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106 Cards in this Set
- Front
- Back
arouse emotions produce long lasting intellectual effect create long lasting receord of civiliztion |
purpose of art |
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grab attention and move people into the world of the play, want electricity of the audience and performers |
purpose for entertaining audience
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draw attention to issues, teach something, mobilize group |
purpose to educate |
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written plays, bring literature to life, drama = play script |
meaning of dramatic theatre |
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need conflict to grab attention , escalate and then a release, makes storytelling interesting |
why is conflict in a play necessary |
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no response, indirect response, direct response, suspension of disbelief |
how do we respond to the conflict |
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cannot fully enjoy without being able to believe you are in the world of the play, believe circumstances, emotions mind need to enter the play |
suspension of disbelief |
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physical (man v man) psychological (man v himself) metaphysical (man v fate) |
types of conflict |
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when protagonist is winning and then suddenly is not |
sudden reversal |
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moment of revelation or truth that the audience sees the protag realizing |
the discovery |
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what happens in a play |
dramatic action |
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plot, character, theme, dialogue, music, spectacle |
aristotle's 6 elements of drama |
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presentational theatre |
non realistic, actors acknowledge the presence of the audience, in ancient greece theatre was this, actors took in whole audience |
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representational theatre |
realistic, observe the 4th wall, acotrs do not acknowledge the audience |
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worship, ceremonies, daily routines, important in lives and past cultures lives |
the nature of rituals |
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tragedy |
first in ancient greece for the spring festival (festival of dionysus) beginning of theatre with this genre |
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catharsis (release emotions, tension), hubris (pride arrogance), hamartia (error in judgment) |
elements of tragedy |
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hero, person of consequence, strong willpower, accepts consequences, gains insight, stubborn, virtuous, selfless, brave |
characteristics of the tragic hero |
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brave, person of consequence, strong will, effective at actions, interesting, selfish |
characteristics of the tragic villain |
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oldest form of drama, lost of conflict, good v evil, god v devil, hero v villain |
melodrama |
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idealistic, supports belief "good to be good" asks questions which quiet our fears, reinforce social order |
purpose of melodrama |
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celebration of life, love/sex, laughter can show health of society (how much comedy can they tolerate) can be dangerous to people trying to stay in control |
comedy |
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romantic, comedy, farce, satire, tragicomedy |
types of comedy |
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point out society's weaknesses, expose hypocrisy, insure conformity (point of what people do wrong to make them look stupid) |
comedy as a weapon |
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rule of repitition, mistaken identity, role reversal, violence |
tools of comedy |
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rule of repitition |
only do joke 3 times (most laughter the last time0 |
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mistaken identity |
when discover a character not who they seem to be |
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women pretending to me men or vice versa |
role reversal |
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proponent of "old comedy" political social, personal satire, sex and physical humor (phallus) very outrageous by ancient greek standards
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aristophanes |
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proponent of "new comedy" domestic comedy (ie, want to marry out of caste) character types |
menander |
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farce |
slapstick humor, physical humor nontintelligent, extremes of physical humor |
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satire |
intellectual humor, extremes of sarcasm, dangerous comedy, making a point, critical |
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let off steam in an acceptable way, society's safety valve |
purpose of farce and satire |
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born dumb, if something goes right then it must be an accident |
buffoon |
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deliberately makes fool of self, actually smart, pretends to be fool, gets what he wants, wit is wisdom in disguise |
clown |
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others make fool of them, susceptible to making an error in judgment (character flaw) |
dupe |
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often central character in farce, not vicious but mischeivous |
rascal |
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often central character in satire, vicious ans threat to society |
scoundrel |
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funny and sad at the same time popular in the 21st century, influenced by film and TV |
tragicomedy |
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realism |
everything is made to resemble daily life (identifiable), art was first thing to change in the 19th century realist movement |
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melodrama is most popular, time of revolution (social, economic, political, technological) so relaism emerged at the ed of the 19 century` |
describe theatre in the 19th cent |
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the rise of science and new ways of thinking -Karl Marx (comm manifesto) -charles darwin (species) -freud) einstein |
what influenced realist mvmt? |
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Theatre Libre "free theatre" to create new ideas |
what influenced the art theatre movement |
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founded by Andre Antoine, theatre club in paris for experimentation, challenging the censor with new ideas |
Theatre Libre |
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constantin stanislawski is director of a theatre where he created a new acting mvmt/system that uses psychological motivation ----> repsonse to the art theatre movement |
moscow russia importance |
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actors should live together for 6 months before puttong ona play so everyone could experiment, became "the method" in the US focus on the the motivation behind the words they are saying |
acting system created by stanislawski |
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henrik Ibsen |
"father of realism" norwegian playwright --> "a doll's house" controversial play about victorian husband who makes all the rules and then the wife leave him and the kids |
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August Wilson |
writes about the african american experience in the each decade in the 20th century realist playwright |
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to see yourself on stage dealing with life often ineffectually - not heroic protagonist we do our best but don't always succeed the ordinary rather than the extraordinary |
purpose of realism |
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common man, up to chance chance (not carefully pursued), conforms (not heroic, common), victim of society |
realistic protagonist |
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producer |
raises the money to put on the play can be group of people find/purchases the play usually group of businessmen |
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director |
leads in interpretation of the play |
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dramaturg |
finds the background info for the play |
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stage manager |
responsible for stage/backstage after play opens supervises performers and all the crews has to have good communication oversees all aspects of the production main person to get info runs the show |
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technical director |
directs backstage things while they are being created |
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artistic director |
overseas all artistic elements of the company suggests/determines plays in season/person in role |
