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Developmt of Thtr 2
Stack #48580
| Question | Answer |
|---|---|
| What are two ways in which Asian theatre is significantly different from Western theatre? | 1.Rely much more on dance that western theatre does 2.Emphasize symbolism |
| What is one significan distinction today between Japanese theatre and Indian and Chinese theatre? | Preserved many of the ancient tehniques of acting, dancing, and singing. |
| What was Sanskrit drama, and when was its Golden Age? | Drama written in the Sanskrit Language, The finest works of classical Indian theatre. 300 - 600 |
| What is Sanskrit? | The language of the noble classes |
| What were the theatre like where Sanskrit dramas were performed? | four pillaars in auditorium (white, yellow, red, or blue) indicated where members of different castes were to sit Scenery was evidently not used. Elaborate costumes were used. |
| What was the Yuan dynasty in China, and what is its significance for theatre history? | Mongolian controlled, known throughout the west via Marco Polo. Theatre began to become part of the common class. |
| Did women have any role in the classic theatre of China? | yes |
| What was some significance of the Ming dynasty plays? | Active theatre, more complex allowing several singers per act |
| What was some significance of the Yuan dynasty plays? | "literary drama", much more simpler than Ming's plays allowing only one singer per act |
| Kalidasa | The greatest of the playwrights from the classic period in India |
| Natyasastra | Provided a great insight into the early Indian theatre. Describes mythological origin of theatre in India. Describes theatre nature and the playing space. An encyclopedia to theatrical practice. |
| "Pear Garden" | Actors traingin institute during the Tang period |
| "The Romance of the Western Chamber" | Most famous of the plays survicing from the Yuan dynasty. A cycle of plays between two lovers. |
| Li Ya | China's first important drama critic. Believed that a playwright should write clearly, with a mass audience in mind and should be well verced in practical stage knowledge. Became a playwright. |
| Rasa | "flavor", Permits spectators to surrender themselves to a dramatic situation corresponding to some powerful feeling that they themselves possess. |
| When was Shakuntala written? | 400 CE |
| Who wrote Shakuntala? | Kalidasa |
| Is Shakuntala similar to any of the previous plays we have studied in this class? | Hyppolitus |
| Why is a curse put upon Shakuntala? | Because she fell in love with the king and ignored the sage Durvasas. |
| Who put the curse on Shakuntala? | Durvasas |
| How does the King finally rediscover Shakuntala? | By looking at his ring |
| How does this play reflect the spirit of Hinduism? | Much respect for animals. Appears to be a relation of animals to characters |
| The Middle Ages (or, Medieval Era) refers to what period of time in European history? | 500 - 1000 CE |
| What kind of religious drama flourished in England and Europe, 1350 -1550? | Morality Plays |
| Where did theatre of the Western world reemerge after its silence in the Dark Ages, and why is this a "seeming paradox?" | In the church. The church banded it in the first place |
| What does it mean in "The Conversion of Thais" when the penance decreed for Thais is "laden with gendered symbolism?" | it refers that all women need to strain away from evil. |
| Didactic drama | interupts the play to address the audience directly with analysis, argument, or documentation |
| Does the treatment of Thaise remind youof anything in today's religious world? | (blank) |
| Does "The conversion of Thais follow the neoclassic rules for drmaturgy? | (blank) |
| What is the significance of Hroswitha? | She was a nun |
| Quem quaeritius | 925. A trope (extended musical song). "Whom do you seek?" Became a short play. |
| Mansion | A scenic structure depicting some locale needed for a biblical tale. |
| Platea | The place where a mansion would move to after performing |
| Gegularis Concodia | What Quem Quaeritis evolves into |
| Corpus Christis | A feast that took place a week after trinity Sunday (8 weeks after easter Sunday) |
| What is the difference between Cain's attitude towards God and Abel's? | Cain doesn't repect God as much as Abel. Abel fears God, but Cain doesn't |
| Why does Cain kill his brother Abel? | Jealousy |
| What is God's reaction to the murder? | Curses Cain, Makes a law not to murder |
| Are any of the characters atheists? | It is argued that Cain was. |
| What is Cain's punishment? | That if anyone kills another again, he will be punished seven times over |
| What is the difference between liturgical drama and religious vernacular drama? | Latin vs. Everyday languages. Inside church vs. outside |
| How and by whom were the cycle plays produced? | Lots of work. Trade guilds or clubs called confraternities |
| Episodic structre | Comedy or tragedy or mixed together. Does not have to have a single plot |
| Crisis drama | formal and rigid. Comedy and tragedy are not mixed in the same play |
| What is the significance of the "nonlocalized stage platform? | To travel from location to location |
| What is the significance of the "nonlocalized stage platform?" | to travel from location to location |
| What types of secular dramas were popular in the medieval era? | Folk drama and Frarce |
| What was the involvement of women in medieval theatre? | performed in France, banned in England |
| Why and by whom was religious drama banned in England? | Because it was mostly associated with the Catholic Church. Queen Elizebeth |
| Processional staging | Audiences would assemble in various places and the cycle play would be set up on a wagon which moved from locale to locale |
| Pageant wagons | Wagons that carried actors from place to place |
| "secreats" | special effects. Run by the "Master of the Secrets" |
| Jean Bouchet | French. Outlined the duties of teh manager or director |
| Valenciennes Stage | A series of areas alongside each other |
| Mansions | Scenic units |
| Miracle plays | A medieval play representing episodes from the life of a sain or martyr |
| Morality plays | Attempts to teach a moral lesson through the use of allegorical characters |
| Interludes | Could be morality plays. Performed fro the patrons of the acting troops. Where the professional players begin. emergence of commercial theatre. |
| At the opening of "Everyman", what are God's instructions to Death? | Bring every man that does not follow God's law before God for a final reckoning |
| What does Everyman beg of Death? | Asks for time to find someone to accompany him in his pilgrimage |
| Does the play end as a tragedy? | yes, Everyman dies |
| In what respects is this play an allegory? | The characters all refers to something that people relate to |
| What is the main action of the play? | Everyman's Journey |
| What social concerns of the time does this play reflect? | The plague |
| How does "Everyman" fit the definition of a morality play? | We can clearly see the difference between who we are suppose to agree with and who we aren't suppose to agree with. |
| Indian theatre | 200 BCE - 200CE |
| Tang and Song dynasty | 618 - 1279, "pear garden" |
| Yuan Dynasty | 1279 - 1369, Mongolian ruled, similar to sanskrit era in India |
| Ming and Manchu Dynasty | 1369 - 1912, Chinese ruled again, Chinese opera |
| Chinese opera (date and location of plays) | 1790, done in tea houses |
| Japan theatre | Noh, Kabuki, Bunraku |
| Noh theatre | c. 1400, developed by Zeami, earliest form of Japanese theatre, pin tree on stage, bridge along back, roof is visible, audience sits around a corner, masked characters [Shite (main character) and Waki (supporting actor)] |
| Zeami | famous Noh playwrigh, overtook his father, 1363 - 1443 |
| kKabuki | c. 1600, Developed by Okuni (court dancer), Hanamichi (flowered walkway), revolving stage |
| Bunraku | c. 1600, Chikamatsu Manzaemon, , puppet theatre (lead puppeteer is unmasked and assistant puppeteers wear black), text is chanted by musicians |
| Chikamatsu Manzaemon | 1653 - 1725, Samurai family, great Bunraku playwright |
| Dark Ages | 476 - 1000 (theatre banned at start) |
| High middle ages | 1000 - 1500 |
| When theatre moved outside the church. | c. 1200 - c. 1500 |
Created by:
jbenk7
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