Term
|
Definition
All elements of a theatrical production
EX: playwrights, scenery, staging, acting |
|
|
Term
|
Definition
| The listener, viewer, or reader of a text |
|
|
Term
|
Definition
| A performing art that is always changing and whose performance is unique each time |
|
|
Term
| Theater and ritual similarities |
|
Definition
-They both us dialogue, costumes, and properties!
-They both use repetition of words, roles, movement, and action |
|
|
Term
| Ritual and Theater Differences |
|
Definition
-Ritual is primarily used for prayer or to achieve efficacious results (theater is not)
-Theater focuses on reflecting human beings- joys, sadness, fears, not goal to "obtain something" |
|
|
Term
|
Definition
| Learning by observing the actions of others |
|
|
Term
| Performance/Theater and Sports |
|
Definition
Sports and Theater both have leaders, uniforms/costumes, and provide a space to watch
*There are more simularities/differences obviously theses are big ones, know them for test |
|
|
Term
|
Definition
| This is a genre of play. It is a comic play, usually with physical stunts and pratfalls (falling on your ass). Its humiliating "slapstick" humor |
|
|
Term
|
Definition
This is a type of play genre. It is suspenseful and orientated around drama. It features all "good heroes" and "bad villains."
-Typically has a simply plot |
|
|
Term
|
Definition
| This is a type of play genre. In this type it ridicules social beliefs and religion, and human vices. |
|
|
Term
|
Definition
A mechanism of story telling! They are events expressed as a series of linked dramatic actions.
it is the "arrangement of incidents"
*Some say it is the most important part of a play!
*THIS IS ONE OF ARISTOTLES 6 COMPONENTS OF TRAGEDY |
|
|
Term
|
Definition
| Events that make the plot more complex! While characters struggle to find the solution, the suspense builds! |
|
|
Term
|
Definition
| This is the part of the plot where the "complications" begin. It is the "hill" on the plot line! |
|
|
Term
|
Definition
| Those to whom the story happens! It is one of Aristotle's 6 components of tragedy |
|
|
Term
|
Definition
| This is the "underlying meaning to a play." It is the general idea or message it wants to convey. It is one of Aristotle's components of tragedy! |
|
|
Term
|
Definition
| This is defined as "word choice" of the playwright. It is one of Aristotle's six components of tragedy |
|
|
Term
|
Definition
| This is the sound and effects during the play. It is one of Aristotle's 6 components of tragedy. |
|
|
Term
|
Definition
| These are the visual effects of a play. They include things like scenery, costumes, lighting, makeup, etc. This was one of Aristotle's 6 components of tragedy. |
|
|
Term
| Aristotle's 6 components of tragedy |
|
Definition
1. plot
2. character
3. Theme
4. Diction
5. Music
6. Spectacle
*Know the ORDER as well!
PCTDMS
(pee-see-tee-DMS!) |
|
|
Term
|
Definition
| The background info of the play. (it is the beginning of the plot and plot line) |
|
|
Term
|
Definition
| The who, what, when, and where of a play |
|
|
Term
|
Definition
| It is an action that represents major struggle and interactions of Greek Tragedy |
|
|
Term
|
Definition
| The problem or struggle between two things in the play |
|
|
Term
|
Definition
The point of highest tension when the conflicts of the play are at their fullest expression
(This is the "peak" in the climatic structure plot line) |
|
|
Term
|
Definition
| Events that are high in conflict and believablity. They would command high attention if staged |
|
|
Term
|
Definition
The event that starts "moving the play." It initiates conflict.
(in a climatic structure plotline, it is the base of the mountain) |
|
|
Term
|
Definition
This is the part of the play that escalates the conflict, following the inciting action.
(It is the "slope" of the conflict structure plotline) |
|
|
Term
|
Definition
Part of the story that follows the climax. It is when the conflict is solved!
(It is the end of the conflict structure plotline at the bottom of the mountain) |
|
|
Term
|
Definition
| A play that deals with history and a struggle for power |
|
|
Term
|
Definition
| A type of play that presents a social issue |
|
|
Term
|
Definition
Categories of different plays.
