Use LEFT and RIGHT arrow keys to navigate between flashcards;
Use UP and DOWN arrow keys to flip the card;
H to show hint;
A reads text to speech;
113 Cards in this Set
- Front
- Back
cycle plays
|
biblical dramas from medieval Europe
|
|
play masters
|
coordinated and staged cycle plays in medieval Europe
|
|
promptbooks
|
play masters' notebooks to organize and document the production process
|
|
antiquarianism
|
historical accuracy, an ideal which arose in the nineteenth century in the West
|
|
combination companies
|
full productions rather than individual stars
|
|
fourth wall staging
|
treating the stage space as if it were an enclosed room
|
|
concept
|
the artistic decisions meant to communicate a specific interpretation to the audience
|
|
dramaturg
|
literary and historical advisor assigned specifically to a production
|
|
auteur
|
a director who operates with almost total control over the design team
|
|
metatheatre
|
the play comments on the nature of performance and the world as theatre
|
|
new stagecraft
|
simplified staging popularized by Arthur Hopkins and Robert Edmond Jones
|
|
casting director
|
specialist in finding actors for specific roles
|
|
stage manager
|
coordinate a show during rehearsal and performance and keep the director's artistic choices intact during its run
|
|
prompter
|
calls out forgotten lines (typically in repertory theatre)
|
|
production manager
|
scheduling and coordinating with individual stage managers
|
|
nontraditional casting
|
casting minorities in roles not specifically intended for minorities ("racially blind" casting)
|
|
table work
|
period of rehearsal dedicated to analysis of the play's plot, major themes, potential problems, etc.
|
|
blocking
|
usually a combination of pre-planned and organic
|
|
technical rehearsals
|
light, sound, and set changes are added to the show
|
|
paper tech
|
director and designers coordinate series of cues in their scripts
|
|
dry tech
|
tech rehearsal with no actors
|
|
wet tech
|
tech rehearsal with actors and no costumes
|
|
What can blocking accomplish?
|
-Can the audience see the actors' faces?
-Are movements definite? -Are actors pointed at other actors? -Is the speaking actor the focus? -Which actors are in focus during movement? -Where are the actors on the set? -How are character relationships intensified? |
|
What is the director in charge of?
|
all artistic aspects of theatre including textual interpretation, artistic conceptualization, coordination of visuals, and actor coaching
|
|
actor manager
|
(17th and 18th century Europe)
leader of theatrical company -made financial decisions -selected repertory of plays -hired the actors |
|
Why is 1850 important?
|
Repertory plays were basically eliminated, so that theatre companies could focus on one show at a time, making elaborate, historically accurate sets.
|
|
intrinsic
|
information taken from the script
|
|
extrinsic
|
applying outside information from other sources
|
|
production concept
|
director's intrinsic interpretation of the text
|
|
concept production
|
director's manipulation of a script to achieve his/her own goals, vision (extrinsic)
|
|
Peter Brook's The Empty Space
|
about stylized directing style
|
|
Who wrote Ghosts?
|
Henrik Ibsen
(1881 Norway) |
|
Festival of Dionysus
|
first playwrighting contests of ancient Greece
|
|
Greek tragedians
|
Aeschylus, Euripides, Sophocles
|
|
Oresteia
|
famous Greek tragic trilogy
|
|
Greek comedians
|
Aristophanes (satire) and Menander ("sitcoms")
|
|
satyr plays
|
featured dancing fauns
|
|
Roman comedians
|
Plautus and Terence
|
|
Roman tragedian
|
Seneca
|
|
Hrotsvitha
|
nun who applied Roman theatre to Catholic ritual in medieval Europe
|
|
tropes
|
repeated verses in liturgical drama, such as the "Quem Quaritis" ("whom do you seek")
|
|
mystery plays
|
recreated Bible stories
|
|
morality plays
|
personified vices and virtues
|
|
miracle plays
|
biographies of saints
|
|
Natyasastra
|
doctrine of dramatic art for Indian Sanskirt plays
|
|
The Little Clay Cart, by King Sudraka
|
Sanskirt play that retells Indian mythology
|
|
Kutiyattam
|
a form of Sanskrit theatre known for its folk traditions and formalism
|
|
Kathakali
|
more modern form of Sanskrit dance
|
|
appropriation
|
dominant culture adopts aspects of dominated culture
|
|
poetic justice
|
good is rewarded and evil is punished (as in Chinese Yuan plays)
|
|
commedia dell'arte
|
16th century drama with improvised scenarios and stock characters
|
|
commedia erudite
|
written comedy
|
|
Angelo Beolco-Ruzante
|
"Italian Shakespeare" with dirty, dirty writing (actor and playwright)
|
|
3 tenets of neoclassicism
|
1. reality (verisimilitude)
2. morality 3. universality |
|
masque
|
poetic court entertainment with dancing
|
|
Mary Frith, aka "Moll Cutpurse" or "The Roaring Girl"
|
1611--appeared onstage in men's attire
|
|
cazuela
|
segregated area for unmarried, unaccompanied women in Spanish Golden Age theatrical corrals [Fun fact: Cazuela means casserole.]
