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;
36 Cards in this Set
- Front
- Back
“the willing suspension of disbelief”
|
a psychological perspective or attitude which should exist on the part of anyone contemplating a work of art. Edward Bullough
|
|
fourth wall
|
when a character in a box set talks to the audience
|
|
typecasting and nontraditional casting
|
casting according to physical type. The casting of ethnic minority and female actors in roles where race, ethnicity, or sex is not germane to character or play development (color blind, gender neutral)
|
|
primary and secondary function of set design
|
1. COMMUNICATE IDEAS. 2. Prepare audience for the world of the play, show the character of the characters, indicate time and place, provide an environment that fosters action
|
|
types of theatres
|
Proscenium, Thrust, Arena, Flexible, Box Pit & Gallery, Tennis Court.
|
|
blocking/organic blocking
|
director tells actors where to go/actors go where feels natural
|
|
upstage/downstage
|
back/front
|
|
declamatory acting
|
vocal pyrotechnics, drawn-out pauses, musically cadenced speech, startling of exaggerated action
|
|
Constantine Stanislavski
|
Revolution, inspiration (feels real)
|
|
affective memory
|
to consciously evoke past memories to aid an actor’s performance
|
|
method of physical actions
|
an actor works to express actions based on his or her character’s objectives in the scene
|
|
Subtext
|
what we really want (underneath the lines)
|
|
Realism
|
lifelike dialogue, scenery inhabitable, actors seem to speak to each other, characters with psychological detail, focus on genuine social concerns. Henrik Ibsen’s Doll’s House
|
|
melodrama
|
most popular in 19th century, music tells you how to feel, hero or heroine is hounded by a villain, strict poetic justice, often elaborate spectacle and local color, common plots-disguise, abduction, concealed identity, fortunate coincident
|
|
high comedy
|
characters are upper class, life is game-best player wins, not a moral universe, players are quick-witted, articulate, underlying sexuality (Country Wife) monarchy restored in 1660, King Charles
|
|
farce
|
(most comedic) extravagant plot, anything can happen, NO psychological truth, exaggerated characters, slapstick humor, quick transformation, concealments & discoveries, sex
|
|
absurdism
|
name given by a critic, world has no meaning/rules, spiritual derelicts trapped in time and space, first to win fame, Samuel Beckett Waiting for Godot
|
|
futurism
|
art movement launched by F.T. Marinetti, rejected past, product of Machine Age-glorified energy and speed, proposed “synthetic drama”-short and energetic pieces
|
|
expressionism
|
rule-breaking in the theatre, should not duplicate everyday life, feelings change environment, (German-stress emotions, internal externally, distorted setting dialogue characters action, not characters-types, dialogue compressed into “telegram”)
|
|
minstrelsy
|
white people dress as black people
|
|
review
|
collection of vegnettes and acts, theme no plot, same show every night, classier than vaudeville
|
|
burlesque
|
begins as parody of serious subject, leg art, becomes strip tease
|
|
vaudeville
|
a series of unrelated acts, TOBA
|
|
Shakespeare
iambic pentameter |
iamb-unstressed syllable followed by stressed one, penta-five
|
|
prose
|
ordinary speech-no metrical structure
|
|
heroic couplets
|
aa,bb,cc(rhyme)
|
|
“masterless men” & theatre companies
|
illegal to not have a master so they became The Lord Chamberlain’s Men
|
|
Theatre and the Middle East
Why no prominent theatrical tradition? |
The Hadith, record of the traditions/sayings of the Prophet Muhammad. “painters of pictures” go to hell, you cannot depict Muhammad
|
|
shadow puppetry
|
Indonesia, a way around no theatre
|
|
Ta’ziyeh
|
a Shiite religious play (Iran)
- know story behind it bad guys-red, good guys-green - the divide in Islam between Sunnis & Shi’ias Sunnis Yazid, Shiites Hussein, ambush of Hussein |
|
Feminism and Theatre
Patriarchy |
a system where power is secured in the hands of men. Priveledge leads to domination and oppression
|
|
"male gaze"
|
the sole purpose of women is to please a fantasy of men
|
|
liberal and radical feminism
|
seeks equality/dramatic social change to gain equality
|
|
first, second, third wave feminism
|
1. Suffrage, property rights 2. Legal, sexual, workplace, reproductive 3. Contradiction and diversity
|
|
Improvisation
Offer |
establish reality (first person)
|
|
Negation
|
being a jerk
|