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| these are two of three main characters in the minstrel show. Both are in blackface make-up and they make up the ends of the typical semi-circle. |
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| he is one of the three main characters in the minstrel show. He is in whiteface make-up and he is also the middle of the typical semi-circle. |
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| Breakdown and walk around |
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| this was the first part of the minstrel show consisting of dance-offs, songs and comic acts. This was followed with “gentlemen please be seated”. |
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| this was the second part of the minstrel show that contained specialty acts done in drag or “wenches” |
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| : this was the third part of the minstrel show. It consisted of one act farces – burlesques of Shakespeare, opera, Melodramas, etc. |
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| the important thing to know about this is that they were what established the semi-circle setup. |
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| a form of theatrical makeup used in minstrel shows, and later vaudeville, in which performers create a stereotyped caricature of a black person. |
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| became a pejorative term for a foolish man over-concerned with his appearance and clothes in 17th century England |
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| these were people who were paid to clap at theatre performances. Helped to cause a riot known as the Battle of Hernani. |
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| the middle class who began to emerge in the 1700s. |
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| this is a term referring to capturing the essence of a certain place, using things like vocabulary of an area which you are trying to recreate. (e.g. Scooby Doo and crawdads, which isn’t exactly correct local color, but you get the idea. ) |
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| Wagner’s term that we have come to accept as “total art work”. All elements are unified under one master designer, who oversaw acting, design, music, and even the dramaturgy that went into the work. |
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| in well-made plays, there were always three acts and in the third act is an obligatory scene. This is the scene where a secret is revealed and becomes the climax of the act. Think the handbag in The importance of Being Earnest. |
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| began in NYC in 1821 by William Henry Brown, who was the first known African American playwright. They were noted for presenting very classical works, such as Shakespeare. White thugs closed it in 1823. |
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| not theatre that shows real life, but rather presents the illusion of objective reality through the accumulation of surface detail. |
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| realistically detailed, three-walled, roofed setting that simulates a room with the fourth wall (the one closest to the audience) removed. |
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| this was a super realism, ultra detailed slice of life that often focused on the wretched of the Earth. There is an emphasis on heredity and environment as developmental influences. While realism was merely a trend, naturalism was a movement. |
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| the movement with a belief that reason equals progress. There was a faith in human reason, rather than in God. |
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| a phrase of the enlightenment coined by Emanuel Kant. It means “dare to think”. |
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| created by August Comte, a social scientist. He asked “What constitutes proper science?” Proper science is what you can confirm with your five senses and reason. It favored empiricism, the idea that knowledge comes from experience. A positivist take on reality is NODO, natural, objectively, discoverable, ordered. |
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| a theory of knowledge that knowledge comes from sensory experience. |
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| belief in a capitol T truth that humans can discover |
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| time of stretching the limits of modern era’s assumptions, such as what are the limits of human abilities, what really is the underlying capitol T truth and does it exist, can it be represented, and even is progress certain? |
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| Experience may transcend reality and hyper reality, or the supernatural, may intrude upon the five senses reality. They used shadow, allegory, and speculation to stage it. |
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| the reality = manifesting inner reality in outward reality. There are general tendencies – a character named after what they do, some allegorical figures, episodic and not linear, exaggerated and nightmarish reality that mirrors inner stage, choral movement with masks and make-up, lyrical speech, and humanism. |
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| value of humanity in the face of an uncaring world. |
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| An idea present in modernism that just as we can interact with 2d and even 3d objects, that there is a 4th dimensional object or being interacting with us. However, it is the always out of reach. |
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| part of earlier German theatre, this was somewhat like a jester / comedian / slapstick character that was later removed by Caroline Neuber. |
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| irony that occurs when the meaning of the situation is understood by the audience but not by the characters in the play |
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| a pause during or at the end of a scene on stage when all the performers briefly freeze in position, or any dramatic scene |
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| whenever a work of theatre is done historically correct, and with great detail |
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| King's Men and Duke's Men |
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| In 1660 Charles II returned to England from his exile in France, restoring the monarchy. This period, known as the Restoration, was a time of renewal for British theatre. The flamboyant Charles II was a huge patron of theatre and helped breathe new life into British drama. A patent was even issued for two new theatre companies. Led by William Davenant, the Duke's Men were for younger performers, while older, more experienced actors were in The King's Company, led by Thomas Killigrew. While the two companies created new opportunities theatrically, their monopoly on performances hampered the growth of British theatre. |
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| : a theatre designed for operas or music festivals. German terminology. |
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| a move toward more primitive theatre; toward visceral, emotional theatre. It started in the 20th century. It really started as a result of playwrights and artists who wanted to throw away conventions of theatre and art up to that point. |
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| the last line of a scene, act, etc. |
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| very anti-neoclassical, it focused on the outcast or common man. There were always huge, epic struggles of humanity versus fate. The beautiful would always be seen with the hideous (Hunchback of Notre Dame), larger than life rather than a slice of it, and it even caused a riot in France known as the battle of hernani. |
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