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Theatre Final

Theatre

Question	Answer
Why do we perform/attend rituals and ceremonies?	To celebrate To commemorate or remember To solemnize or make something official To worship or appease God/Gods all of which serve as a way… To build or reinforce a Sense of Community
Elements of Ceremony Part One	Specific Place set aside or prepared for ceremony Ceremonial Objects-Location, Properties, Scenery Specific Dress-Costume, Mask Music/Dance/Ritual Movement
Elements of Ceremony Part Two	Leadership/Performance-those who enact or lead the ceremony. Shaman/Priest/Judge/Master of Ceremonies Impersonation/Assumption of Roles Audience attendance/participation Ritual Text or words
Willing Suspension of Disbelief	The ability to give ourselves over to the story and believe in the world of the play and it’s characters.
Aesthetic Distance	The ability to separate the world of the play from reality.
Play	the text as the author(s) wrote it. It exists as literature, but not yet as theater.
Production	the collaborative efforts of a group of artists that create a living embodiment of the Play for an audience to see.
Performance	the execution of the planned Production at one moment for one audience.
Plot	the structure and action of the play. What happens and how you find out about it.
Character	those who undertake the action of the play.
Theme/Thought	the overall statement, point, or idea of the play.
Diction	the literary character of the text, it’s language and tone.
Music	all of the audible content of the production.
Spectacle	all of the visual elements of the production.
Protagonist	the central character of the play.
Antagonist	those who or that which opposes the protagonist.
Foil	characters who, by their nature and actions, provide a contrast or counterpoint to the Protagonist.
Archetypes	character types that appear in many different literary forms across time, place, and culture.
RPG	Role-Playing Game
How do we use RPG in Theatre?	It's a useful tool in character creation
Climactic Structure	most common structure you will find in storytelling.
Order of Climactic Structure	Point of Attack Exposition Inciting Incident Rising Action Climax Falling Action Resolution
Episodic Structure	Tracks same characters through their stories, which are often spread over a longer stretch of time.
Serial Structure	Stories are linked by Theme and Idea rather than by Plot or Character.
Point of Attack	the point in the characters journey at which the playwright decides to begin telling their story.
Exposition	Events, ideas, character details, and other information that is necessary to the story but occurred prior to the Point of Attack are communicated to the audience within the story, usually through dialogue.
Inciting Incident	the moment where the action of the play begins. Our dramatic conflict is established.
Rising Action	Complications ensue, action occurs, and things are revealed.
Climax	the point of maximum dramatic conflict/crisis. The point at which something must change.
Falling Action/Denouement	the results of the climax are established, the main plotline is wrapped up.
Epilogue	change takes hold, loose ends are tied up, sometimes we see the long term consequences of action.
Genre	From the French, translates as “type” a category of artistic composition, as in music or literature, characterized by similarities in form, style, or subject matter.
Genres Discussed in Class	Traditional and Modern Tragedy Drama Comedy Tragicomedy Melodrama Documentary and History
Traditional Tragedy	Action serious in nature and significant in scope. Focused on those with high social position, with significant power/responsibility. Central Characters are caught in Tragic Circumstances Tragic Verse
Modern Tragedy	Still asking the same questions about suffering and loss, but on a more personal, individual level. Language style is prose, not verse. Central Characters can be regular people.
Heroic Drama	Similar to Traditional Tragedy in it’s Characters (High Status), Diction (Verse), and Plot (extreme situations) Ends Happily rather than with Loss. This does not preclude the death of the Hero.
Bourgeois	People of the middle classes or business owners (not the Upper or Ruling classes of Classic Tragedy) These plays are serious dramas about regular people in heightened, but believable circumstances. The endings vary between happy and sad
Domestic Drama	Of or centering around the home and family. These plays are serious dramas about regular people in heightened, but believable circumstances. The endings vary between happy and sad.
Comedy	Reflects our hopes, needs, and desires.
Sub-Genres in Comedy	Farce, Romantic Comedy, Comedy of Manners, Satire, and Parody.
Farce	fast moving, physical comedy. Often involves mistakes/mistaken identity and sexual maneuvering/misbehavior.
Romantic Comedy	reflects the struggles of lovers to be together, ends happily.
Comedy of Manners	mocks the pretensions of those who seek to enforce cultural conventions.
Satire	Political Comedy. Often designed to shock or mock those in power or those who benefit from the current power structure.
