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Theater
| Question | Answer |
|---|---|
| PLOT | The first element of storytelling. It is the arrangement of incidents—the cause and effect over time, causing change Character gives us qualities, but it is in our actions—what we do—that we are happy or the reverse” (Poetics, 1450a18) - Aristotle |
| Beginning: Act 1 | Exposition: who, where, under what conditions, and in what relationships Collision: setting up the dramatic predicament. |
| Middle: ACT 2 | Moving toward crisis or culmination. A character is Challenged and must act to overcome that challenge Peripeteia: a reversal or main twist that changes the character’s path. |
| End ACT 3 | Catastrophe: Climax and resolution Falling action /denouement |
| ACT | The division of drama into Acts has an ancietn history |
| Character | is determined by the characteristics and traits of the character. The plot changes the character it kicks the character into action. you want the audience to feel for the them or relate in some way |
| Tragedy | If a character gets what they want, but not what they need, Midpoint is a victory but will fall to a tragedy |
| Positive ending | If a character leans they should accept what they need and not what they want Mid point is a tragedy to overcome. |
| Want and needs | An Objective every character has that they strive for and what actions do they take to achieve this goal |
| Reversal of Intention | The Character take an opposite action then they would at the start of the story |
| Recognition | A change from ignorance to knowledge |
| Thought | The meaning of the play related to theme what is the core idea of the story |
| Dictation | The Expression of the meaning of the words. Not what they say but what they mean |
| Subtext- | the Motivation and Implied meaning under the spoken dialogue |
| Song | Greek plays often feature chanting and singing the Ancient Greeks believed music was therapeutic Value |
| Spectacle | The presentation of the play you are watching a play in real time with real people it's a share experience |
| Denouement | How we leave a story |
| Sroy Circle | You, need, go, search, find, take, return, change |
| You stage 1 | A character is in a zone of Comfort |
| Need stage 2 | They want something |
| Go stage 3 | They enter an unfamiliar situation |
| search stage 4 | Adapt to it |
| Find stage 5 | get what they wanted |
| take stage 6 | pay a heavy price for it |
| Return stage 7 | return to where they came |
| Change stage 8 | Having changed in some way |
| The Proscenium: | What you most likely picture when you think of a “stage”. It allows the designer to create a “vanishing point”, framing the stage and action on it. |
| Proscenium Arch | most prominent architectural feature. It frames the stage and creates a “picture plane” effect. The Proscenium will often be raised several feet, The Stage in the Chapel is a proscenium stage |
| the Fourth Wall concept: | The audience is looking through an “invisible” wall, peering into the world of the play |
| Backstage: | The area reserved behind the stage and in the wings for prop and set storage, actors' waiting area, and behind-the-scenes work |
| Wings: | Offstage right or left—where the characters in a ballet may enter from, dancing into view. A place where an actor waits to enter the stage while in character. |
| Fly space: | Above the main stage—the scenery might be raised or lowered. The space above the stage is used to attach and house flying scenery. |
| Masking: | black draperies that surround the performance area—they hide what the audience should not see. They help maintain the illusion of the play |
| The Arena Stage / Theater in the Round | The audience is sat surrounding the stage area No direct access between the stage and backstage. • Lighting and sound equipment may be within auidence The stage may be at floor level, with the audience on riser-like tiers or seated around the stage. |
| The Black Box Theatre: | It has few fixed features. Essentially, a dark room that can be designed to be whatever it needs to be according to the specifications of the production A Design It Yourself style theatre; it’s malleable. |
| *Found Theater | Shows put on in places not originally intended for a theatrical production. Any and every space can be made into something befitting a theatrical production |
| Set Design | concerned with the creation of the dramatic world of the play. It must be visually interesting, evocative, and functional. It creates and defines a tone for the world in which the play will take place,t must draw your eye, multifunctional, |
| Set Design tells us | Location • Time of Day • The year or era. |
| Set Design helps comment on | The characters worlds, lives, circumstances, and relationships. - ( How does that make us feel?) • It comments on characters and their tastes, personalities, occupation, education, and class status. |
| Set Design emotionally effects us | It creates visual metaphors • Can derive symbolic meaning • It enhances the mood and tone of the play |
| Props | which are a major part of the design concept, are also chosen or created to enhance the design of the play and story. |
| Costumes | Costumes create the visual identity of a character. - They work with hair, makeup, and accessories to tell us about a character, their attitudes, beliefs, and class. • They are telling a nonverbal story. visual idea or representation. |
| Lighting | Lighting plays with our perception of the events on stage. Its functions include: - Selective Visibility: used to highlight a particular aspect of a single part of the stage. |
| Composition: | creates an image on stage that is purposeful and deliberate. |
| Revelation of Form: | creates images of depth and space—it heightens the illusion of theatre. |
| Establishing Mood: | color, shape, and intensity of light emotionally affect us and help us understand the world of the play. |
| Reinforcing a theme | Light is used deliberately for story or emotional resonance |
