History of Theatre
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| closet drama | a play intended to be read rather than performed
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| Passion Play | a play that presents the last week of the life of Christ
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| satirist | the term for an author who mocks human vices and follies by using wit and humor
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| amphitheater | a circular arena surrounded by tiers of seats
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| mansions | a series of acting stations that represented biblical settings; used in Saint and Mystery plays
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| pathos | an element in drama that evokes sorrow and compassion
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| cycle | a series of short plays that depict religious history from creation through doomsday
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| Mystery play | a play based on biblical history
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| Moral Interlude | a type of play that evolved from the Morality plays; these plays were shorter and included humorous incidents
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| deux ex machina | an artificial plot device that an author introduces late in a play to resolve difficulties
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| folk drama | secular drama that took place during planting time, harvest time, and Christmas; developed simultaneously with liturgical drama
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| Aeschylus | the Greek tragedian responsible for increasing the number of actors; he wrote the Oresteia, the only surviving Greek trilogy
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| chorus | a group of characters that explain the situation and comment on the action of the play
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| Aristophanes | the Greek satirist whose first nine plays represent Old Comedy
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| Dionysus | the Greek god who was honored by the dramatic contests that began in the sixth century B.C.
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| Saint play | a play based on the legends of saints
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| trilogy | a series of three plays related by theme, myth, or character
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| Andronicus | he received a commission to write the first work of Roman drama
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| Seneca | an ancient Roman writer of bombastic tragedies; his plays were closet dramas
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| Euripides | the Greek tragedian who was a master of pathos; he wrote Medea
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| pageant wagon | a stage on wheels that was used by the medieval guilds of the fourteenth century
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| Morality play | a play primarily concerned with teaching right and wrong
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| Sophocles | the Greek tragedian who wrote Oedipus Rex and Antigone
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| thespian | a term often used to refer to an actor
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| Menander | the author responsible for New Comedy
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| soliloquy | a speech delivered by an actor alone onstage that revels the character's innermost thoughts
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| tarras | the balcony on the second floor of an Elizabethan playhouse
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| William Shakespeare | the Elizabethan playwright who is often considered the greatest dramatist of all time; he wrote Romeo and Juliet
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| Eugene O'Neill | American dramatist known for such works as Long Day's Journey into Night and The Hairy Ape
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| Goethe | the German dramatist who wrote Faust
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| commedia dell'arte | professional improvised comedy that used stock characters
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| opera | an attempt by Italian playwrights during the Renaissance to revive the music of ancient Greek drama
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| No (Noh) | created by Zeami Morokiyo, this type of Japanese drama combines words, dance, and music that are rhythmically coordinated to the events in the story
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| Globe Theatre | the Elizabethan playhouse with which Shakespeare was associated
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| Restoration | the time period following the Puritan Rebellion; theater was decreed legal once again
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| lazzi | humorous bits of stage business set apart from the main action; used in the commedia dell'arte
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| raked stage | an acting area that is slanted upward away from the audience
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| innamorati and innamoratae | upper-class young lovers of the commedia dell'arte
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| Bunraku | a type of Japanese theater that features four-foot-tall marionettes; also called doll theater
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| Stanislavski | Russian author whose works are used as the basis for defining method acting
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| the humors | a combination of elements and body fluids that the Elizabethans believed to have an effect on personality
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| Renaissance | term meaning "rebirth" ; the time between the medieval and modern ages in western Europe
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| scenarios | plot outlines that were posted backstage before each performance of the commedia dell'arte troupes
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| groundlings | the lower-class playgoers of the Elizabethan era who stood in the pit to watch the performances
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| Kabuki | a type of Japanese theater that developed as entertainment for the general public; it borrows aspects of No and Bunraku
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| Christopher Marlowe | the Elizabethan dramatist who introduced the first important use of blank verse; he wrote Tamburlaine the Great
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| the Barrymores | the family of actors that links the early American stage with the modern
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| Ben Jonson | the Elizabethan author who is known as a master of English comedy; he wrote Volpone
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| Peking Opera | Chinese drama that incorporates historical, spoken, dance, and song drama and ballet
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| "Thinking Person's Society" | Shaw's theory that states, "Of every 1,000 people, 700 do not think, 299 are idealists, and 1 thinks."
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