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Measured by IQ and involves well-defined rational problems that only have one correct answer. |
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Involves fluency and the ability to generate a multitude of ideas from numerous perspectives. |
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Specify the problem, break the problem into manageable components, brainstorm possible solutions, test the solution to see if it works. |
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Consists of crews of technicians, dozens of assistants, and numerous artists including, actors, directors, speech coaches, playwrights, and designers who are using a wide variety of art forms including painting, drawing, writing, acting, as well as set, lighting, and costume design. |
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May be individuals who put up their own money or control an investor's money to finance a production, or an institution such as a university, church, organization, or theatre company that controls the business side of the production. |
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Often times the playwright is called this for conceiving the original idea, creating the characters, and building the story. |
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The rest of the creative team, including directors, actors, and designers are called this because they turn the playwright's thoughts into a play. |
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TD, stands above all the crew chiefs and answers only to the director, designers, and the budget office. |
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Often with the help of several assistants, conducts rehersals, fills out rehersal reports, authorizes opening of the house to let the audience in, authorizes when an understudy goes on, times the length of the show, and calls for brush-up rehersals. |
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The stage manager keeps this, in which all the play's sound and light cues, blocking, and other notes are recorded. |
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A union to which all employees must belong and which the employer formally recognizes as their sole collective bargaining agent. |
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Writers Guild Of America (WGA) |
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The closed-shop union of television and screen writers. |
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Membership is optional, so meaningful strikes are impossible. |
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Dramatists Guild of America (DGA) |
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The playwrights' union, can champion the rights of playwrights but it can do little to demand higher pay. |
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The spoken text of the play, the words the characters say. |
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Notes that indicate the physical movements of the characters. |
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Short descriptions such as (loving, terrified) to help the actor or the reader interpret a particular line of dialouge. |
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A statement about life, a central idea, or a moral. |
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"A thing that is done." The character's deeds, their responses to circumstances, which in turn affect the course of the story. |
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The hidden meaning behind the words, the real reason a character chooses to speak. |
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The casual and logical structure that connects events. |
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The playwright's selection of events to create a logical sequence and as a result to distill meaning from the chaos of life. |
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A category of an artistic work that has a particular form, style, or subject matter. |
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Or back story, lets the audience in on what happened to the characters before the play began and what happens between the scenes and offstage. |
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The central character who pushes forward the action of the play. Can be the hero or a severly flawed soul as long as the audience can identify with, care for, and even root for him or her. |
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"Opposer of action." The adversary who stands in the way of the protagonist's goals. |
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An unusual incident, a special occasion, or a crisis in the characters' lives. |
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An inciting incident that upsets the balance and gets the action rolling by creating an opportunity for conflict between protagonists and antagonists. |
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The moment where the disturbance causes the situation to deteriorate to the point where the protagonist must make a major decision that will result in conflict. |
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The hook that keeps people in the theatre for 2 hours because they want to know the answers. Causes curiosity and suspense. |
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Each conflict, crisis, and complication is more dramatic and more serious than the ones before. |
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When the protagonist fails for internal or external reasons, the quest collapses, and the goal seems unattainable. |
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Occurs when the protagonist comes to understand how to defeat the antagonist. |
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The point of the greatest dramatic tension in the play, the moment the antagonist is defeated. |
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The final outcome of the play, a short final scene that allows the audience to appreciate that the protagonist, because of the preceding events, has learned some great or humble lesson. |
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Procedures that have been proven to work repeatedly. |
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International Phonetic Alphabet (IPA) |
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A system for transcribing the sounds of speech; it is independent of any particular language but applicable to all languages. Used to learn an accent and to speak clearly. |
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Stanislavsky system/ Method Acting |
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An individualized, psychological, realistic approach to acting created by Konstantin Stanislavsky. |
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To think back over a certain incident and remember it well enough to relive the accompanying emotions. |
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An actor working from the outside in, concentrating on physical details. |
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A technique for developing empathy with a character. "What would I do if I were this character in these circumstances?" Allows actor to find similarities between themselves and a character. |
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The ability to understand and identify with another's situation, feelings, and motives so completely that you feel you are experiencing that situation and those emotions. |
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When actors have little or no emotional bond with a character, they replace the character's emotions with unrelated but personal emotions of their own. |
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Character analysis approach that begins with examining the characters' life circumstances: their situation, problems, and the limits life has placed on them. |
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The driving force that governs a character's actions throughout the play. |
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Some sort of unfinished business that is so compelling that it handicaps the character until it is confronted. |
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Tragic Flaw/ Character Flaw/ Fatal Flaw |
