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155 Cards in this Set
- Front
- Back
False |
The actual presence of the Audience is one of the elements of drama as described by Aristotle in his work "the poetics." |
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True |
Drama is a category of literature and theatre is an art form created from drama. |
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False |
Theatre is considered a non-collaborative art form and requires the ultimate controlling artist in the form of a director. |
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True |
Dionysus is known as the greek god of wine and fertility and theatrical festivals were held in his honor. |
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False |
A catharsis is a greek religious rite in which a chorus of fifty men chanted and danced; the precursor to greek tragedy development. |
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True |
thespis stepped out of the chorus, delivered a prologue, impersonated a character and became the person known as the first actor. |
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true |
in the ancient greek theatre, the orchestra was a circular ground level acting area in front of the stage house used primarily by the chorus. |
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false |
the term hamartia refers to the purging of emotions, both pity and fear. |
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false |
many locales, numerous characters, and the span of time all characterize the qualities of climactic structure. |
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false |
aristophanes outlined the elements of drama in his critical analysis of the greek tragedy, oedipus rex by sophocles. |
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true |
by definition, in classical greek tragedy the protagonist at the center of the drama accepts the responsibility of his actions. |
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true |
in greek drama the chorus is used to give exposition, add spectacle, move the plot along, add rhythm/music, and act as an ideal audience. |
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false |
in the greek physical theatre at the very center of the parados was an alter for a sacrifice to the gods. |
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false |
a kothorni is an elaborate headdress worn by the actors. |
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false |
the pariaktoi is a stage house used primarily by the lead actors. |
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true |
a satyr play is an after piece, presented at the end of a trilogy of tragedies, short bawdy farces that parodied the events of the tragedies and traditional greek myths. |
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false |
an actress named jocasta was well know for her portrayal of "medea" in the hellenistic period of theatre. |
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false |
greek new comedy employs stock characters and domestic scenes. in the greek theatre, menander is the playwright associated with this style. |
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false |
political satire and social stabs is at the heart of new comedy. |
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false |
a messenger scene is a roman theatrical convention by which the happenings off stage are described to the audience, most often violent incidents within the story lines or plot. |
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true |
in roman comedy the characters were stock types involved in comic and domestic situations. |
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true |
the two main roman comic playwrights were plautus and terence. |
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true |
the roman playwright and his work had great influence over many of the playwrights during the elizabethan time period. |
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false |
terence is a roman playwright that employs the use of low domestic farce and comedy with an edge. |
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true |
seneca was a playwright who had a style that was marked by the use ghost and super natural characters; he has long bombastic speeches; and main character driven by a single driving objective. |
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true |
the romans are known for presenting sport type games in which men battle other men or animals, and most often to the death. |
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true |
the church is one of the main reasons that the roman theatre began to decline (constantine/christianity) |
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true |
the church is the main reason that the religious medieval theatre began. |
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false |
miracle plays were performed in cycles and were a type of medieval form of drama that developed from liturgical drama and treated biblical stories and themes. "mystery plays" |
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true |
morality plays are a form of allegorical medieval plays, in which the characters represent abstractions such as: good deed, death, virtue, everyman, etc. |
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true |
mansions are simple scenic devices that suggest locale |
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false |
a hamartia is a neutral acting space in midieval theatre. "plateau" |
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true |
the teatro olympics is an example of a roman theatre moved in doors. |
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true |
commedia dell arte is a form largely improvised, utilizing masked stock type characters and began as street theatre. |
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true |
capitano was a stock character in the comedy dell arte know as the braggart coward/soldier. |
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false |
a zanni is a physical joke or verbal exchange that is a sure fire comic bit of business. |
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false |
a soliloquy is a dialogue delivered by actors. sometimes played as the character thinking out loud. |
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true |
groundlings are spectators of the english theatre who stood in the pit or yard. |
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true |
sides are smaller portions of a full script with a single actor's lines and cues. |
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true |
the "master of revels" was the person responsible for the licensing of plays in the english renaissance and beyond. |
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true |
the main contributions to theatre during the italian renaissance were in scenic design, theatre architecture, and stage spectacle. |
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true |
shakespeare was an actor, director, and shareholder as well as a playwright. |
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false |
the "tiring house" in the elizabethan stage refers to a storage place beneath the stage. "backstage" |
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false |
the public theatres during shakespeare's time were built in the middle of the city to accommodate the puritan audiences. |
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false |
groundlings were the ticket takers who collected the price of admission in the elizabethan public theatre. |
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false |
commedia dell arte was characterized by performances built around scripts inspired by moliere. |
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true |
christopher marlow was an elizabethan playwright who was a contemporary of shakespeare and is known for his work with the history play. |