EX: farce, comedy, tragedy, satire, etc |
|
|
Term
| Historical Context and Melodrama |
|
Definition
Melodramas had exotic locations, special effects, latest inventions, are "very popular" type of film.
With the "good" vs "bad" and simple plot, it makes it easy why in 19th century was so popular |
|
|
Term
|
Definition
The art of play construction,or can be referred to as the plays structure.
It determines the horizontal and vertical axis of the play |
|
|
Term
| Vertical Axis of the play |
|
Definition
| Think the 6 components of tragedy! It is the structure of the play that deals with plot, characters, theme, diction, music, and spectacle |
|
|
Term
|
Definition
| This structure determines where to focus, between the pre-play, play, and post play! |
|
|
Term
|
Definition
| The performance! It contains a sequence of identifiable elements. All plays have a beginning, middle, and an end |
|
|
Term
|
Definition
| This is the everything leading up to the performance! It is attracting the audience and advertising the play |
|
|
Term
|
Definition
| This includes the events after the play. It is the curtain call, actors bow, audience cheers, etc |
|
|
Term
|
Definition
There are many aspects to a well made play! They are:
-showdown or "obligatory scene"
-Credibility and intrigue
-speak ability to stageability and flow
-richness
-depth of characters
-gravity and pertinnce
-compression, economy and intensity
-celebration! |
|
|
Term
|
Definition
| The process of pretending to be someone else! It is a main difference between theater and sports! |
|
|
Term
|
Definition
| The person who writes the play! |
|
|
Term
| 3 Major areas of Playwriting |
|
Definition
1. Conflict
2. Dialogue
3. Structure |
|
|
Term
|
Definition
AKA "Purgation of pity and fear"
It is the process of releasing strong repressed emotions. In plays, it is a dramatic explosion in tragedies. They are moments in plays where the audience releases intense emotions |
|
|
Term
|
Definition
| Characters in plays where they under a change and it leads to their demise! Either a loss or death or something! |
|
|
Term
|
Definition
| Scenery in proscenium type theaters, where there are multiple dimensions to make it more life like. There is also a vanishing point (vantage point?) that helps with the multidimensional look |
|
|
Term
|
Definition
This is the type of stage where the audience sits merely in front of the stage. There is a pit for the orchestra, and there stage has a curtain and back to it. Think "classic" stage
*Advantage was there were more spectacular designs, use large elements, etc. |
|
|
Term
|
Definition
| These are flat pieces of scenery that can be wheeled on stage from the sides |
|
|
Term
|
Definition
| In plays, it means when audience members identify with the plays characters |
|
|
Term
|
Definition
| He was the one who coined the phrase "willing suspension of disbelief." It is the idea that we act like what we see in a play/ movie is real (scream, laugh, empathize with character) even though we know in our heads it is now |
|
|
Term
| Willing Suspension of Disbelief |
|
Definition
| It is the idea that we act like what we see in a play/ movie is real (scream, laugh, empathize with character) even though we know in our heads it is now |
|
|
Term
|
Definition
| This is where the stage is surrounded on the audience by 3 sides. Advantages to this are it leads to a creative atmosphere, and more 3D sets! Disadvantages are there are no space for the orchestra without blocking someone, and all large items must be in back to not block people as well. Some people may get side view |
|
|
Term
|
Definition
| This is a type of stage where the audience completely surrounds the stage! Think of a sports stadium! The audience is on all 4 sides |
|
|
Term
|
Definition
| This is a type of stage where it is in the middle of a two sided audience. It is flexible so there are no set seats. Advantages are that flexibility, and not very expensive. Disadvantages are how small it is, and due to that sets aren't extravagant! |
|
|
Term
|
Definition
| Stage right and left are the views the actors have while facing the audience. House left/right is the view the audience has of the stage |
|
|
Term
|
Definition