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An unchangeable trait in a character that brings about his own ruin. |
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Actors' Equity Association |
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The union that represents stage actors. |
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Represents movie and television actors. |
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American Federation of Television and Radio Artists |
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Represents talk-show hosts, announcers, singers, disc jockeys, newscasters, sportscasters, and stuntpeople. |
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A loophole that allows its members to work for free in small productions. |
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Audiion known as 'open call.' Actors are given one minute to show their stuff. |
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During audiions, a list directors keep of actors they want to call back for subsequent auditions as they narrow the field of candidates. |
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Audition in which actors read from a script without any preparation. |
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First step in rehersal process. The actors read through a play while seated around a table. Discuss characters, motivations, and meaning. |
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Series of rehersals during which the director and actors work out the basic movements, a process called 'blocking.' |
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General working rehersals |
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The director and actors work on individual scenes and concentrate on understanding the characters' motivation, emotions, and personality. |
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If there are fight scenes, musical numbers, or dance numbers, or if the characters have dialects, the director can call special rehersals for each. |
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The actors must have their lines memorized. Actors no longer have scripts on stage with them. |
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The actors go through the entire play from beginning to end with as few intteruptions as possible. Gives a feel of how the play works as a whole. |
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Rehersals have been moved from rehersal hall to the stage. The lights, sounds, props, and set are added. |
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Final rehersals, only a few days before the play opens, when the costumes and makeup are added. |
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The last rehersal before an audience is invited. The play is to run as if it were a real performance. |
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Mondays, when the theatre is closed. |
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A back door located behind or to teh side of the theatre where the actors enter and exit. |
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Where the actors wait to make their entrances. It is a small waiting room located just off the stage where the audience cannot overhear their chit-chat and last minute warmups. |
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A moment of insight. The instant we create or transform something that already exists, adding value to our lives. |
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Turns the printed script into a production. Must have the artistic vision and the talent to coordinate dozens or theatre artists, technicians, and others to work towards that vision. |
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Greek word for Playwright-directors or "teachers". Not only directed the play but also instructed the performers and advised designers and technicians. |
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A theatre company founded in the late nineteenth century by a group of Russian artists. |
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The director's intensive study of a script and research of the history and criticism on the play in order to understand the scripts strengths and weaknesses and each characters' motivations. |
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A literary advisor and theatre history expert. |
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Begins whenever a character enters or exits and continues until the next entrance or exit. |
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A section of dialouge about a particular subject or idea; the smallest structural element of a script. |
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The metaphor, thematic idea, or symbol that will be central to the whole production. |
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Designers and the director discuss the production concept, the play's philosophy, interpretation, theme, physical demands, history, and style. |
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Specialize in finding the right actor to fit the part. |
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Hiring an actor who physically matches the role. |
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Deliberately cast actors who are very different from what is expected. |
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Casting without regard for the character's gender. |
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Intentionally casting men to play womens roles or women to play mens roles in order to study societal perceptions of gender identity. |
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Choosing actors without regard for their race or ethnic background. |
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The movement of the actors on stage. |
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A position for 2 or more actors, each with a shoulder thrown back so that the audience can see them equally. |
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Standing half away from the audience. |
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Upstaging/ stealing focus |
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When actors take focus when they aren't supposed to. |
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9 sections of the stage labeled according to the actors' point of view. Such as downstage, center stage, upstage left. |
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When there are 3 actors or groups of actors on stage, whoever is at the upstage or downstage apex of the triangle generally takes focus. |
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Composing pictures with the actors to reinforce an idea in the story. |
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A person who helps stage scenes and manage the production crew. |
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Responsible for running the show during te performance and helps director during rehersals by taking notes, recording blocking, scheduling rehersals, assisting during auditions, and enforcing safety rules. |
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Helps the stage manager run the show during performances and assist the director with the rehersal process. |
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Hired to work with the actors if production calls for a particular style of movement. |
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Help actors with speech clarity, volume, and accents. |
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Help choreograph realistic looking but faked fistfights and swordplay. |
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Specialist who works with the musicians and teaches the actors the songs for a musical. |
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Creates dance numbers for a play or musical and teaches the dance numbers to the actors. |
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Attempt to translate the play from the page to the stage as accurately and faithfully as possible. |
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Often add concepts, designs, or interpretations atop the playwright's words that were never intended by the playwright. |
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The director's artistic vision or concept dominates. |
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Theatre performed in parks, churches, townsquares, basements, gyms, subways. |
