The characters' deeds, their responses to circumstances, which in turn affect the course of the story.
The audience's awareness that art and reality are not the same.
The branch of philosophy that deals with the nature and expression of beauty.
A section of dialogue about a particular subject or idea; the smallest structural element of a script.
A series of rehearsals in which the director and actors work out the blocking, or the movement of the actors on stage during play.
Casting to Type
Casting an actor who physically matches the role or who has a deep understanding of the character's emotions and motivations.
The point of the greatest tension in the play, the moment the antagonist is defeated
Casting actors without regard for their race or ethnic background
The key to the movement of a story; the element that qualifies a theatrical work as a 'play'
A director who adds concepts, designs, or interpretations to a playwright's words.
Intentionally casting men to play women's roles and women to play men's roles
The spoken text of the play,the words the characters say
In ancient Greece, a playwright who staged the plays he wrote, instructing the performers and advising the designers and technicians.
The person who turns a printed script into a stage production, coordinating the work of theatre artists, technicians and other personnel
A form of theatre that tells a story about people, their actions, and the conflicts that result.
A discriminating, often scholarly interpretation and analysis of a play, an artist's body of work., or a type or period of theatre; sometimes called literary criticism or criticism.
An acting technique pioneered by Konstantin Stanislavsky in which the actor recalls the visual and auditory images, or physical circumstances, of a real-life (or imagined) event in order to relive the emotions accompanying it.
Dialogue about what happened to the characters before the play began and what happens between the scenes and offstage.
An imaginary wall separating the actors from audience; an innovation of Realism in the theatre in the late 1800s.
Casting without regard for the character's gender.
A director whose goal is to translate a script from page to stage as faithfully as possible.
Also known as 'the method' this system of realistic acting was distilled by followers of Konstantin Stanislavsky and has been taught primarily since the 1930s in America.
The conscious or subconscious reason a character takes a particular action.
Composing pictures with the actors to reinforce an idea in the story; a technique used by directors
The casual and logical structure that connects events in a play
Point of attack
The point in the beginning of a formula plot where the protagonist must make a major decision that will result in conflict.
Type of theatre that makes no attempt to offer a realistic illusion on stage. The actors openly acknowledge the audience, often playing to them and sometimes even inviting members to participate.
A style of theatre in which the actors attempt to create the illusion of reality and go about their business as if there were no audience present.
The increasing power, drama, and seriousness of each subsequent conflict, crisis, and complication in a play.
An individualized, psychological approach to acting pioneered by Konstantin Stanislavsky
Acting from the outside in, concentrating on physical details.
A play's central idea; a statement about life or a moral.
Willing Suspension of Disbelief
The audience's acceptance of the quasi-reality of a work of art that enables the playwright, director, and actors to communicate perceptions about reality; the term was coined by English poet Samuel Taylor Coleridge
The practice of using one's own culture as the standard for judging other cultures.
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