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true |
the intermezzi was a form of spectacle in the italian renaissance that inspired the birth to opera. |
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false |
elizabeth I declared acting un-lawful and forbid religious drama. |
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false |
the english renaissance saw a period of adherence tot he neo-classical period ideals. |
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well written tragedy |
not an important contribution from the italian renaissance theatre: |
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emphasis on script |
not true about commedia dell arte: |
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auditorium, stage, machinery, scenery, (all the above) |
by 1650, italy had a theatre design which dominated europe for the next 200 years in which of the following ways:
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tragicomedy |
this type of drama bridges genres, it maintains a serious theme although the tone varies from gave to humorous. |
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category or kind |
genre means |
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theme |
aristotle's term for the play's overall statement, topic, central idea |
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repertory |
the plays a theatre company produces |
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style |
another word for mode/ism |
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farce, incongruity, repetition, and surprise |
not a point/element in seneca's writing |
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folk play |
not a type of medieval religious drama |
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church, english monarchs, rediscovery of the classical theatre and drama, (all of these) |
what led to the decline of medieval theatre |
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straight parts, handsome and sympathetic, no masks, plot orientated, "all the above" |
which of the following is true about the pair of lovers in commedia |
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the renaissance world held that god, not man, was the measure of all things |
which of the following is not true of the renaissance |
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the reign of elizabeth "1558-1603" |
the elizabethan age refers to: |
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the historical period marked by the reign of james I (1603-1625) |
the jacobean era refers to: |
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unhappy endings |
is not a feature of melodrama: |
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cause and effect events unfolding, clear exposition, logical reversals, mounting suspense, "all are parts" |
which is not part of the "cause to effect" play structure: |
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dramatic characters emerged from high-class strata: kings and princes |
which is not true of realist drama: |
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conceptualizing the play and giving it vision and purpose |
which of the following tasks belong to the director |
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moliere |
which is not a commedia character |
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ROMAN |
a period where popular entertainment games were at their height. |
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GREEK |
where western drama is said to have been inspired. |
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MEDIEVAL |
a time period when the emphasis was on religious drama |
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ELIZABETHAN |
marked by the legacy of one of the greatest playwrights in history. "shakespeare" |
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ITALIAN RENAISSANCE |
the picture frame stage got its start |
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PROSCENIUM |
a stage, framed by an arch above and on the sides of the playing area |
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ARENA |
a stage space with audience on all sides of the acting area. |
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MAIN STAGE |
the primary acting space in the english renaissance public theatre. |
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THRUST |
a performance space where the stage is surrounded on three sides by the viewing audience. |
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PLATEAU |
a neutral stage area that can be used as a generalized playing space |
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PASTORAL |
a drama staged in the country or woodland setting. some of shakespeare's plays contain elements of this style |
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BURLESQUE |
the mockery of a writing style by an exaggerated imitation of its predominant characteristics. |
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LAZZI |
bits of comic business and gimmicks performed by the clowns in the comedy dell arte. |
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INTERMEZZI |
a style of spectacle that was performed between regular acts of drama and later inspired the birth of opera. |
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JACOBEAN |
this period was marked by dramatic forms that utilized tabloid-ism and exploitation methods. |
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CLASSICAL GREEK PERIOD |
where western drama and great tragedy is said to have been inspired. |
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DIONYSUS |
greek god of wine and fertility |
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DITHYRAMB |
greek religious rite which a chorus of 50 men chant and dance. |
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THESPIS |
stepped out of chorus, delivered a prologue, impersonated a character, and became the person known as the first actor. |
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MASK |
covering of the face, used traditionally by actors in many theatrical periods. |
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ONKOS "ON HEAD" |
an elaborate head dressing worn by actors in the greek theatre |
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KATHORNI |
the footwear of the actor in greek theatre |
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CHITON |
robe used by greeks |
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ORCHESTRA |
in ancient greek theatre, a circular ground level acting area in front of the stage house used primarily by the chorus. |
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SKENE |
stage house used by lead actors. |
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PARADOS |
two entrance areas used by chorus in greek theatre that is also part of the structure within the dramas. |
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ALTAR |
center of the orchestra in greek theatre, used for sacrifice to gods. |
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MACHINA |
crane like device.. |
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DUES EX MACHINA |
devine intervention from the gods. |
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EKKYLKEMA |
wagon type device used to display the remains of a character who has died |
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PERIAKTOI |
three-sided scenic device |
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AESCELUS "escalate" |
the greek playwright , added the second actor. made dialogue possible |
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SOPHOCLES |
added third actor, wrote oedipus rex |
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EURIPIDES |
greek playwright, was skeptical of the gods, not admired in his day. wrote medea |
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GREEK OLD COMEDY |
