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Theatre Exam 2
CH 5-10 Theatre the Lively Art - Wilson/ Goldfarb
| Question | Answer |
|---|---|
| Imitation | To simulate or copy behavior observed in real life |
| Heart of theatre experience | partnership btw actors & audience |
| 2 examples of acting in daily life | imitation & role playing |
| role playing | in everyday life, the acting out of a particular role by copying the expected social behavior of that position |
| 2 categories of role playing | social & personal |
| social roles (role playing) | father, mother, child, police officer, store clerk, teacher, student, physician. Expect certain types of behavior from these people |
| conscious raising | making people aware of sexist social attitudes towards women |
| personal roles (role playing) | roles w/ family & friends - boasting, bragging, embellishing truth, conspirators, dominant-submissive-passive |
| *3 challenges of acting | 1) make characters believable (inner truth), 2) physical acting (voice/ body), 3) synthesis & integration (inner/outer skills) |
| *realism | an attempt to present onstage ppl & events corresponding to those in everyday life |
| *Stanislavski System | relaxation, concentration/ observation, specifics, inner truth, action onstage (what, why, how), through line of role, ensemble playing |
| *Stanislavski's relaxation | state of freedom & relaxation w/ fluid & lifelike movement that seems effortless. |
| *Stanislavski's importance of specifics | emphasis on concrete details, character must exist w/ given circumstances. Feel the moment |
| *Stanislavski's inner truth | internal or subjective world of characters - thoughts/ emotions |
| *Magic if | Stanislavski's acting exercise, which requires performers to ask "How would I react if I were in this character's position?" |
| *Stanislavski's Action onstage: What? Why? How? | all action onstage must have a purpose. Attention must be focused on physical actions linked together by circumstances |
| *Superobjective/ through line of a role | What the character wants above all else during the course of the play |
| *Stanislavski's through line of a role | to develop continuity in a part, actor must find superobjective of character. Their driving force |
| *Stanislavski's ensemble playing | playing together of all performers |
| *ensemble playing | acting that stresses the total artistic unity of a group performance rather than individual performances |
| *Stanislavski's psychophysical action | 2nd phase: Rather than seeing emotions as leading to action, this was purposeful action to fulfill a character's goals - for emotions |
| emotional recall | Stanislavski: helps performer to present realistic emotions. Feels emotion by thinking of conditions surrounding event in own life |
| *Lee Strasberg | founder of actor's studio in NYC, emphasized Stanislavski's emotional recall techinique |
| *biomechanics | Russion director Vsevolod Meyerhold's program emphasizing physical exercises & full control of the body |
| *centering | way of pulling everything together& allowing performer to eliminate any blocks impeding body or voice |
| outer aspects of character | walk, posture, vocal delivery, hairstyle, or makeup |
| inner aspects of a character | feelings & emotions |
| Onstage acting vs acting in everyday life | Stage: always observed by audience, playing roles which may not have direct experience w/ like might in life |
| poetic devices | meter, imagery, alliteration |
| *director | person responsible for overall unity of a production & coordinating work of contributing artists. |
| *American director is equivalent of British______ & French ______ | producer/ metteur-en-scene |
| *3 approaches to directing | traditional, auteur, & postmodern |
| *traditional approach to directing (duties) | text-based method: chooses script,spine of play, style, concept & period-image-purpose |
| *spine | aka main action, determined by goal, or primary objective, of characters in play collectively & individually |
| naturalism | attempts to put on stage exact copies of everyday life; sometimes also called "slice of life" |
| style in theatrical production | the way a play is presented |
| heightened realism | aka selective realism: refers to plays in which characters & their actions resemble real life but a certain license is allowed for other elements in the play |
| realism | middle ground btw naturalism & heightened, or selective, realism |
| nonrealism | departures from realism: fantasy, poetic drama, musical theatre, absurdist theatre, symbolism |
| allegory | nonrealism: symbolic representation of abstract themes through characters, action, & other concrete elements of a play |
| expressionism | nonrealism: attempt in drama to depict the subjective state of a character or group of characters through shush nonrealistic techniques as distortion, striking images, & poetic language |
| 2 things essential when director arrives at a style for production | 1) should be appropriate for the play, 2) should be consistent throughout every aspect of the production |
| *directorial concept | controlling idea, vision, or point of view that the director feels is appropriate for the play; it should create a unified theatrical experience for the audience |
| *shape of time | rhythm, movement, pace of play |
| *Duke of Saxe Meinengen | 1st director in the 1800's |
| auteur | French term for author. When describing director, suggests one who makes drastic alterations & transformations to a traditional script |
| modern production aesthetics | organic unity, single view, single viewer approach, shared values of audience, metaphorical or representational, linear, closeness, time is singularly staged, space is unified |
| postmodern production aesthetics | interdisciplinary, no single view can predominate, multiperspective - multifocus, multicultural, presentational, nonlinear - simultaneous, distance, multiple time frames presented simultaneously, space fragemented simultaneously conceived. |
