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Developmt of Thtr #3
For quiz 3
| Question | Answer |
|---|---|
| Why is the teatro Olimpico historically significant? | Oldest surviving theatre, designed as a smaller Roman theatre, first roofed theatre |
| When was the Teatro Olimpico built? | 1574 |
| why is the Teatro Farnese historically significant? | The prototype of the proscemium-arch theatre |
| When was the Teatro Farnese built? | 1618 |
| Whay type of theatre was (and is) encouraged by the proscenium-arch type of stage? | The picture-frame, fourth wall or conventional stage, the best-known types of theatre space |
| Why is sebastiano Serlio considered the fater of theatrical scenic design? | Introduced perspective (visual realism), three basic settings for drama (a tragic setting, a comic setting, and a pastoral setting), recommended the use of angled wings and raked stages |
| What were the neoclassical ideals? | Italian critics that dominated dramatic theary in Europe (Julius Caesar Scaliger, Lodovico Castelvetro, Antonio Minturno) |
| What were the three neoclassical unities? | Time (not exceed 24 hrs, argued not more that 12 or 2 hours, but most agree with 24 hrs), Place (only one locale), Action (One central story, small group of characters, no subplot, no mixing of genre) |
| What is descriptive criticism? | Analytical, analyzes what has gone before |
| What is prescriptive criticism? | Argues for a certain point of view, sets down rules and prescribes formulas, reffered to as didactic |
| Who was Castelvetro? | A major neoclassical critic, "theatre was invented to please the ignorant", one of the 3 neoclassical unities |
| Rakes Stage | Slightly inclined or slanted |
| Angled wings | Flats hinged in a fixed position and pointed in perspective, placed on behind the other, gave the appearance of a house or something 3D |
| Torelli's pole-and-chariot system | Poles below stage floor were attached to scene flats on stage to understage wheels |
| "Glories" | Flying machines |
| Verisimilitude | An important ideal of the neoclassicists (all drama was to be "true to life") |
| Didactic drama | "intended for instruction" |
| genre | "type" or "category" |
| Decorum | All dramatic characters should behave in ways based on their age, profession, sex, rank, and the like |
| Why was Elizabeth I so important to the rise of this great era of drama and theatre? | She broke the final chords to the Catholic church |
| What kind of secular plays preceded Shakespeare and his contemporaries? | Seneca's revenge-obsessed characters (onstage violence), Plautus's and Terence's comic plots, and Thomas Kyd's "The Spanish Tragedy" |
| What were two major contributions by Christopher Marlowe to the development of Elizabethan drama? | Marlowe's "mighty line" (dramatic verse), Iambic pentameter, and perfected the chronicle plays (history plays that emphasize important public issues) |
| The authors of text point to what three aspects of Shakespeare's playwritng skill that made him so extraordinary? | Understood the technical elements of theatre, his plots, an his verse |
| Did Shakespeare and his fellow Elizabethan playwrights generally follow the neoclassic rules for playwriting? | no |
| What was the primary difference between public playhouses and private playhouses? | outdoor vs. indoor |
| "University Wits" | University graduates and professional dramatists |
| Interludes | Brief dramatic entertainments written and staged by professionals |
| Iambic pentameter | 5 beats to a line, two syllables to each beat and the accent on the second beat |
| Henslowe's Diary | A primary source for information about the theatrical world of Renaissance London |
| Tiring house | Where you would change attire, backstage area |
| Groundlings | A spectator in the cheap standing room section of an Elizabethan theatre |
| The rose | A public playhouse built by philip henslowe iin 1587 |
| The Globe | Plublic theatre |
| The Blackfriars | The first private theatre built |
| What brings about the encourter of Faustus with Mephistophilis? | He uses religious language to describe the dark world of necromancy that he enters, he renounces scripture and pledges his allegiance to hell |
| what bargain is struck between Faustus and Mephitophilis? | Faustus declares that he will offer his soul to Lucifer in return for twenty-four years of Mehpastophilis's service |
| What are the first two things Faustus wants? | Wants to know where hell is and wants a wife. |
| Where and in reference to whom does the Greek/Trojan War come up in Doctor Faustus? | Faustus referring to Helen of Troy |
| How much time does doctor Faustus cover? | 24 years |
| How does Faustus accept his fate at the end of the play? | overcome with fear and begs for mercy |
| How does Faustus' attitude at the end compare with Everyman's? | Everyman accepts his fate and is ready for death but Faustus does not want to die in the end. |
| In what ways is Doctor Faustus dramaturgically similar to but an advancement beyond Everyman? | Doctor Faustus is similar in that it deals with men being judged at the end of their lives. |
