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THEA 1000: Study Guide
Theatre (3 meanings) |
a building that houses activities, a physical space
an art form
a discipline |
relationship btwn performer & audience |
immediate
performer can hear audience
audience can and does affect the performer |
Literary Art |
Novels, short stories, poetry, journalism |
Visual Art |
Art created to convey expression through a unified visual image |
performing arts
|
theatre, dance, opera, music
performed
|
characteristics of performing arts
|
movement through time
require interpreters and creators
require and audience
|
characteristics of performing art
|
must have an audience
require interpreters and creators
movement through time
|
theatre and the human condition
|
we enjoy the excitement of the live event
has a profound connection to the human condition
|
theatre and the human condition
|
we enjoy the excitement of the live event
Theatre has a profound connection to the human condition
|
elements of theatre
|
audience (willing &captive)
performers
text or script
director
theatre spaces (traditional & found)
design elements
|
Elements of Theatre
|
Audience
Performers
Text or script
Director
Theatre Space
Design elements
|
Theatrical Elements in Our Everyday lives
|
Ceremonies
Weddings, graduations, funerals
Events
Sporting, Corporate, Music, Concerts
Décor
Restaurants, Malls, Museums, Amusement parks
|
Traits of a theatre event
|
Live
Immediate
Unique
|
vicarious participation
|
heart and mind
we believe what we see on stage
we forget who we are
willing suspension of disbelief
|
aesthetic distance
|
required for appreciation of the arts
spectator separated from performance
|
creating the text steps
|
1. selecting the specific subject of the play
2. determine focus and emphasis
3. establish purpose
4. developing dramatic structure
5. creating dramatic characters
6. establishing point of view
|
Extraordinary Characters
|
Kings, Presidents, people who whose decisions and actions affect multitudes of people.
|
quintessential/representative/allegorical characters
|
typical, ordinary characters who embody or represent an entire group of people
|
Stock characters
|
same characters in every play
|
dominant trait characters
|
possess an overriding characteristic that governs their behavior
|
Minor characters
|
in a drama, those characters who have small, secondary, or supporting roles. These could include soldiers and servants.
|
narrator/chorus
|
the narrator speaks directly to the audience and the chorus is a song/dance about the action of the plot and their reaction to it
|
nonhuman character
|
character that is not human
|
critic
|
observes theatre and comments on it
stands between audience and the theatre event
knowledgeable and highly sensitive
developed set of standards by which to judge theatre
|
criticism |
to find fault
to understand and appraise
|
critics
|
describe event in greater detail
publish in magazines and scholarly journals
go beyond articles to books about playwrights, plays, etc.
writes for a sophisticated audience
|
critics
|
describe the event in greater detail
publish in magazines and scholarly journals
go beyond articles to books about playwrights, plays, or theatrical movements
place event or playwright in larger context
writes for a sophisticated audience
|
criteria for criticism
|
what is the playwright or production attempting to do?
how well has it been done?
is it worth doing?
|
reviewer |
report on what has occurred at event
publish in newspapers and magazines
offer opinions of the event
have limited experience
|
Reviewer |
reports on what has occurred at an event
publish newspaper and magazines or report for tv
offer opinions of the event
often have limited experience
|
dramatic purpose
|
to entertain
to probe the human condition
to provide an escape
to impart information
to put forth an opinion or idea
to raise philosophical questions
to probe timeless theme
to thrill or frighten
|
Dramatic Purpose
|
Entertain
Probe human conditions
Provide and escape
Impart information
put forth an opinion
Raise a philosophical question
To probe timeless theme
Thrill or frighten
|
types of conflict
|
character vs. another character
character vs. self
character vs. forces of nature
character vs. society
character vs. supernatural/technology
|
protagonist
|
leading character
chief or outstanding figure in action
the one trying to accomplish something
|
Protagonist
|
leading character
chief figure in action
one trying to accomplish something
|
antagonist
|
opposes the protagonist
tries to stop protagonist from accomplishing goal
|
Antagonist
|
character who opposes the protagonist
one trying to stop the protagonist from achieving his goal
|
climatic (intensive) plot construction
|
plot is late in story
covers a short space of time
contains few solid extended scenes
occurs in a restricted local such as one house or room
small number of characters
plot is linear
line of action in cause and effect chain
|
episodic (extensive) plot construction
|
plot begins early in story
covers a long period of time
many short, fragmented scenes
larger area (entire city or country)
many characters
sever threads of action
scenes juxtaposed to one another
|
origins of theatre
|
humans have impulse to create theatre
storytelling
imitation (how we learn, how kids learn)
religious observances (
rituals
costuming
|
origins of theatre
|
-humans have an impulse to create theatre
-storytelling
-imitation
-religious observances
-rituals
|
Thespis
|
6th century BCE
1st person to step out of the chorus
first actor
|
thespis |
6th century B.C.E.