Parody	mockery by exaggerated imitation or counterpoint. Mocks the form and content of other art.
Tragicomedy	Retain some of the characteristics of both Comedy and Tragedy.
Melodrama	Most Popular at the turn of the 19th to the 20th century. Involves Archetypal or Stereotypical Characters. Ends Happily, with Good triumphant and Evil punished.
Documentary	Work from source material, strive for accuracy as well as impact.
History	Dramatize historical events, usually revolving around the powerful or famous.
Style	The manner in which something is done. The textbook defines Style as “the way in which the artist views reality.”
Adaptation	To change something from its original form.
The Actor's Tools	The Body, The Voice, and The Mind.
Callback	actors being considered for a role read together from sides (short scenes or portions of the script).
Core Concept	The director’s interpretation of what the most important idea in the play is, and their plans for how to focus the production on that idea.
High Concept	Goal is to show the audience something unique, to reveal something deeper, within a familiar story. Almost always involves changing locations, time periods, other visual details while remaining true to the action and language of the original story.
Blocking	The actor's movement through space and time.
What Design can do for a Production	Establish Location, Establish Era, Establish Environment; time of day, season, weather, Indicate or influence mood, and Establish or Express Style.
Different types of Theatre Spaces	Proscenium Theater, Thrust Theater, Arena/Round Space, Black Box or Flexible Theatre, Environmental Theatre, and Site Specific Theatre.
The 6 Elements of Drama	Plot, Character, Theme, Diction, Music, and Spectacle.
Inspiration	often a work of art will inspire another artist.
Finance	work with name recognition or relationship to existing, established, successful work will often have an easier time finding an audience and be more relatable to that audience.
Dialogue	what the characters say and don’t say.
Stage directions	Non-verbal action by characters. Intent/subtext behind how a character says what they say or does what they do. Visual, audible and idea-oriented inspiration or instruction for designers and directors.
How to Playwrights communicate intention?	Dialogue and Stage Directions
The Body	Where Actors must make choices about the physicality of their character.
The Voice	Where Actors must make choices about how their character sounds.
The Mind	Where Acting requires significant mental discipline and toughness.
How does the director begin their process?	Search for theme/central ideas or meanings, Imagery, Research, and consider style.
Proscenium Theater	All audience on 1 side, view the play through the Proscenium Arch.
Proscenium Arch	a picture-frame like architectural feature that separates the audience space from the wings and back-stage spaces.
Thrust Theater	a theatrical space with audience seating on 3 sides of the playing space. May or may not have a small up-stage space with no audience around it.
Arena/Round Space	a theatrical space with audience on all sides of the playing space.
Black Box or Flexible Theatre	Theatres where the seating can be changed from show to show, allowing maximum flexibility in actor/audience relationship.
Environmental Theatre	theatre where the playing space is created by adapting to whatever environment is at hand. Usually little or no separation between actor and audience.
Site Specific Theatre	theatrical pieces created and crafted for specific non-theatrical spaces.
Ground Plan	a drawing of the stage from a birds-eye/top view, showing the architecture of the space, the audience seating, and the locations of every piece of scenery and set dressing.
Mock Up	A “test run” of a garment made for fitting the actor in a cheaper fabric.
Focus Call	A time where lighting crew comes in to focus each light on stage where the Lighting Designer has specified.
Technical Director	oversees the execution of all scenic building.
Costume Shop Manager	oversees the construction and/or acquisition of all costume pieces.
Stage Manager	Runs the show during the run of Performances. Calls all cues to operators (Lights, Sound, Video, Scenery, other). Sometimes runs one (or more) control consoles. Manages the running crew. Preserves the show as rehearsed during the run.
Prompt Book	also known as the Show Bible. Contains a copy of the script for recording blocking, Schedule, Contact Sheet, Emergency Contact and Medical Information for all cast and crew. Once Technical Rehearsals have begun, this book should NEVER leave the theatre.
Design meeting	Designers, engineers and other product development team members discuss a product's design, ask questions and offer feedback. These meetings aim to guide the creative process to ensure the final design aligns with the product goals.
Production Meeting	the venues where crew and cast gather to discuss and prepare for the next stages of the production.

Created by: drawwriter

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