Theatre Word Scramble
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| Question | Answer |
| Performing art, can only be created by humans | Theatre |
| Branch of philosophy that deals with the nature and expression of beauty | Aesthetics |
| What the work is about | Subject |
| Method, substance, style and technique used to create the work | Medium |
| Created by manipulating material in space | Spatial Arts |
| Created by applying line and color to 2-D surfaces | Pictoral Arts |
| Created with written language | Literary Arts |
| An act performing by a person | Performing Art |
| Form of theatre that tells a story about people, their actions, and the conflicts that result | Drama |
| Key to the movement of a story and is what qualifies a theatrical work as a play | Conflict |
| Big musicals as well as comedies and dramas that are intended to be entertaining and profitable | Commercial Theatre |
| Presents dramas that use the styles, themes, and staging of plays of a particular historical period | Historical theatre |
| Allows playwrights, directors, and actors to express their personal opinions about current issues, treands, and politics | Political Theatre |
| Push the limits of theatre | Experimental plays |
| Designed to support the heritage, customs and point of view of a particular people, religion, class, country, or community | Cultural Theatre |
| Principles, standards, or qualities considered worthwhile or desirable within a given society | Values |
| Individual Contributors to the arts | Patrons |
| Restaurant donating to a local theatre because a successful theatre can increase dinner receipts | Corporate Funding |
| Money spent each year on the arts by federal, state, and local entities | Government funding |
| Federal agency that disburses our arts tax dollars | National Endowment for the Arts |
| Pursue maximum profit because by reaffirming the audience's value | Bourgeois theatre |
| legal guarantee granted by the government to authors, playwrights, composers, choreographers, inventors, publishers, and/or corporations that allows them to maintain control and profit from their creative works | Copyright |
| payment /rent made to the playwright or the playwrights estate for the use of their intellectual property | Royalty Pay |
| exaggerated limitations that are done for comic effect or political criticism | Parody |
| values, standards, and patterns of a behavior of a particular group of ppl | Culture |
| fads and fashions that dominate mainstream media, music, and art for a period of time | pop culture |
| process of learning about our culture | Enculturation |
| endeavor to overcome all forms of discrimination, including racism, sexism, homophobia, so that ppl can coexist peacefully and attempt to achieve a pluralist society | Multiculturalism |
| shortcuts in thinking that attribute a generalized identity to ppl who are not like us | Sterotypes |
| promotes a particular ppl’s awareness of themselves and their experiences, traditions, and culture | Theatre of Identity |
| in NYC, 2nd Avenue | "Yiddish Broadway" |
| the black struggle for artistic independence that took place during the 1920s-30s | Harlem Renaissance |
| based on white ppls perceptions of black life in the South | Minstrel Show |
| when whites put on black paint | Blackface |
| hostility towards the ruling class, race, or culture | Theatre of Protest |
| borrows contrasting ideas from diverse cultures and joins them into a single work | Cross-Cultural Theatre |
| when ppl think their view of the world is the correct way to see it | Ethnocentrism |
| the functioning of humans when they come together into groups | Group Dynamics |
| give away a lot of free tickets to the families and friends of cast members to | Paper the House |
| accept that what we watch isn’t real, but choosing to accept reality of it. (pretend it’s real) | Willing suspension of Disbelief |
| audience’s ability to remove themselves from a work of art just far enough so that they can contemplate it | Aesthetic Distance |
| makes no attempt to offer a realistic illusion onstage, and the actors openly acknowledge the audience and sometimes even invite members to participate | Presentational theatre |
| actors never acknowledge the audience and go about their business as if there were no audience present | Representational Theatre |
| style of theatre that attempts to portray life as accurately as possible | Realism |
| an imaginary wall between the actors and audience | Fourth Wall |
| start of the show | Curtain |
| open to public before the play officially opens (1/2 price) | Preview Performance |
| explains what he or she intended to accomplish with the play | Directors Note/Playwrights Note |
| pictures and information about the cast and production | Souvenir Programs |
| evaluations of a production and are often published in newspapers or magazine | Reviews |
| not meant to draw ppl to a particular production or warn them away from it, nor is it based solely on opinion | Dramatic Criticism |
| altering, restricting, or suppressing of info, images, or words circulated within a society | Censorship |
| got parliament to pass laws banning unlicensed plays | Licensing Act |
| remove any possibly vulgar, obscene, or otherwise objectionable material before publication | Bowdlerize |