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the house manager |
in charge of the audience space deal with comfort and safety of audience |
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preproduction |
design meetings, auditions, callbacks |
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rehearsal phase |
read through, getting acquainted, blocking (stage directions) , working (4 to 6 weeks) |
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technical rehearsal |
rehearsal with lights, sound, moving scenery, props |
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dress rehearsal |
rehearsal with costumes, makeup, nails, props |
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antirealism |
dreams v reality, psychological v empirical (subconscious motivates us, internal thoughts and feelings vs what do i see around, what do i feel outside) |
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reactions against the world artists response to violence of WW1 and WW2 ---> art is linked with politics |
origins of antirealism |
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alfred jarry |
rebellious young french playwright sparked antirealism visionary artist offends the audience challenges the censor creates the anti-hero had little theatre in paris wanted to invigorate the audience, aud needs to be shaken out of comfort zone perceived problems and put culture on display "dadaism" ---> first one to use a curse word on stage |
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symbolism |
feeling replaces action, mood is everything, Maurice Maeterlinck used this, in" bluebird" (bluebird = happiness) feeling more important that taking action |
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surrealism |
Guillaume Apollinaire dramatizes subconscious details reveals truth that is deeper than the logical truth "breasts of tiresias" - woman wants to be man and the breasts float away to become a man |
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expressionism |
August strindbury inner turmoil angst and pain "To Damascus" man meets a man while on journey and he is his subconscious |
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contemporary in performance, the 21st century |
Bertolt Brecht, Samuel Beckett are part of this genre |
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Bertolt Brecht |
German from Berlin Epic Theatre theatre of instruction (to learn about life/principles) intellectual involvement over emotional involvement wrote peice about low life in london: actors dropped their characters and say that life is not like that |
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epic theatre |
theatre in which emotion not aroused, the intent is teach lessons, confront audience and make them uncomfortable (Bertolt Brecht) |
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samuel beckett |
proponent of Absurdism Writer/student in Dublin, went to paris and had theatre of the absurd characters have no backstory/must discover during play ***conveys that we have a failure to communicate in life "Waiting for Godot" |
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solo performance, devised play, reinterpreted interdisciplinary, installations |
new ways to create theatre: |
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devised play |
a group of people get together and create a play
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interdisciplinary |
a type of play that involves other arts: music, design, song, dance
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installation |
something is created and turned into a new peice of theatre |
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provide unified vision for the play communicate that vision to an audience through production choices |
director's function |
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director reads the text and decides what is the basic story, what is the playwright trying to say, and what he/she wants to convey to audience
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approaching the text for the director |
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looks at the historical (look at versions, history of the play, motivation behind writing it), critical (what critics said at different time periods), biographical, and literary |
director's research |
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directors concepts, "production concept" |
a central idea that unifies all elements of the production to make it unique can be faithful to the original intent can be totally new interpretation can be a mixture of the two |
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supports performers by creating costumes create the world of the play in a particular play use the set to inform the audience |
the designer's job |
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design team |
scenic designer, lighting, costume, sound, make-up, properties |
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design process |
-read script -meet with director -preliminary ideas -initial drawings -more meetings -finalize designs -build process (begins before auditions even start) |
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the audience |
a community (different ones respond differently) a group transformed group projects itself into another situation |
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characteristics of the audience |
participates in the artistic process willing suspension of disbelief witness to the performance how expresses itself active is better than passive |
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how the audience expresses itself |
laughter, standing ovation, exclamations, gasps, can leave/walk out |
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permissive audience |
when the audience permits itself to watch allows itself to be presented the ideas it might not necessarily agree with permits actors to perform action |
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guarenteed expectation principle |
when more people go to see a certain thing, more of it will be produced audience 'chooses' what is produced ---> influences marketing |
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good audience is prepared, knows something about the play (background context) |
good audience preparation and willingness |
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empathy |
feeling for the character or the situation, sometimes we want emotional involvement |
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distancing devices |
odd design to make an objective rxn from audience playwright trying to teach lessons
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aesthetic distance |
physical relationship of audience to performance state sometimes separation needed to appreciate a work of art |
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a critic of one |
says that each person in the audience have to be their own critic, but shouldn't pass judgment until the end and need to be open to experience if you want to get something out of it |
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art (the imagination) and craft (skill of writing that can be learned) |
playwrighting combines these two things |
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clarity of thought, insight/inspiration |
what the playwright communicates through the script |
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dramatic idea |
something that can sustain audience interest -conflict, tension, resolution |
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conceive dramatic idea that has theatrical possibilities (possible to make effective and exciting instage)
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functions of the playwright |
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conventional : satisfies audience expectations unconventional: something unexpected, sometimes controversial or avant garde |
conventional vs unconventional script |
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who is the audience? what is the space? who are the performers? |
questions the playwright asks |
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producer, design team, performers, audience |
people the director need to communicate with |
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bring play to life, artistic unity, director as artist |
directors task during rehearsals |
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teacher, organizer, researche,r leader, artist |
characteristics of a director |
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-picturization (create the "tableau"-still picture), ---historical authenticity -movements that have a reason |
directors tools |
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stage business |
how to make people believe you are the character making small gestures and using props reveal character by how you deal with props and gestures |
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line reading |
where you place the emphasis in the sentence, tonal changes how line is internalized |
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how much emotion is too much for a play how far must the emotion reach intensity of emotions |
emotional tools |
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temp and rhythm |
rate at which a play moves/progresses play has a pace similar to music in that it can be fast or slow |