. Often shows a character representing sin and virtue and striving to make the right choices |
| Allegory | A piece of literature in which nouns carry specifically defined symbolic significance throughout the work; often have names that indicate function "Everyman" and "Despair" |
| Vice | A character that embodies the vices taken together, who plots and schemes against the play's protag. The evil but amusing character could go by different names, but is conventionally referred to as Vice. |
| Psychomachia | A battle for the conscience of a character (devil on the left, angel on the right) |
| William Shakespeare | Born in Stratford-Upon-Avon in 1564, playwright, actor, poet and part-owner of King's Men theatrical company. Died in 1616 |
| Aphra Behn | Female restoration playwright and novelist who lived from 1640-1689. First woman in England to make her living primarily through writing |
| The Lord Chamberlain's Men (The King's Men) | The acting company to which Shakespeare belonged; this group changed its name after King James became its patron in 1603 |
| The Globe | The outdoor theater most commonly associated with Shakespeare's company; the original globe operated from 1599-1614 |
| Blackfriars | A smaller indoor theater used by Shakespeare's company beginning in 1609. With lighting effects and a smaller, wealthier audience, the availability of Blackfriars (in addition to the Globe) may have encouraged a shift in theatrical style |
| Quartos | Books printed on quarter sheets of printer's paper. Plays were often printed and sold as quarto editions around the time of their performance. Quarto editions vary widely in terms of quality, with some (the bad ones) seeming to have been pirated copies |
| fFolios | Larger books, printed on half sheets of printer's paper |
| The First Folio of 1623 | Compiled by 2 of Shakespeare's associates, this book is the standard source for most of Shakespeare's plays, many of which were never printed in quarto versions |
| Iambic Pentameter | A meter consisting of five iambs per line, popularized by Christopher Marlowe and used by Shakespeare; most common meter in English poetry |
| Restoration Comedy | A dramatic genre that developed following the restoration of the British monarchy in 1660, which emphasized wit and the presentation of scandalous sexual predicaments |
| Puritans | A pejorative term for those who wanted to "purify" the Protestant Church of the English of idols and ceremonies and unbiblical teaching. The Puritans were opposed to acting, and they shut down all London theaters in 1642 |
| Closet Drama | Drama intended to be read rather performed on the stage |
| Foil | A minor character who serves as a contrast to help define the personality of the major character |
| Fourth Wall | The imaginary wall between characters and actors; if actors address or refer to the audience, they are "breaking" the fourth wall |
| Blocking | The process of planning how a scene will be staged, including movements of actors |
| Aside | A quick remark made by a character, that reveals the intentions of a character to the audience |
| Soliloquoy | A long speech made by a character alone on the stage |
| Act | The main divisions of a play; traditional plays include 5 acts |
| Scene | Acts are often divided into scenes, which usually reveal the actions of a group of characters at a single specified location and time |
| Skepticism | The belief that it is not possible to determine the truth |
| Gender (as opposed to sex) | The distinction between men and women, understood as a difference in socially constructed roles, rather than a biological difference. |
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