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1. Bharata Rami
2. Aristotle
3. Robert Edmund Jones
4. Joseph Campbell |
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| facts (not opinions) about each major character; includes gender, age, occupation, physical condition, relationships, etc. |
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| part of dramatic structure; before (ex: "she is his gf, these are the parents") |
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| one character talks to another character, then talks to the audience, then returns talking to the character (ex: Malcolm in the Middle) |
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| characters talk ONLY to each other |
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| characters are all aware of that the audience is present and talks directly to them (ex: Ferris Buhler's Day Off) |
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| when a character is alone onstage and speaks their inner thoughts aloud |
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| what makes this day different from any other day |
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| chronological, single plot, usually realistic, cause & effect |
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| dramatic action always takes place in the present tense; organizing principle (not "cause & effect") juxtaposition, asking the question "why" |
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| ancient greek hymns about Dionysus; acknowledged by Aristotle |
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| according to Aristotle, first person to ever perform on stage/ to be an actor |
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| song sung by actors when they come into the theater |
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| leaving the stage (ex: deus ex machina) |
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| other person on stage with the actor (another actor) |
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| lead role in a play, continues to play that character for their entire life (ex: plays Juliet for 40 years) |
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| in Ancient Greece, the acting area/today's stage; scenery |
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| thought to be the first play, from Bharata Rami, very detailed/religious |
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| first place where acting reflects life; end of melodrama |
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| revitalized American theater; in early 10th century traveled to Europe out of boredom; wrote "The Dramatic Imagination"; previously was a set designer |
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| felt the goal of life was to make life better, finds this via immitation; imitiation/fantasy/ritual/myth; theater provides an example for your life; we want to immitate to lead a better life |
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| divine gift from Brahma; wrote the Natya Sastra; wrote the Ramayana and Mahabharata (epic poems/stories) |
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| wrote "The Poetics"; felt theater was a hybird of religion and competition |
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| "black is beautiful"; S.A. says his death was a hunger strike; coroner takes pics sends to newspaper; opens world's eyes to apartheid problem |
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| wrote "Master Harold & The Boys"; autobiographical play |
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| Russian director/actor; inside out and outside in characterization; truth & objective; revolutionizes acting, now acting reflects life, end of melodrama; created Moscow Arte Theatre |
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| creates working off "the other"; your action is to change the other person; never about you; Meryl Streep |
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| project personal memories on the characters with emotional recall; go experience what the character goes through; very psychological; Al Pacino |
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| script should be a "suggestion"; bringing in personal objects will inform the story; lots of research on the world of the play; Robert DeNiro |
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| wrote M. Butterly; won Tony Award |
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| uses 2 actors; chorus down to 12; creates the triology; writes "The Oresteia:; satyar: paraody depressing plays |
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| 3 actors; 15 chorus; creates model for Aristotle's definition of tragedy; writes "Antigone" & "Oedipus" |
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| many characters & roles; specific social questions; pro women; psychologically complex; writes "Medea" |
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| George II: The Duke of Saxe-Meiningen |
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| "The First Director"; insisted on play specific costumes, scenery, props; abolished star system; production should be rehearsed as long as needed; research & analysis (unified production concept); traditional |
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| conceptual director, transformed the work |
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