| *casting | fitting performers into roles |
| typecasting | when performer closely resembles in real life the character to be enacted |
| casting against type | deliberately putting someone into a role who does not appear right for part |
| *audition | actors read scenes from play or perform portions of script |
| *blocking | pattern & arrangement of performers' movements onstage w/ respect to ea other & to the stage space, usually set by director |
| visual composition & stage pictures | physical arrangement of performers onstage |
| Director gives shape & structure to play in 2 ways | space & time |
| *"time" | movement, pace, & rhythm |
| *technical rehearsal | rehearsal that focuses on running through the production w/ scenery, props, lighting, costumes, & sound for 1st time |
| *dress rehearsal | 1st full performances of a production b4 performances for the public. |
| *previews | tryout performances of a production b4 an audience, preceding the official "opening" performance |
| *producer (american) | person responsible for business side of production, including $. |
| *producer (british) | equivalent to american director |
| managing director | in nonprofit theatre orgs, individual who controls resources & expenditures |
| *commercial producer responsibilities | raising $, securing rights to script, dealing w/ agents, hiring, dealing w/ unions, theatre space, supervising those running theatre, supervising advertising, overseeing budget |
| executive director or managing director in noncommercial theatre | person w/ many of same responsibilities as producer |
| front of house | portion of theatre reserved for the audience; sometimes called simply "house" |
| *proscenium stage | arch or frame surrounding the stage opening in a box or picture stage w/ audience facing 1 direction - KCKCC theatre |
| *arena stage | stage entirely surrounded by the audience; aka circle theatre or theatre-in-round - Sprint Center |
| *thrust stage | stage space that thrusts into the audience space; a stage surrounded on 3 sides by audience seating - Barney stage |
| *black box | theatre space open, flexible, & adaptable, usually w/o fixed seating. Audience configuration can be moved around. |
| *fourth wall | convention, in a proscenium-arch theatre, that the audience is looking into a room through an invisible 4th wall |
| *rake | 1) to position scenery on a slant or at an angle other than parallel or perpendicular to curtain line, 2) upward slope of the stage floor away from audience |
| *orchestra | 1) in American usage, ground-floor seating in an auditorium, 2) Circular playing space in ancient Greek theatres |
| *box | small private compartment for group of spectators built into walls of traditional proscenium-arch theatre |
| stage house | stage floor & the space around it to the side walls, as well as the space above it up to the grid |
| *arena stage | circle stage or theatre-in-the-round; audience surrounds the stage area on all sides |
| *platform stage | elevated stage w/ no proscenium, sometimes called a trestle stage. |
| *wagon stage | low platform mounted on wheels or casters by means of which scenery is moved on- and offstage |
| *corral stage | theatre building of the Spanish golden age, usually located in the courtyard of a series of adjoining buildings. |
| *site-specific companies | theatre groups that create productions for specific nontheatre locations |
| *multifocus theatre | an environment in which there is more than one playing area |
| *play a large part in setting the tone of an event | atmosphere & environment of theatre space |
| *5 basic stage & auditorium arrangements | proscenium, arena, thrust, created or found space, & all-purpose or "black box" spaces |
| *affect the environment of a production | size & location (indoors/ outdoors), along w/ shape & character of a theatre building. |
| *scene designer | creates the visual world in which a play unfolds. Decides colors, shapes, visual style. |
| *scene designer's objective | set tone/ style, establish locale/ period, develop design concept, provide central image or metaphor, ensure scenery coordinated, solve practical design problems |
| realism | an attempt to present onstage ppl, places, & events corresponding to those in everyday life |
| nonrealism | aka departures from realism; all types of theatre that depart from observable reality |
| *5 elements of scene design | line, mass, composition, texture, color, rhythm, movement |
| *Line (scene design) | outline or silhouette of elements onstage |
| *Mass (scene design) | overall bulk or weight of scenic elements |
| *Composition (scene design) | balance & arrangement of elements, way they are arranged |
| *Texture (scene design) | the "feel" projected by surfaces & fabrics |
| *Color (scene design) | shadings & contrasts of color combinations |
| ground plan | blueprint or floor plan of the stage indicating placement of scenery, furniture, doors & windows, & various levels of the stage |
| stage right | right side of the stage from the point of view of a performer facing audience |
| stage left | left side of the stage from the point of view of a performer facing audience |
| stage area near audience, front of stage | downstage |
| stage area away from audience, back of stage | upstage |
| everything out of sight of the audience | offstage |
| stage area in center | centerstage |
| wagon | low platform mounted on wheels or casters by means of which scenery is moved on & offstage |
| turntable | circle set into the floor of a stage, rotated mechanically or electronically to being 1 set into view as other disappears |
| *fly loft | space above stage where scenery may be lifted out of sight by ropes & pulleys |
| *flat | scenic unit consisting of canvas stretched on a wooden frame often used w/ similar units to create a set |
| *scrim | thin, open-weave fabric which is nearly transparent when lit from behind & opaque when lit from front |
