character undergoes change that leads to their demise
In a Greek play, the lead character that moves the action forward is opposed by a figure called
is the audience a part of the definition of the conventions of theatre?
a full length western drama play is
one that lasts two to three hours typically
the differences between tragedy and comedy
tragedy deals wit great people comedy deals with ordinary people
The visual aspect of the play, including the scenery, costumes, lighting, make-up, and the over-all look of the stage are included in the element known as
category or kind
aristotles six components of a play
plot, character, theme, diction, music, and spectacle
cleansing of an audience's pity and terror at the climax of a tragedy
refers not only to pronunciation but also tone imagery articulation verse rhyme metaphor jest apostrophe and epidgram
he agreement between the audience and the actor, which includes a whole set of tacit understandings that form the context of playwatching,
the single action that initiates the major conflict of the play
Processions and the Ancient Greek proagon are two examples of
ways in which theatre artists publicized their plays in ages past.
Background information, presented within the play that the audience must possess in order to understand the action of the play
What is the difference between plot and story
Plot refers to the structure of events; story refers to a narrative of what happens in a play
he major organization for theatre companies in San Francisco
Theatre Bay Area
greek term for carrier of the action in greek tragedy
The final scene, action, or lines in a play devoted to bringing the play to a new level of harmony or understanding, perhaps even resolution, after the climax
Which element describes the play’s use of rhythm and sounds, either by way of instrumental composition or the orchestration of such noises as muffled drumbeats, gunshots, special effects, and vocal tones?
Comedies that use a more bleak humor in dealing with serious themes
the psychological dimension of character
quality of character began in realism and grew to become the dominant aspect of the theatrical experience by the mid-twentieth century, most notably in the plays of Chekov, Williams, and Miller
New York-born, Louisiana-raised, playwright (b. 1956) wrote a masterpiece of modern drama, Angels in America, which deals with the AIDS crisis, sexuality, gender, and politics
An independence of thought and vision is
the playwright’s most important characteristic.
The playwright works with two fundamental tools
dialogue and physical action.
The playwright’s skill at condensing a story that may spans many days or years of chronological time into a theatrical time frame
signs of good characterization
he character conveys the complexities of real human beings. the characters convey the impression that they believe in themselves and in the fundamental rightness of their cause even though other characters or the audience may disagree with that estimation. even though haunted by self-doubts, the character sustains a belief in himself or herself.
David Henry Hwang
has branched out into writing librettos and adaptations of musicals for shows such as Aida and Tarzan
play that relates in some fashion to the current personal concerns of the audience is said to possess
draws us into the world of the play
keeps us believing in the world of the play
Scenes of forced conflict are important because
climactic scenes define a play’s structure.
A linear plot
. the point-to-point storytelling of events linked in chronological, cause-effect continuity
playwriting in bygone days
Playwriting was considered so technically demanding a craft that playwrights spent long in-house apprenticeships as “company men,” learning their skills through continual exposure in theatrical rehearsal and performance.
plays are noted for intensely realistic writing and almost musical, rhythmic dialogue
When a playwright has managed to make every scene, incident, character, and word deliver an impact, he or she has satisfied the dramatic demand for
a person who constructs and composes a play as a wheelwright makes a wheel.
One difference between the playwright in Shakespeare’s time and the contemporary playwright
he playwright no longer functions as a director but is now considered an independent artist.
play in which events are connected to each other in strict, chronological, cause-effect continuity, and in which dramatic experience attempts to convey a lifelike progression of experience through time, is classified as
continuos in structure and linear in chronology
aspects of the play that don't need to be written
writer of RUINED
depth of characterization
A play in which every character possesses an independence of intention and expression, and whose motivation appears sensible in the light of our general knowledge of psychology and human behavior
The core element of every play
A play that deals with an issue of serious and lasting significance in humanity’s spiritual or intellectual life beyond the mere attempt to imitate profundity
The quality of a play that describes the way the playwright creates a world in which every detail fortifies our insight into the play is called
the actors instrument
the two fundamental notions of acting
representational and presentational
Which faculty keeps the actor within established bounds and at the same time ensures artistic agility
our current relationship to virtuosity
It is making a comeback since the heyday of the Method in the mid-twentieth century.
Directed stage actions that are precisely scripted physical behaviors worked out in blocking
The dual meanings of this word explain both its physical, common definition and its more religious meaning, "spirit stimulus."
The type of performing that asks the actor to enter the mind of the character being played is
an American acting style derived from the Russian actor-director Konstantin Stanislavsky's self-proclaimed system
Today, the debate over inside or outside styles of acting
is largely diminished, with Stanislavsky and classical techniques both emphasized.
In his first published work, Stanislavsky states that the "prime task" of the actors is to "create the
inner life of the character
the projection of an aura of magic and the divine
characters unspoken and undescribed goals
Which two writers best exemplify the range of difference between external and internal approaches to assuming a character?
Diderot and Stanislavsky
The three main elements of the actor's approach are goals, tactics, and
researching the style of the play and mode of performance
What determines the pace of a play?
the quality and quantity of information conveyed to the audience
A director should possess all of the following
a strong literary imagination and ability to conceptualize intellectually and visually. sound working knowledge of the history of theatre. mastery of staging, actor-coaching, pacing, and production coordinating.
one of several directors who not only fostered the development of realist and naturalist dramas but who also opened up the theatre to possibilities of psychological interpretation
Which type of rehearsal occurs near the end of the rehearsal process, as the play comes closer to production time but before the actors apply makeup?
The “core concept” is
he director’s determination of the most important of the many images, ideas, and emotions that will give the production meaning.
Which of the following is true of stylizing directors
They are unrestrained by rigid formulas with respect to verisimilitude or realistic behavior.
two phases of directing
preparation and implementation
conceptualize plays and give them vision and purpose
What is the director’s primary responsibility
to envision the main lines of the production and provide the artistic leadership to realize that vision
George II, Duke of Saxe-Meiningen
first modern director
The rhythm of a production, sometimes confused with the speed of the actor’s delivery
The director spends most of her time doing which of the following tasks
coaching the actors
he initial shows where a director can evaluate the production in terms of audience response and institute new changes
Which of the following directors founded the Théâtre d’Art in Paris in 1890 as a direct assault upon the realist principles espoused by André Antoine?
Which statement best describes the end of the director’s involvement with the play
The director may still change aspects of the play during previews or the run, but primarily has given over responsibility to the audience.
Which person is responsible for the financial support of the production and, working closely with the director, also contributes to many “directorial” decisions in the production process?
Which of the following is true of the history of the director’s role
There has always been a director but not always an individual specifically charged with that role
The ancient Greek word for director is
didaskalos, meaning “teacher.”
Small-scale movement on the stage
evolved a theatre of “biomechanical constructivism” in Moscow.
Which of the following is a potential theme
To thine own self be true
What is meant by the “concept” of a play?
the director’s central idea which focuses his or her interpretation
The timing and placement of a character’s entrances, exits, crosses, embraces, and other major movements is called
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