| Why are Prospero and his daughter on the island in "The Tempest?" | They were exiled out on a raft and landed on the island. |
| What does Prospero do when he discovers Miranda is smitten with Ferdinand? | He uses magic to control Ferdinand |
| What are the differences between Arial and Caliban? | Ariel was a loyal sprite trying to earn freedom, but Caliban tries to rape Miranda and is enprisoned by Prospero. |
| What actual event may have inspired this play? | An actual shipwreck at Bermuda in the Mediterranean sea |
| In what ways is Prospero a different magician than Doctor Faustus? | Doctor Faustus began to use his magic at random and for please, but Prospero used his magic with a purpose and gives up his magic in the end. |
| What makes this play seem like an Elizabethan court masque? | Prospero conjures up spirits to entertain meranda and Ferdinand |
| Why does Prospero not punish his enemies at the end of the play? | He sought retribution |
| Since Prospero can control everything, where is the suspense in this play? | in propero himself giving up his daughter. |
| Why did medieval religious drama develop later in Spain than in the rest of Europe? | Because it did not produce examples of vernacular religious plays |
| What is Autos secramentales? | One-act play referring to sacraments, mostly religious, combined elements of medieval morality and mystery plays and partially secular as well as religious sources. |
| What is comedias? | Seceular Plays |
| Our text says the form of spanish plays in the Golden age was quite similar to that of Elizabethan plays, but the subject matter was different. Explain? | Like English plays comedias were episodic and did not follow the neoclassic rules, but differed from English plays in subject matter (e.g. conflicts of love and honor, daring adventures, melodramtic confrontations) |
| Who were the two most outstanding dramatists of the era and when? | Lope de Vega (1562 - 1635), Calderon de la Borca (1600 - 1681) |
| What were the two most famous theatres of Spain, built in Madrid and when? | Corral de la Cruz (1579) and Corral del Principe (1583) |
| The patio of the Spanish theatre was the same as what area in the English public playhouse? | The Pit |
| Who sat in the casuela? | The women |
| What was the role of women in Spanish theatre? | They were permited to take part, but only with a chaperone. |
| Lope Du Rueda | C. 1510 - 1561, An actor, manage and palywright, mostpopular performer in the early Spanish theatre, wrote popular secular plays |
| Corrales | Where non-religious plays were staged, a public theatre |
| The playwright, lope de vega had a remarkable life and career. How would you describe him? | wrote at least 500 plays, survivor of the Spanish Armada, womanizer, priest. |
| What is the Commander's main offense against the village in Fuenteovejuna? | subduing the ladies |
| Who is the principal protagonist, and what is unusual about this? | The commander, because he is viewed as the bad guy |
| How many plays were probably written? | 3000 |
| How many extant titles exist from English plays? | 1050 |
| How many extant plays exist from the english plays | 500 |
| How many English renascence words were added to the English language? | 1000 |
| Neologisms | "new words" |
| When was the renaissance era? | roughly 1400 - 1650 |
| What does renaissance mean? | "rebirth" |
| What are the four areas of major innovation in theatre art that took place during the italian renaissance? | Acting, Dramatic Criticism, Theatre architecture, Scene design |
| What kings of plays were written during the Italian renaissance? | Religious dramas (Sacra Ra[[resentazioni), Comedies, Tragedies, Opera, Commedia Dell'arte |
| When the scholars of teh Renaissance attempted to recreate Greek tragedy, what did they invent? | Opera |
| What were the major conventions of commedia dell'arte? | Predefined roles, improvisation, entrances and exit speaches, costuming |
| What was the role of women in commedia? | They took part |
| Over what period of time did commedia flourish, and where was it popular? | 1970 - 1980, Italy |
| Pastorals | Imitation of Greek satyr plays, Short, ribald comic pieces |
| Pantalone | A role in comedia dell'arte, a foolish pedant who was always involved in his neighbor's affairs |
| Scenarios | A short script without dialogue |
| Lazzi | repeated bits of physical comic business |
| Zanni | Role in Comedia Dell'arte, servants sometimes sly and sometimes foolish |
| I Gelosi | "The Zealous," A very successful commedia company organized by a family |
| Isabella Andreini | The lead actress of the I Gelosi Comedia company |
| What do we know of the acting style in Shakespeare's time? | Realistic? |
| How were acting companies organized? | A percentage ownership |
| What was the Jacobean/Caroline era? | A continuation of the Elizabethan era |
| What did Ben Jonson and Inigo Jones have to do with Courth masques | Were rivals in court masques, Inigo Jones liked using expensive settings whereas Jonson didn't. |
Created by:
jbenk7
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