Steps out of the chorus
Becomes the "first" actor
|
Tragedy |
Process of imitating an action (mimesis)
Serious implications
Complete
Possess magnitude (it's about things that matter)
Through sensuous language (poetic)
Enacted by persons; not through narration
Catharsis comes about through pity and fear
|
Tragedy |
process of imitating an action (mimesis)
Serious implications
Complete
Possess magnitude
Through sensuous language
Enacted by persons; not through narration
Catharsis comes about through pity and fear
|
theatre production in Greece
|
amphitheatres (hill side, 15-17,000 spectators)
orchestra (at base of hill, circular playing area)
parados (behind playing area, in front of Skene (stage house), entrance and exit)
theatron (audience), characters played by men, actors wore masks
|
Aristotle
|
The Poetics
descriptive criticism
six elements of drama: (plot, character, thought, language, music, spectacle)
|
plot |
selection and arrangement of scenes as they appear on stage
|
exposition
|
when you find out info from story that's not in plot
|
thought |
what is playwright saying about theme
|
language |
prose- regular narrative
verse- poetry (metered speak)
|
spectacle
|
what you see (scenery, etc.)
|
popular entertainment in Rome
|
Chariot racing
Equestrian performances
Acrobatics
Wrestling
Prize fighting
Gladiatorial combats-to the death
|
Natyasastra
|
study of theatre
written by Bharata Muni
describes the origin of theatre
"encyclopedia of theatrical practice"
|
No |
talent or exhibition of talent
defined by harmony of theatrical elements (dance, music, poetry, setting, costumes, mask, interactions btwn performer and audience)
emerged from a blend of earlier forms
early description is puppet shows, dances, mimes
came from Kanami
Zeami developed ideas further
|
challenges of acting
|
to acquire many skills (physical and vocal)
making characters believable
combine skill with credibility
|
three challenges of acting
|
-to make characters believable
-physical acting the use of the voice and body
-synthesis and integration:combining inner and outer skills
|
three challenges of acting
|
1. acquire skills both physical and vocal that performances demand
2. make character believable
3. integrate the two and combine skills with crediibility
|
Performer's body
|
The performer has to be able to accomplish demanding tasks
They must train their bodies to meet any demand
|
performers voice
|
They must be able to speak clearly
They must be able to project
Must strike a balance between credibility and audibility
|
Stanislavski System
|
system for training believability
identified what actors did naturally and intuitively
codified a series of principles and techniques
actors have to "reeducate" themselves
|
Renaissance Era
|
"rebirth"
Late 14th Century to early 17th Century
Increase of wealth creates an increase in interest for the arts
Humanism
Printing press—1450’
Era of exploring and invention
|
The Renaissance Era
|
—“Rebirth”
—Late 14th Century to early 17th Century
—Increase of wealth creates an increase in interest for the arts —
Humanism
—Printing press—1450’s
—Era of exploring and invention
|
Prescriptive criticism
|
Ars poetica
By: Horace
|
Commedia dell'arte
|
made up of families or people who marry into family
comedy of professional artists
1550-1750
|
Commedia dell'Arte
|
Comedy of professional artists
1550-1750
Commedia companies
10 member(7m-3w)
traveling troupe
Adaptable
Stock characters
Scenarios
Lazzi
|
Comedia companies
|
commedia dell'arte
10 members (7 men, 3 women)
traveling troupe
adaptable
|
Lazzi |
comic bit (physically done)
|
Verisimilitude
|
true to life
|
unities
|
time- 24 hrs
place- 1 place
action- what happens in one day and one space
|
Unities |
Time-1 day
Place-one place
Action- can only encompass actions that can happen in one day and one place
|
Spanish Golden Age
|
1550-1650
spain dominate world power
Spanish Armada
extended territory all over world
Roman catholic despite protestant reform all over Europe
|
The Spanish Golden Age
|
1550-1650
Spain was a dominate world power
The Spanish Armada
Extended territory all over the world
Roman catholic despite protestant reform all over Europe
Isolationist
|
Isolationist |
spain
not influenced by other parts of world
|
realism |
Chekhov of Russia- an attempt to present onstage people and events corresponding to those in everyday life