| It is a kind of set, usually in a proscenium stage, that is literally a box! It is to give off the illusion that the actors are in an interior of a room |
|
|
Term
|
Definition
| Apron is the part of the stage in front of the curtain |
|
|
Term
|
Definition
| This is the part of the theater where the audience sits |
|
|
Term
|
Definition
| The person who is the leading or main character in the play |
|
|
Term
|
Definition
| The "adversary" to the protagonist. They are actively opposing and hostile to someone else, mainly the main character in the play |
|
|
Term
|
Definition
| A careful, thoughtful, examination of the structural and component parts of a play! |
|
|
Term
| Characteristics of effective playwriting |
|
Definition
-Speakability
-Stageability
-Flow
-Richness
-Gravity
-Intensity
-Characterization
-Compression
-Credibility
-Intrigue
-Intensity |
|
|
Term
|
Definition
| A script is the "blue print" for the play. The play is the execution of the script! |
|
|
Term
|
Definition
| This is a characteristic of a good play. It is when a line of dialogue is written so it achieves its most impact when spoken. How "speakable" and impactful the words are! |
|
|
Term
|
Definition
| This is a characteristic of playwriting. It is making sure dialogue is written so it can be said effectively on a stage |
|
|
Term
|
Definition
| This is an aspect of playwriting. It is making sure the play continually is saying or doing something, and it means something to the audience. Cant have breaks in flow! |
|
|
Term
|
Definition
| It is a characteristic of playwriting. It is the depth, subtlety, fineness, and overall quality of a play |
|
|
Term
| Depth of Characterization |
|
Definition
| This is a characteristic of playwriting. It is making sure that every character posses independence of expression, intention, and motivation. Making the characters "their own" |
|
|
Term
|
Definition
| This is a characteristic of playwriting. It is used to describe plays theme and how it concerns the audience. How well a plays message relates to its audience |
|
|
Term
|
Definition
| This is an aspect of playwriting. It is the ability to compress and entire story into a length of a play and do it "economically" or being efficient with that time |
|
|
Term
|
Definition
| This is an aspect of writing a play. This is making sure the actors and performing to a level that is believable (credible) and doing so that keeps the audience entertained (intrigued) |
|
|
Term
|
Definition
The plays she wrote were "Ruined" "Intimate Apparel" "By the Way" and "Meet Vera Stark"
- She was known for her plays being very socially invested, examining multiple cultures and voices
*She writes plays from the views of oppressed groups like women |
|
|
Term
|
Definition
They plays she wrote were "The clean House" And "dead Mans cellphone"
-She was known for "non-realisitic tradition" EX: the dead mans cell phone play is a reflection on how society has grown too attached to their electronic devices!
*She writes comedies that have deeper themes and subjects |
|
|
Term
|
Definition
He wrote plays such as "Race" "speed the plough" and "glengarry Glen Ross"
-He is known for Profane language, broken rapid dire dialogue, and centering on masculinity
"mamet speak" is intense swearing and such |
|
|
Term
|
Definition
He wrote "Angels in America" and "Caroline or Change"
-He is known for writing plays with really good structure, including one reflecting about the AIDs crisis during the 1980s. SHOWS CONTEMPORARY REALISM |
|
|
Term
|
Definition
| He wrote "Yellow Face" and "M. Butterfly." Most of his plays reflect Asian american culture and identity crises for Asians |
|
|
Term
| Linear Chronology Plot Structure |
|
Definition
| This is where plot events and actions happen one after another serially |
|
|
Term
|
Definition
| This, the opposite of linear, has gaps in the plot structure. Actions don't happen 1 after another |
|
|
Term
|
Definition
| Where there is more than 1 musician |
|
|
Term
|
Definition
This is the question the audience thinks to themselves while watching the play, usually that resolves the conflict during the climax
EX: will he come? who did it? |
|
|
Term
|
Definition
| He was the first playwright to master realism! |
|
|
Term
|
Definition
This was a type of theater that emerged after WWI. It was created by Bertolt Brecht!