| prop | properties; objects that are used by performers onstage or are necessary to complete a set |
| *rendering | complete drawing of a set, usually in color |
| CAD | computer-assisted design. Designs created by computer. |
| *technical director | staff member responsible for scheduling, construction, & installation of all equipment. Executes designs as specified. |
| property designer | creates & executes all props |
| scenic charge artist | responsible for seeing that sets are built & painted according to specifications of scene designer |
| paint charge artist | person in charge of painting set |
| *everyday forms of scene design | planned decor of restaurant, hotel lobby, apartment |
| special effects | elements of scenery, lighting, costumes, props, or sound that appear highly unusual or miraculous. |
| *Things that clothes signal or indicate regarding wearer | position/ status, sex, occupation, flamboyance/ modesty, independence/ regimentation, work/leisure/special event |
| *objectives of costume design | establish style, indicate period, indicate nature of character, show relationships, convey significance, meet needs of performer, consistent w/ production |
| *stitchers | technicians who sew all of the costumes for a production |
| *drapers | technicians who pattern, pin, & drape fabric to fit the actors in a production perfectly |
| *pull | to choose a costume from inventory owned by a theatre co or costume wearhouse |
| *build | to create a costume from scratch in a costume shop |
| distressing | making a costume look weathered or worn |
| *Properties of stage lighting | intensity, color, distribution, movement |
| *motivated sound | sounds called for by the script like guns, or dog howling |
| *environmental sounds | noises of everyday life that help create a sense of reality in a production, like rain or wind |
| * sound reinforcement | amplification of sounds produced by a performer or a musical instrument |
| *lighting design is intended to provide | illumination onstage, establish time & place, help set mood & style, focus action, establish rhythm of visual movement |
| *rehearsals | After casting, director supervises all rehearsals and help guide performance. |
| *found space stage | Found space - street, building, etc. |
| *triple threat | sing, act, dance |
| *method acting | like Stanislavski, actor drums up a time where they experienced similar emotions to bring up the emotions needed in role |
| *technical acting | actor becomes the person they are playing and gets emotions from how character would feel at that particular time |
| *the paradox of the actor | Diderot - different than method or technical, should render emotions from a parallel character to role |
| *dramaturg | literary manager that finds or helps develop new plays for director |
| *stage pictures | physical arrangement of performers onstage |
| *run-through | full performance from beginning to end w/ all props & scene changes |
| *Non-commercial Theatre | nonprofit theatres |
| *Commercial Theatre | for-profit |
| *Stage manager | production: director & technical assistant, performance: responsible for production and cues |
| *Artistic director | responsible for creating the artistic vision |
| *theatre in the round stage | audience surrounds the stage area |
| *aesthetic distance | space between audience and actors |
| *collaborators for scene design | playwright, director, scene designer, technical director, scenic design, stage mgr, design assist, technicians |
| *process for scene design | Gets ideas from script & develops ideas, director/designer meet compare ideas, thumbnail sketches, when agree - rendering (color), CADs |
| *costume designer | designs/ selects appropriate costuming for actors |
| *elements of costume design | 1)line, shape, silhouette, 2)color, 3)fabric, 4)accessories |
| *related elements of costume design | makeup, hairstyles and wigs, masks |
| *lighting design in theatre history | used daylight 1st 2000 yrs, then candles, then gas lights, then lighting. Most technical last 100 years. |
| *lighting designer's resources | various stage lights, lighting controls, technical equipment, collaborators |
| *floodlights | used singly on in groups, provides general illumination for stage or scenery. Can be blended, to set tone, or illumination |
| *cue | any prearranged signal that indicates to performer or stage mgr that it is time to proceed to next line or action |
| *blackout | all lights shut off at once |
| *fade | one set of lights dim slowly, changing scene from brighter to darker |
| *cross-fade | one set of lights comes down while another comes up |
| *split cross-fade | lights coming up are on different fade count from ones going down. Most common |
| *backlighting | light placed behind actor or object |
| *followspot | powerful stage light typically used to highlight actors |
| *light plot | like an architectural blueprint for the stage lighting |
| *gobo | "go before" a light, breaks light to form patterns - like a cutout to produce a shadow of vines or |
| *focus | sharp or diffused |
| *dimmers | dim the lights |
| *composition of lighting | designer uses lighting to paint a picture on stage |
| *sound reproduction | amplification and sound effects creating sounds |
| *purists (sound) | those that object to sound amplification in theatre |
| *sound design process | reads script, determines where sound might be needed, finds the sounds, determines need for microphones, consults w/ director & other designers |
| *types of microphones in theatre | body, head, shotgun, general |
| *shotgun mike | highly directional & aimed from a distance at a specific area |
| *general mike | picks up sounds in general area toward which it is aimed |
| *body mike | wireless microphone attached to performer's body or clothing |
| *sound designer/ engineer must | 1)prepare soundtrack, 2)place microphones & speakers, 3)mix recorded & live sounds during performance for effects |
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