|
|
sturm and drang (storm and stress)
|
movement in German theatre that attempted to unify Germany with its theatre; highly controversial subject matter
|
|
dithyramb
|
a choric presentation sung and danced in homage to Dionysus
|
|
orchestra
|
typically circular performance space where the chorus performed
|
|
parados
|
chorus entrances and exits
|
|
skene
|
actors' retiring place
|
|
theatron
|
audience seating
|
|
Poetics
|
Aristotle's influential examination of tragic form
|
|
vomitories
|
stadium-like entrances for the audience
|
|
facade
|
architectural background, as in Greek and Roman theatres
|
|
platea and mansion
|
in liturgical drama, an open performing space (platea) in front of an emblematic background (mansion)
|
|
pageants
|
processional staging in which moving wagons traveled through the streets carrying actors and scenery
|
|
three unities
|
time, action, place
|
|
decorum
|
neoclassic idea of idealism and universality in morality of character--stereotyping
|
|
blank verse
|
unrhymed iambic pentameter, used commonly in Elizabethan England
|
|
chronicle
|
dramatic adaptation of historical events
|
|
rhetorical acting
|
attempt to create direct contact between audience and actor
|
|
naturalism
|
"slice of life" drama--strict attempt at realism
|
|
modernism
|
rebelled against realism and naturalism to create non-realistic theatre
|
|
avant-garde theatre
|
experimental theatre (usually associated with 20th century)
|
|
new stagecraft
|
guiding principle of simplicity in 20th century set design
|
|
expressionism
|
dramatized the dehumanization or destruction of humanity at teh hands of industry and war
|
|
surrealism
|
attempt to convine the dream world with the real world
|
|
Epic Theatre
|
anti-illusionist theatre featuring emotional detachment, narration, songs, and obvious theatricality
|
|
avant-garde theatre
|
experimental theatre (usually associated with 20th century)
|
|
new stagecraft
|
guiding principle of simplicity in 20th century set design
|
|
expressionism
|
dramatized the dehumanization or destruction of humanity at the hands of industry and war
|
|
surrealism
|
attempt to combine the dream world with the real world
|
|
Epic Theatre
|
anti-illusionist theatre featuring emotional detachment, narration, songs, and obvious theatricality
|
|
Theatre of Cruelty
|
Artaud's theory that theatre should focus on personal rather than sweeping social change
|
|
Theatre of the Absurd
|
existential, post World War II theatre about living in a meaningless world
|
|
Jean-Paul Sartre
|
French playwright and philosopher who advocated existentialism and the belief that theatre should be directed toward social change.
|
|
Albert Camus
|
"The Myth of Sisyphus" (about the Greek boulder guy) is somehow important to theatre because of its influence on existential philosophy. Life has no meaning, etc.
|
|
Eugene Ionesco
|
Romanian playwright who lived in Paris and critiqued the isolation and lack of communication in bourgeois society; wrote The Bald Soprano
|
|
Samuel Beckett
|
Irish playwright who wrote in French; Waiting for Godot and Footfalls
|
|
I'm not including Romeo and Juliet on this because...
|
You're already more than familiar. :)
|
|
Who wrote Act Without Words?
|
Samuel Beckett
|
|
Federal Theatre Project
|
nationwide effort representing the first time that the U.S. government directly subsidized theatre--result of the Works Progress Administration during the Great Depression
|
|
National Endowment for the Arts
|
(founded in 1965) public agency that is the largest single funder of nonprofit arts organizations in the U.S.
|
|
dominus grex
|
"master of the flock" actor-manager of a troupe in ancient Rome
|
|
David Belasco
|
producer, director, and playwright at the turn of the 19th century; known for state of the art theaters
|
|
David Merrick
|
American producer known for his publicity stunts (Cutter Buck and Subways are for Sleeping)
|
|
Rocco Landesman
|
focused on new play development, resulting in Angels in America and The Producers
|
|
libretto (book)
|
contains spoken parts, story, and characterization written by author
|
|
operetta
|
lighter form of opera with some spoken dialogue, as in Gilbert and Sullivan's The Mikado
|
|
vaudeville
|
focused on the individual performer and various crazy things like people holding chairs in their mouths
|
|
Florenz Ziegfeld*
|
produced a new version of Follies every year; known for discovering talent, especially within integrated casts
|
|
1928 - musical theatre's Most Important Year
|
The Jazz Singer
Show Boat Threepenny Opera |
|
Bertolt Brecht*
|
aesthetic distance and Theatre of the Absurd; songs deliberately interrupt action of the play; sentimental music juxtaposed with bitter words
|
|
George Gershwin*
|
ridiculously prolific composer
--Porgy and Bess --Of Thee I Sing (first musical to win a Pulitzer) |
|
Ethel Merman*
|
established belting as the norm for musical theatre
--Anything Goes --Annie Get Your Gun --Gypsy |
|
Oscar Hammerstein II*
|
collaborated with Richard Rodgers to write a million important musicals, including:
--Oklahoma! --South Pacific --The King and I --The Sound of Music |
|
Jerome Robbins*
|
choreographer and director responsible for the "rise of the triple threat"
--West Side Story --Gypsy |
|
Stephen Sondheim*
|
composer and lyricist
--Company --West Side Story --Follies --Funny Thing Happened on the Way to the Forum --Into the Woods --Sunday in the Park with George |
|
A Chorus Line
|
(1975) directed and choreographed by Michael Bennet
--18 months developing off Broadway --ran for 15 years on Broadway |
|
Andrew Lloyd Weber*
|
originated the mega-musical with pop and rock influence
--Evita --Jesus Christ Superstar --Cats --Phantom of the Opera |
|
Rosie O'Donnell
|
brought musical theatre "back into people's living rooms"
|