|
Stanislavski and acting technique
|
first to devise method for achieving true, believable performances onstage
Emphasis on the instrument, imagination, mental, and analytic capabilities, emotions and action, subtext, specifically, listening
|
stanislavski/techniques
|
MAT, society of art and lit, 7 steps of his tech:
- relazation
concentration/ observation
importance of specifics
inner truth
what why how
through line of a role
ensamble playing
|
Magic if
|
Stanislavski's acting exercise that requires the performer to ask, "how would i react if i were in this characters position
|
ensemble playing
|
acting that stresses the total artisic unity of a group performance rather than individual performances
|
Emotional recall
|
exercise that helps the performer present realistic emotions; performer feels a character's emotion by thinking of an event in his own life that led to a similar emotion
|
mime |
= to mimic; act like
|
The term theatre has several meanings
|
It refers to a building that houses theatrical activities. It is a physical space.
It also refers to an Art Form.
Lastly, it refers to a discipline.
|
Theatre
|
building
art form
discipline
|
Relationship between performers and audience
|
immediate
performer can hear audience
audience does affect the performer
|
Categories of Art
|
literary
visual
performing
|
Theatrical elements in our daily lives
|
Ceremonies
Weddings, graduations, funerals
Events
Sporting, Corporate, Music, Concerts
Décor
Restaurants, Malls, Museums, Amusement parks
|
Power of imagination
|
Vicarious participation
Aesthetic distance
Willing suspension of disbelief
|
Creating the text: the tasks involved
|
1. Selecting the specific subject of the play
2. Determining focus and emphasis
3. Establishing purpose
4.Developing dramatic structure
5.Creating dramatic character
6.Establishing point of view
|
Types of dramatic characters
|
-extraordinary
-allegorical, representative, or quintessential
-stock characters
-characters with a dominant trait
-minor
-narrator or chorus
-nonhuman
|
The Theatre Critic: An audience of one
|
a critic is someone who observes theatre and analyzes and comments on it
-stands btwn the audience and the theatre event
-knowledgeable and highly sensitive audience member
-differs from an ordinary spectator through knowledge and a developed set of standards by which to judge theatre
|
Juxtaposition of Characters
|
Protagonist
Antagonist
|
descriptive criticism
|
the critic describes careful and accurately what occurs
|
Perscriptive Critism
|
Established by Horace(1st century Roman)
Can be judgemental
|
types of productions in Greece
|
-amphitheaters
Hill Side
15000-17000 spectators
-orchestra
A base at the hill
Circular playing
-theatron
audience
|
Types of production in Greece
|
-all characters played by men
-actors wore mask
-Parodos
Behind the playing area
In front of the Skene (stage house)
Entrance and exit for the actors
|
Natyasastra (The Study of Theatre)
|
Writtenby Bharata Muni
Describesthe origins of theatre
“encyclopediaof theatrical practice”
|
Sociology |
scientific study of the relationship between social structure and human behavior; studied systematically and in groups
|
Anthropology
|
study of man
|
Physical anthropology
|
study of evolution
|
Cultural anthropology
|
study of present culture and their recent past
|
Sociological Theory
|
everything that exists serves a function
|
Manifest function
|
states the obvious
|
Latent functions
|
unintended or hidden
|
Anomie
|
the weakening of the self in a pluralistic society
|
conflict theory
|
focuses on the inequalities in social structures; seeks to determine who benefits from arrangement and who is exploited
|
Bourgeoisie |
ruling class
|
Proletariat
|
working class
|
class consciousness
|
the realization by a group of people that they are being exploited; most important step to social class
|
Dyads
|
groups of 2; stable and strong
|
Triads
|
groups of 3; unstable and conflicted
|
Dyads and Triads was thought of by:
|
Simmel |
Functionalism was thought of by:
|
Emile Durkheim
|
symbolic interactionism
|
focuses on the meanings which arise from social interactions
|
social interactions was thought of by:
|
Max Weber
|
verstehen |
understanding social actors on their own terms
|
value free
|
beliefs that values should not affect social research