used political satire and social stabs is at the heart of these plays; aristophanes is attributed with this style |
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GREEK NEW COMEDY |
use of stock characters and domestic sense. menander is the playwright associated with this style. |
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MESSENGER SCENE |
theatrical convention used in the greek theatre |
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CHORUS |
group of characters who give exposition, move plot along, add spectacle, etc. |
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CATHARSIS |
purging of emotions, pity and fear |
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HAMARTIA |
tragic flaw within the protagonist |
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HUBRIS |
too much pride within protagonist |
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CLASSICAL GREEK TRAGEDY |
the protagonist at the center of the drama is upper class birth and accepts the responsibility of his actions. |
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ROMAN PERIOD |
a period where popular entertainment games and domestic comedy were at their height in popularity. |
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ROMAN COMEDY |
featured stock characters such as; ridiculous older men, clever slaves, courtesans, shrew wives and comic domestic situations and squabbles |
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PLAUTUS |
was a roman playwright who employed the use of low domestic farce and comedy with an edge. |
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TERENCE |
a roman playwright who had a refined romantic style with fairytale endings: wedding |
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ASPECTS OF ROMAN TRAGEDY PLAYWRIGHT SENECA |
strong and driven main characters-violence called for on stage-long bombastic speeches. obsessed with ghosts and supernatural world. |
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SENECA |
roman playwright of tragedy. no evidence that his dramas were ever fully staged. |
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THE MIMES |
troupe of performers |
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DARK AGES |
time period of famine and survival is marked by the downfall of rome in which there is very little evidence of any theatrical performances. |
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MIDDLE AGES |
time period giving us a legacy of religious drama instituted by the church. |
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MYSTERY/CYCLE PLAYS |
a type of medieval drama that treated biblical stories. |
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MORALITY PLAYS |
a form, in which the characters represent abstractions such as: good deeds, virtue, gluttony, etc |
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MIRACLE PLAYS |
presented lives of saints/martyrs. |
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MANSIONS |
simple scenic devices that suggest locale |
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PLATEA |
A medieval neutral acting space in medieval theatre. |
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PAGEANT WAGONS |
rolling stage platforms traditionally moved to specific locals within the city/towns and presented a specific portion of a cycle/mystery play. |
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HELLS MOUTH |
a locale, generally on the left of a fixed stage. earthly locals are depicted in the center stage areas and heaven is on the right. |
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TRADE GUILDS |
groups that helped to sponser the religious dramas of the middle ages. was a honor or civic duty to help mount these religious plays. |
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SECULAR DRAMA |
non religious plays of the middle ages. |
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HENRY VIII |
this ruler broke with the roman church and set stage for a later rime period in which religious drama would be forbidden. |
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DECLINE OF MEDIEVAL THEATRE |
church distances itself and ends sponsorship-english monarchs restrict and forbid religious drama-renaissance spreads and man rediscovers the classical theatre of the greeks and romans. |
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IMPORTANT CONTRIBUTIONS FROM THE ITALIAN RENAISSANCE |
proscenium arch stage, development of perspective scenery, theatre architecture, scene shifting devices, birth of opera, comeddia dell arte. |
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ACADEMIES |
schools of study organized by the italians where the greek and roman classical periods were examined |
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PASTORAL |
a drama staged in the country or woodland setting which emphasized spectacle and the creatures from mythology which inhabited these woods. shakespeare. |
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TEATRO OLYMPICO |
an example of a classical roman theatre architecture built indoors. |
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TEATRO FARNESE |
oldest existent picture frame stage built by the italians in the renaissance period. |
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PROSCENIUM ARCH STAGE |
a stage framed by an arch above and on the sides of the playing area developed by the italians to frame the scenic designs of the time. |
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ITALIAN RENAISSANCE |
picture frame got its start and spectacle was a predominate element. |
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INTERMEZZI |
a style of spectacle that was performed between the regular acts of drama and later inspired the birth of opera. commercial break |
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COMMEDIA DELL ARTE |
italian art form that is improvised working from scenarios utilizing stock type characters and adaptable to any playing space |
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LAZZI |
bits of comic business and gimmicks performed by the clowns and servants in the comeddia dell arte.
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PANTALONE |
a ridiculous older man character that was a tight wad and generally concerned with his childrens love affairs. |
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CAPITANO |
this character is known as the braggart soldier and runs from any fight. |
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DOTTORE |
a quack doctor who is a seller of potions or the fake academic who spouts false knowledge |
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ZANNI |
servant characters who made fools of their masters. can be smart or dumb. acrobatics and other performance arts. |
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SOLILOQUY |
theatrical convention in which a character delivers a speech alone on stage |
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GROUNDLINGS |
were audience members of the english theatre who stood in the pit or yard. |
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SIDES |
smaller portions of a full script with a single actor's line and cues |
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CHRISTOPHER MARLOW |
an elizabethan playwright known for his work with the history play. |
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BEN JOHNSON |
famous for creating characters who suffer from an abundance of humors. |
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THRUST STAGE |
stage space with audience on all sides of the acting area |
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MAIN STAGE |
this is the primary acting space in the english renaissance |
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ARENA |
A performance space where the viewing audience surrounds the stage on three sides. |
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MOLIERE |
best comic actor of his day with plays inspired by the commedia dell arte. |