It sought to "alienate" the audience from emotional manipulation, so they could view the play as objectively as they could! |
|
|
Term
|
Definition
| He was the one who created theater of alienation. This concept rejected aristotle principles of trying to get the audience to feel a certain way and instead tried to "alienate" the audience and make them view a play objectively |
|
|
Term
|
Definition
The principle stating that the stage should portray ordinary people in ordinary circumstances. Behavior should be as close to the real thing as possible. It is PRETENDING To be real, some saying the stage is a "4th wall" to someones real life in realism
-Felt that play should reflect how environment shapes people, so had play environment shape characters |
|
|
Term
|
Definition
| Naturalism is concerned with having the actors act as "natural" as possible. The theater should be considered a "slice of life." |
|
|
Term
|
Definition
| Realism is trying to get people to impersonate as real situations as possible. Naturalism does not include the trying to portray, and has actors act as closely to their natural reactions as possible. Naturalism is associated with the "slice of life" |
|
|
Term
|
Definition
| It is a naturalism stage action that tries to realistically represent ordinary and arbitrary "slice" of daily activity of people portrayed |
|
|
Term
|
Definition
This is a type of theatre that describes "self-reflexivity." AKA it is theater about theater, and when a performances calls attention to the performance itself
It can also be used as a "play within a play"
-either way, it is the concept of having the play talk, reference, or reflect itself or other plays |
|
|
Term
|
Definition
| This was the first Antirealist movement in the art of theater. It was a movement where instead of reflecting on literal life, felt that theater should focus on the "inner self" or how people felt. |
|
|
Term
|
Definition
| Henrik Ibsen wrote A Dolls House! He was one of the first to try and depict realism in his plays |
|
|
Term
|
Definition
| He is the one who wrote "6 characters in search of an author" It was a huge development in metatheater, developing a a play a play |
|
|
Term
| Six Characters in Search of an Author |
|
Definition
| This was written by Luigi Pirandello. It was a huge step in metatheater, creating a play about characters looking to be in a play! |
|
|
Term
|
Definition
| She was the chief advocate for naturalism! She claimed dramaists and actors should expose social problems and ills, so it can come to light to people and know what those causes of the social problems were and be corrected. She felt theatre like that should help society! |
|
|
Term
|
Definition
He is the leading figure in for the theater type "Theater of the Absurd." This type tries to show the "futility of human action" and has people do ridiculous aesthetics.
-they are essentially plays that are ridiculous |
|
|
Term
|
Definition
This is a type of play created by samuel becktett. It is a type that is essentially about ridiculous, flaunting things.
EX: Godot, which is about two prostitutes waiting for someone who never comes |
|
|
Term
|
Definition
| This is the age of theater that actually is what goes on today. It occurs in the 2nd third of the 20th century, and It is the belief that theater movements followed with mixed styles. Each playwright had their own style and each of the different styles flourished |
|
|
Term
|
Definition
| Hes the one who made "the Hairy ape" which is an example of expressionism. Expressionsism includes things with bold exaggeration, symbols, crescendo, all to get a message across. The hairy ape uses symbols like scratching heads and biting fingers etc. to show the monkey in everyone. |
|
|
Term
|
Definition
| This was a play written by Eugene O'Neil who expressed expressionism with it. Expressionism is the use of bold, exaggerated, overt symbols to convey a message. In this case, it was showing how everyone in the elevator was like a monkey |
|
|
Term
|
Definition
| This is a type of theater where everything in the play is directed to the message or theme the play is trying to send out. It involves bold, overt, exaggerated symbols to do so |
|
|
Term
|
Definition
| He is the one who wrote the man and superman, which was an intellectual comedy. In the play, it is a comedy about a women who eventually gets her man, but it treads on deeper philosophical "intellectual" issues, such as in this case the women forcing the man to get married |
|
|
Term
|
Definition
| These are comedies that also have deeper meaning behind them! An example of man and superman by George Bernard Shaw, which is a comedy about a girl getting her man but shows an intellectual reflection on women trying to force men to be married |
|
|
Term
|
Definition
| It was created by Antonin Artaud. It is the type of theater that states that the most important aspects of life are in the subconscious, and theater should reflect that by revolting against civilization and norms. It argued against realism, and essentially was supposed to be a way for people to get away from realism, and possibly restore core, primitive values |
|
|
Term
|
Definition
| Theater of cruelty was created by Antonin Artaud. It is the type of theater that states that the most important aspects of life are in the subconscious, and theater should reflect that by revolting against civilization and norms. It argued against realism, and essentially was supposed to be a way for people to get away from realism, and possibly restore core, primitive values |
|
|
Term
|
Definition
| This is a type of theater that opposes realism. It is theater that includes parodies of religious institutions, politics, the middle class, etc. It is vulgar nonsensical theater |
|
|
Term
|
Definition
| It is the entrance or exit in a theater |
|
|