|
research methodology
|
method by which data or information is acquired
|
inaccurate observation
|
perceiving something that did not occur or perceiving events differently than they actually occured
|
steps in designing a research study
|
1. formulate a research question
2. review the literature
3. formulate a hypothesis
4. define the variables
5. collect data
|
Institutional Review Board (IRB)
|
responsible for ensuring ethics when using human subjects
|
control vs experimental group
|
control group receives no experimental treatment and experimental group receives experimental treatment
|
Participant observation
|
where the researcher usually plays a roll in the group or setting being observed
|
surveys (3 types)
|
1. questionnaires
2. telephone interviews(CATI)
3. face to face interview (most expensive)
|
culture
|
a set of shared ideas
|
types of culture
|
material vs non-material(ideas,values)
ideal(way society presents itself) vs real(how it really is)
|
elements of culture
|
-symbols-stands for or represents something
-values-shared standard of what is desirable
-beliefs-something you think is true
-norms-standard of behavior
|
types of norms
|
-folkway(etiquette):way to behave
-laws(enacted norms):critical to the function of society
-mores(taboos):if it wasn't against the law you still wouldn't do it
|
cultural universals
|
practices found in every society
|
ethnocentrism |
acceptance of the culturally alike, and rejection of the culturally different(like was is like you and don't like what is different)
|
xenocentrism
|
rejection of the culturally alike and acceptance of the culturally different(like what is different and don't like what is alike)
|
status |
the structural position in a social system(ranking or title)
|
ascribed
|
a status you are born into;unchangable
|
achieved |
what you have earned
|
socioenomic status (SES)
|
Power + Privilege + Prestige
|
role
|
a pattern of behavior appropriate for a given status
|
role conflict
|
inconsistencies across the demands of one's status
|
role strain
|
inconsistencies within one status
|
master status
|
predominant status we hold
|
properties of a group (3)
|
1. social boundaries-distinction between members and non members
2.common expectation or goal
3.internal structure or hierarchy
|
reference group
|
a group whos standards apply to one's self
|
primary group
|
characterized by intimate, multiplex, expressive relations
|
secondary group
|
characterized by impersonal, uniplex, instrumental relations
|
in-groups
|
those we feel a part of
|
out-groups
|
those we don't feel apart of
|
Institutions
|
large scale social structures which meet basic social needs
|
5 traditional institutions
|
1.family-reproduction
2.education-instills culture
3.economic-produce and distribute material resources
4.political-organize decision making and maintain social class
5.religion-provides a framework of meaning
|
Director |
the person responsible for the overall unity of a production and for coordinating the work of contributing artists.
|
Spine |
In the Stanislavski method, a character's dominant desire or motivation; usually thought of as an action and expressed as a verb
|
Casting |
assigning roles to performers in a production; this is usually done by the director
|
Blocking |
Patter and arrangement of performers movements onstage with respect to each other and to the stage space, usually set by the director
|
Design Conceptualization
|
Director is responsible for conceptualization of the design elements
Lighting
Sound
Scenery
Costume
Director makes choices about what the visual aesthetic of the production
|
Stage picture
|
Visual composition: how an entire scene onstage will appear to the audience
|
Pace |
Rate at which a performance is played
|
Technical rehersal
|
Rehersal at which all the design and technical elements are brought together
|
Run-through
|
Rehersal in which the cast goes through the entire text of the play in the order that it will be performed
|
Stage Manager
|
Person who coordinates all the rehearsals for the director and runs the actual show during its performances
|
Dramaturg
|
Literary manager or dramatic adviser of a theatre company; discovering and reading new plays, working with playwrights etc.
|
Producer
|
person responsible for the business side of a production, including raising the necessary money.