| dozens of artist and technicians who join together to make it appear as if a performance were the product of a single creative mind | Ensemble |
| plays performed by a theatre company during the course of a season | Repertory |
| dark stage lit by a single bare light mounted on a portable pole | Ghost Light |
| shop where costumes are cleaned, sewn, fitted, and washed | Costume Shop |
| reads and evaluates the play for a new season (liaison between playwrights, agents, and the theatre) | Literary Manager |
| someone who financially backs the theatre or orchestrates funding through grant money and ticket sales | Producer or producing director |
| in charge of the overall creative vision or goal of the ensemble | Artistic Director |
| runs the show during the performance and helps the director throughout the rehearsal process | Stage Manager |
| standard scenery unit made of wooden frames covered with canvas, muslin, or thin plywood | Flat |
| where every aspect of the production is recorded | Prompt Book |
| the entire ensemble know how rehearsal went and informs designers about any concerns or ideas that came up that affect the set, lights, props, or costume | Rehearsal Report |
| notes written to the actors and crew that include problems that occurred and what needs to be fixed before the next performance | Performance Report |
| supervises the construction crews (painters, carpenters..) | Technical Director |
| study the costume designer’s drawings and renderings then find a way to cut fabric into patterns that realize the design | Drapers |
| used temporarily during rehearsal so that the actors get a feel for the actual costumes long before they are ready | Rehersal Costumes |
| works of props for the next production | Prop Master |
| any objects the actors handle while onstage | Prop |
| used during rehearsals to represent the real property that the actors will not be able to use until the last week of rehearsals | Rehersal props |
| Supervises all aspects of a musical and conducts the orchestra during the performance | Musical Director |
| Created new dance numbers and is teaching the steps to the dancers | Choreographer |
| showing the actors how ppl moved during the Restoration | Movement Coach |
| experts at staging safe, realistic, make-believe fights | Flight Director |
| helps actors with speech clarity, volume, and preservation of their voices for the long run of the show | Vocal Coach |
| works with various effects recordings as she synthesizes the sounds, so that everything from the preshow sound exactly right (ex. ringing a doorbell) | Sound Designer |
| uses CAD to design a set for a production that won’t be needed for months | Set Designer |
| A. literary advisor and expert in theatre history who helps the director understand specifics about a play’s performance history. B. they serve as a literary manager | Dramaturg |
| when all aspects of the production are discussed and evaluated | Production Meeting |
| states the theatre’s purpose and key objectives | Mission Statement |
| works on promoting the next play | Publicity Department |
| artistic gathering held long before the play is cast or the sets and costumes designed (when everyone interprets the script) | Concept Meeting |
| usually located behind the theatre and has a little lobby where there is a notice board | Stage Door |
| time the actors have to arrive at the theatre | Call |
| where the props are laid out | Prop table |
| runs sound cues and makes sure speakers, mixer, amplifiers, backstage monitor, and intercom are working | Sound board operator |
| place where audience sits | house |
| ensures everything is where it needs to be | Prop Check |
| in charge of all the ushers | House Manager |
| place where actors wait before their entrances | Greenroom |
| Make sure that everything runs smoothly during the scene | Assistant Stage manager |
| helps backstage | running crew |
| shift scenery and generally set up the play for next scene | stagehands |
| help actors make quick costume changes | dressers |
| mount and operate curtains, sets, and anything else that must move via fly system above the stage (flymen) | Riggers |
| Curtains used of the sides of the stage | legs |
| frame the top of the stage | Teasers |
| used to make the stage appear opaque when a scene downstage (in front) of it is lighted, and transparent or translucent when a scene is upstage (behind) the scrim light | Scrims |
| Large stretched curtain suspended from a u-shape rod | Cyclorama |
| all employees must belong and which the employer formally recognizes as their sole collective bargaining agent | Closed-shop union |
| powerful closed-shop union | Writers Guild of America (WGA) |
| membership is optional, so meaningful strikes are impossible | open-shop union |
| playwright's union | Dramatist Guild of America(DGA) |
| spoken text of the play, words the characters say | dialogue |
| short descriptions (ex. angry) | Parenthetical |
| notes that indicate the physical movements of the characters | stage directions |
| search results in a statement about life, a central idea, or moral; motivated the writing of the play | Theme |
| characters’ deeds, their responses to circumstances, which in turn affect the course of the story | Actions |
| hidden meaning behind the words, the real reason a character chooses to speak | Subtext |