| Dionysus | God of fertility, wine, ritual madness, and ecstasy. Later, a patron of the arts He is linked with seasons and the cycles of life, death, and rebirth. Wine, and the vines and grapes that produce it, |
| Mask | showed an actor was no longer themself, but a representation of a completely different self. were worn by the 3 main actors who inhabit all characters. - Made of linen, leather, wood, or cork with hair |
| dithyramb | an ancient Greek hymn sung and danced in honor of the god Dionysus. It is sung by a Greek Chorus of up to 50 men or boys who dance in a circular formation. when one chorus member broke from the circle and began dramatizing the story being sung. |
| Thespis | he first actor hough there is debate over whether he was the first actor. He would perform while the chorus danced and sang around him. |
| Dithyramb added scenic elements and other “acted” characters. | 1 actor becomes 3 actors as the Chorus elements are added to the dramatic grammar that will become Greek Theatre. |
| Ancient Greek Drama | was a theatrical culture flourishing in 6th C. BCE. • At its center was the city-state of Athens, a significant cultural, political, and military power. - The Greeks had no holy text but rather mythical figures of the divine or semi-divine |
| Peisistratus | Theatre was institutionalized in the late 6th C. BCE under the ruler. He was a leader in pre-democracy Athens who funded religious and artistic programs and festivals. He believed festivals, would unify Athenian society. |
| City Dionysia | as designed to affirm Athens as a source of pride and power. • The main event of City Dionysia was a theatre competition. • These festivities are held in praise of Dionysus. |
| Dionysus: | od of fertility, wine, ritual madness, and ecstasy. Later, a patron of the arts. He is linked with seasons and the cycles of life, death, and rebirth. Easing suffering, bringing joy, and inspiring divine madness. |
| City Dionysia Festival (March / April: the sailing period | A wine-filled festival was held as an offering to Dionysus with 14,000 Athenian citizens in attendance, including women and slaves. However, only male citizens could vote for Best Play or act in them. |
| Day 1: | he festivities begin with a huge procession and a sacred statue of Dionysus that was brought from outside the city limits. - Dithyrambs would be sung, a giant phallic symbol would be carried along the procession, and a bull would be sacrificed. |
| Day 2: | War orphans are paraded down the street and given front- row seats to the play competition. The competition featured three writers, who each wrote a Tetralogy |
| Tetralogy | (four plays consisting of three linked tragedies and 1 satyr play) The first tetralogy is performed on day 2 |
| Days 3 & 4: | More processions of Athens’ political and military leaders, and the second and third tetralogies are performed. |
| Day 5: | Five Comedies are presented in competition (*comedies were added later to the festival starting in 486 BCE). - Comedy writers wrote one play each, and all plays were performed on Day 5 |
| Day 6: | Recovery period. |
| Day 7: | en randomly selected male citizens would decide which playwright’s Tetralogy was best. The winning playwright would be announced. They’d receive an ivy wreath, sacrificial animals, a big banquet, and their name carved into the stone of the theatre. |
| Why Did the Plays Matter | was considered important to the culture and society of Athens, and it was your civic duty. Considered therapeutic for society when audiences responded to theatre, music, and song. It was believed inner resolution could be found in music and theatre |
| The plays actively questioned | the values and structures of the state. They encouraged the audience to consider what a good person is and what a good citizen does. |
| Plays explored | hat does it mean to be a part of a family and nation? • What to do when divided loyalties create conflict? • What traits help society, and by extension, the self? |
| The Theatre of Dionysus | was an outdoor amphitheater built into a hillside. It may have originally been standing room only. Wooden seats were later built, but stone seating replaced them voices would bounce off marble and stone to reverberate |
| Theatron | The seated section, the “seeing place” |
| Orchestra | the flat area where the actors performed. Later stages would raise this part of the stage. |
| Thymele / Alter | Center of the Theatre |
| Proskenion | he proscenium / a supported platform for an acting area. |
| Skênê | a backdrop or scenic wall. • It served as an early “backstage” area. • A character’s death was always behind the skênê. It was considered inappropriate to show killing in front of an audience. • By the end of the 5th C. BCE it was two stories high |
| Paradoi | an early example of the “wings” where the chorus would dance on and off stage right and left. |
| Deus ex Machina (God in the Machine) | A crane was used to lower actors from above (early spectacle/ special effect). - Why Deus ex Machina? • A character is in a conflict from which there is no escape, so the solution must come from the gods. |
| The Chorus: | the tradition that began with the Dithyramb was always present in Greek Theatre In Ancient Greece, all Chorus members wore the same mask representative of the collective group works as a unit, using song and dance to give exposition and time passing |
| queens and princesses | wore cloaks that would be dragged behind them, decorated with gold stars and jewels, while white body stockings were used to make the skin appear pale |
| The costumes Greek tragedies | were bright, colorful, and meant to catch the eye of all 14,000 citizens in attendance |
| For comedies | men would wear wild and funny costumes with padded stomachs, butts, breasts, and large phallic pieces for the raunchy Satyr plays. • All performers were male. |
| Gods and godesses | ong robes were worn by actors portraying gods. • Goddess characters wore purples and gold. • |
| main character | Tragic actors wore platform shoes to make them appear larger than life. |
Created by:
Jennatu