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More formal theatres because audience is seperated from actors. |
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A part of the stage that extends into the audience's side of the 'picture frame'. |
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Raises scenic peices out of the audience's sight. |
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Out of the audience's sight, the wings are areas from which actors make their entrances and where set peices can be stored or moved. |
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Has a lip or apron that protrudes so far into the auditorium that the audience must sit on 3 sides of the stage. |
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Passageways or tunnels that run into and under the audience to allow actors quick access to the stage. |
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Less common. Stage in the center surrounded by audience on all sides. |
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Seat fewer amount of people. Audience is closer to teh actors making these theatres ideal for small intimate plays. |
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Plays that are lifelike imitations of nature. Idea that plays could be a force for social and political change. |
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Simplified/suggested realism |
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A disign style that suggests rather than exactly duplicates the look of a period |
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A design style that mixes authenic looking elements with stylized ones. |
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A style that shows the audience the action of the play through the mind of one character. The audience sees the character's own emotions and point of view. |
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Genre of theatre that emphasizes the subconcious realities of the character; usually through design, and often includes random sets with dreamlike qualities. |
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Design style or theatre genre in which a certain peice of scenery, a costume, or light represent the essence of the entire enviornment. |
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Programs used by set designers to create blueprints of set designs. |
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Views from front and back. |
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In mid-1800s, a gas powered spolight in which a jet of oxygen and hydrogen was ignited with small bits of lime. Now means the center of attention. |
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Comes from an identifiable source such as a candle, a table lamp, or the sun. |
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Reinforces the mood of a scene but doesn't necessarily come from an identifiable or onstage source. |
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Detailed drawing that shows the location of each lighting instrument on the hanging grid and where its light will be focused. |
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Sheets of colored plastic attatched to the front of a lighting instrument that create color. |
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Metal cutouts placed in front of the light to create a pattern. |
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Drawings that indicate how a costume is shaped, where seams and folds are, how the costume flows, and what fabrics are to be used. |
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Actors try on their costumes and parade in front of the designer and director to see if there needs to be changes. |
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Does not change the actors' looks but makes their faces look more 3D and more visible to the audience because the bright theatrical lights wash out their facial features. |
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An attempt to transform the way the actors look. |
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Theatre workshop with a variety of metal working and wood working tools. |
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The sewing machines, fabric sutting tables, fitting rooms, and laundry facilities needed to create and maintain the costumes. |
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Has equipment to maintain, repair, and hang lights. |
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Where paint is stored and mixed. |
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Where sound effects and music cues can be edited and prepared. |
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Where props are designed, built, and stored. |
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Anything that sits on the set including sofas, chairs, and beds. |
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Any objects actors handle while on stage, such as pens, fans, cigars, money, and umbrellas. |
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Plain wall units as well as doors, windows, and fireplaces. |
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The curtains used on the sides |
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Curtains that frame the top of the stage. |
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Open-mesh gauze curtains, can be transparent or translucent depending on whether the light hits in front or behind. |
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A large, stretched curtain suspended from a U-shaped rod to make background that can completely enclose the stage setting. |
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Definition
Chanted or sung phrases incorporated into Mass as an embellishment or commentary on a religious lesson. |
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Definition
Stations around a church where theatre was performed. |
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Festival of Corpus Christi |
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The first occasion for which the medieval church allowed a dramatic festival. |
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Horse drawn wagons that were used to pulled up in front of the audience in the town square and used as the stage for performances of short religious plays. |
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Plays performed outdoors by workers' guilds during the middle ages. |
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A group of plays about biblical stories performed ourdoors by guilds during the middle ages in Europe. |
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The Second Shepherd's Play |
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A comic play about what the three shepherds were doing just before the angel arrived to announce the birth of Jesus. |
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Told stories about the lives of the saints. |
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About how we should conduct our life. |
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A dramatic device in which an actor represents or symbolizes an idea or a moral principle. |
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The most famous morality play, contains many allegorical characters encountered by Everyman as he seeks a companion for his reckoning before God. |
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Aristotelian Scholasticism |
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Aristotle's philosophy and the Roman Catholic church that was widely taught in universities in the middle ages. |
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Secular plays performed between other forms of enterainment at court in the late middle ages. |
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An extrordinary period in European history when wisdom of the ancient greeks and romans was rediscovered and the church was challenged. Flowering or arts and literature and the beginning of modern science. |
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University students who rejected the traditional cirriculum of theology in favor of subjects studied in classical Greece. Ex. literary criticism, grammar, poetry, painting, music, architecture, and theatre. |
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