| casual and logical structure that connects events | Plot |
| playwright’s selection of events to create a logical sequence and as a result to distill meaning from the chaos of life | Plot-structure |
| category of an artistic work that has a particular form, style, or subject matter | Genre |
| let the audience in on what happened to the characters before the play began and what happens between scenes and offstage | Exposition |
| central character who pushes forward the action of the play | Protagonist |
| who stands in the way of the protagonist’s goals | Antagonist |
| unusual incident, special occasion, or crisis in the characters lives | Event |
| inciting incident that upsets the balance and gets the action rolling by creating an opportunity for conflict between pro and anta | Disturbance |
| disturbance that causes the situation to deteriorate to the point where the protagonist must make a major decision | Point of Attack |
| the hook that keeps ppl in the theatre for 2 hrs b/c they want to know answers | Major dramatic question (MDQ) |
| means that each conflict, crisis, and complication is more dramatic and more serious that the ones before it | Rising Action |
| when protagonist fails for internal or external reasons, the quest collapses, and the goal seems unattainable | Dark Moment |
| when protagonist fails for internal or external reasons, the quest collapses, and the goal seems unattainable | Enlightenment |
| point of the greatest dramatic tension in the play, the moment the antagonist is defeated | Climax |
| final outcome of the play, short final scene | Denouncement |
| system for transcribing the sounds of speech | International phonetic alphabet (IPA)- |
| psychological approach to acting | Stanislavsky system (method acting)- |
| think back over a certain incident and remover it well enough to relive the accompanying emotions | Emotional Memory |
| working from the outside in, concentrating on physical details | Technical approach |
| ability to understand and identify with another’s situation, feelings, and motive so completely that you feel you are experiencing that situation and those emotions | Empathy |
| stimulate the imagination toward empathy | Magic IF |
| replace the character’s emotions with unrelated but personal emotions of their own | Substitution |
| situation, their problems, and the limits life has place on them | Given Circumstances |
| driving force that governs the characters actions throughout the entire play | Super-objective |
| being in conflict with themselves; ghost from the past | Inner Conflict |
| inner conflict powerful enough to affect the character’s good judgment and cause the character to make unfortunate choices | Character Flaw |
| reason a character takes a particular action | Motivation |
| Union that represents stage actors | Actors' equity association |
| represents movie and television actors | Screen actors guild (SAG) |
| represents talk show hosts as well as announcers, singers, disc jockeys, newscasters, and even stunt ppl | American federation of television and radio artists (AFTRA) |
| open call audition | Cattle Call |
| list that impresses director; called back for 2nd or 3rd audition | Call Back |
| actors aren’t given a chance to prepare | Cold Reading |
| turns the printed script, the blueprint, into a production | Director |
| playwright directors that write, instruct performers, and advise designers and technicians | Didaskalos |
| begins whenever a character enters or exits and continues until the next entrance or exit | French Scene |
| next smaller structural unit; section of dialog about a particular subject or idea | Beat |
| this is the metaphor, thematic idea, symbol, or allegory that will be central to the whole production | Production concept |
| specialize in finding the right actor to fit the part | Casting Directors |
| hire an actor who physically matches the role | Cast-to-type |
| deliberately cast actors who are exact opposite of, or very different from expected | Cast-Against-Type |
| casting without regard for the characters gender | Gender-neutral Casting |
| intentionally casting men to play women’s roles and women to play men’s | Cross-Gender Casting |
| choosing actor without regard to their race or ethnic background | Color-blind casting |
| helps director | assistant Director |
| movement of actors on stage | Blocking |
| in theatre, directors must gain the audience’s attention and direct their gaze to a particular spot or actor | Focus |
| basic way a director achieves focus | Sharing Focus |
| half away from the audience | Profile |
| actors who take focus when they aren’t supposed to | Stealing Focus(Upstaging) |
| a way to achieve focus; each area is labeled | Stage Area |
| when there are 3 actors, or groups of actors on stage, whoever is at the upstage or downstage apex of the triangle generally takes the focus | Triangulation |
| composing pictures with the actors that reinforce the story | Pictuization |
| try to translate the play from the page to the stage as accurately and faithfully as possible | Interpretive Director |
| add concepts, designs, or interpretations atop the playwright’s words that were never intended by the playwright (concept productions) | Creative Director |
Created by:
bmcnam1