|
Proscenium Stage
|
Arch or frame surrounding the stage opening in a box or picture stage; ideal for spectacle and allows for realistic settings
|
Proscenium arch
|
the frame that separates the stage from the audience; introduced during the italian renaissance in early 17th century
|
Rake |
upward slope of the stage floor away from the audience
|
Orchestra
|
ground-floor seating in an auditorium; also a circular playing space in ancient greek theatre's
|
Deep configuration
|
... |
Fly loft
|
Space above the stage where scenery may be lifted out of sight by means of ropes and pulleys
|
Thrust stage
|
Theatre space in which the audience sits on three sides of the stage; at the back of the stage is where actors enter/exit (facade of the stage house) offers a sense of intimacy
|
Arena Stage
|
Offers the most intimacy; theatre-in-the-round; creates "unconscious communion"; economically viable
|
Created or Found Space
|
Using a space not designed for theatre production; street corner, Public park, Steps of governement building
|
Street Theatre
|
Bring theatre to the people; usually political or moral purpose
|
Multifocus theatre
|
Theatre in which something is going on simultaneously in several playing areas; like three-ring circus, more like everyday life; gives audience choice of where to focus; multimedia theatre
|
All purpose and experimental spaces
Black Box
|
A theatre space that is open, flexible, and adaptable, usually without fixed seating or a permanent stage area. It is economical and particularly well suited to experimental work
|
Scene shop
|
Technical Director; builds all our shows; student workers
|
Paint shop
|
Props;
Paintcharge- the person responsible for seeing that all painting of scenery is carried out in accordance with the specifications of the designer
|
Costume shop
|
Pull- to choose a costume from an inventory owned by a theatre company
Build- creating a costume from scratch
Shop manager
|
Studio Space
|
Rehearsal
Small Shows
|
Fly System
|
Arbor- the weights that raise or drop the batten
Batten- are the linear bars that
hold the loads to be raised
Single purchase-
Double purchase-
|
Cyclorama
|
large curtain or wall positioned in the back of the stage
|
Scrim |
thin, open-weave fabric which is nearly transparent when lit from behind and opaque when lit from the front
|
Plaster-line
|
refers to the upstage edge of the proscenium line; the border where things can be placed on stage
|
Call boards
|
Literally a backstage bulletin board which contains information about a theatrical production including contact sheets, schedules, rehearsal time changes, etc
|
Scene Designer's Objectivies
|
1. Help set the tone and style of the production
2. Establish the locale and period in which the play takes place
3. Develop a design concept consistent with the director's concept
4.Provide a central image or metaphor, where appropriate
5. Ensure that scenery is coordinated with other production elements
6. Solve practical design problems
|
Elements of design
|
1. Line
2. Mass
3. Composition
4. Texture
5. Color
|
Wagon |
Low platform mounted on wheels or casters by means of which scenery is moved on- and offstage
|
Treadmill
|
used to carry performers or props from one side of stage to other
|
Turntable
|
circle set in the floor to bring one set into view as another disappears
|
Flat |
usually canvas stretched on wood to form walls separating parts of the stage
|
Materials and devices of scene design
|
-A wagon
-Treadmill
-Turntable
-Fly loft
-Ramps
-Platforms
-The flat
-The scrim
|
Steps in the Design Process
|
Read the script
meet with director to discuss concept
develop thumbnail sketches and rough plans
With further consulation with the director, the designer will come up with renderings
Once rendering is approved, the designer will make a model last step produce tech drawings
|
Costumes can suggest:
|
Position and status
Gender
Occupation
Flamboyance or modesty
Independence or regimentation
Occasion
|
Objectives of Lighting Design
|
1. Provide visibility
2. Help establish time and place
3. Help create a mood
4. Reinforce the style of the production
5. Provide focus onstage and create visual compositions
6. Establish rhythm of visual movement
|
Elements of Stage Lighting
|
Intensity
Color
Direction
Form
Movement
|
Additive color theory
|
states that mixing the three primary colors of light creates white light
|
Form in light is created by
|
utilizing a gobo (like a pattern inside the light housing)
|
Scene Designer's Collaborators
|
Technical Director
Property designer
Scenic Charge artist
Paint charge artist
stagehand
property crew
fly crew
|
Technical Director
|
Person who oversees all technical aspects of a theatre production, especially the building, painting, and installation of scenery and related elements
|
Property designer
|
person who creates and executes all props
|
Scenic charge artist
|
person responsible for seeing that the sets are built and painted according to the specifications of the designer
|
Paint charge artist
|
person responsible for seeing that all painting of scenery is carried out in accordance with the specifications of the designer
|
Sound Designer
|
Amplification
Sound effects
sound reproduction
sound reinforcement
motivated sound
environmental sound
volume and pitch
|