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Drama > Final > Flashcards

Final Flashcards

1
Q

Father of tragedy

A

Aeschylus

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2
Q

Father of modern acting

A

Stanislavski

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3
Q

Theater that is not observed through an electronic medium.

A

Nonmediated or live theater

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4
Q

Permanent, professional, nonprofit theaters, offering first class productions to their audiences

A

Regional theaters

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5
Q

Semi professional and experienced amateur groups that present please that appeal to their specific audiences

A

Community theater

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6
Q

Theater presented in a nontraditional setting so that the chosen environment helps illuminate the text

A

Site specific theater

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7
Q

A contraction of costume, and play that combines role-playing, costume, in, and social interactions through the Internet, or at conventions

A

Cosplaying

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8
Q

To overcome perceived limitations of realistic theater, this strand of modern theater departs from realism via non-realistic or anti-realistic presentations. It often uses symbolism, nonlinear, narrative, dream, imagery, and other ways to avoid realistic representation.

A

Departures from realism

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9
Q

The founder of modern realistic drama

A

Henrick Ibsen

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10
Q

The creator of Hedda Gabler

A

Ibsen

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11
Q

Special form of realism developed in Europe in the late 19th century; it was not carefully plotted or constructed, but was meant to present a slice of life. Ibsen, Strindberg, and Chekhov

A

Naturalism

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12
Q

The most influential of the late 19th century theater dedicated to realism

A

Moscow Art Theater

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13
Q

Movement of the late 19th century and early 20th century that sought to express inner truth, rather than represent life realistically

A

Symbolism

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14
Q

Movement in Germany at about the time of World War I characterized by an attempt to dramatize subjective states through distortion; striking, often grotesque images; and lyric, an unrealistic dialogue

A

Expressionism

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15
Q

Art movement that began in Italy around 1909, that idealized mechanization and machinery. Opposite of expressionist who opposed war

A

Futurism

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16
Q

Departure from realism that attempted to present dramatically the working of the subconscious. Many of their plays seem to be set in a dreamworld , mixing recognizable and fantastic events

A

Surrealism

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17
Q

Single, setting, that can represent a variety of locales with a simple addition of properties or a scenic elements

A

Unit set

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18
Q

Exposing the elements of theater to make the audience members aware that they are watching theater.

A

Theatricalism

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19
Q

Meyerholds theory that are performers body should be machine like and that emotion could be represented externally

A

Biomechanics

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20
Q

Post-world war, one scene design movement in which sets frequently composed of rams, platforms, and levels – we’re not realistic and were intended to provide greater opportunities for physical action

A

Constructivism

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21
Q

Antonin Artauds visionary concept of a theater, based on magic and ritual, which would liberate deep, violet, and erotic impulses

A

Theater of cruelty

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22
Q

Form of drama associated with Bertolt Brecht and aimed at the intellect rather than the emotions in order to affect social change

A

Epic theater

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23
Q

Term applied to plays illustrating a philosophy, who is modern advocate, was Jean Paul Sartre , and which holds that there are no longer any fix standards or values

A

Existentialism

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24
Q

Term applied to the works of certain play rights of the 1950s in the 1960s, who expressed a similar point of view regarding the absurdity in futility of the human condition and believe that they should be reflected in the dramatic action

A

Theater of the absurd

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25
Q

Nonliterary or unscripted, theatrical event, using a scenario that allows for change occurrences

A

Happening

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26
Q

The use of electronic or digital media, such as projections, films, video, or computer animation in life, theatrical presentations

A

Multimedia

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27
Q

A type of theatrical production in which the total environment – the stage space, and the audience organization – is transformed in order to blur distinctions between performers in spectators

A

Environmental theater

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28
Q

Term coined by Jerzy Grotowski to describe his theater, which was stripped to the bare essentials of actor an audience

A

Poor theatre

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29
Q

This strand of modern theater, combines various theatrical trends, or works across boundaries or different trends

A

Eclecticism

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30
Q

Spoken (as opposed to sung)portion of the text of a musical play

A

Book

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31
Q

A strand of modern theater that involves the mutual influences of theater from around the world

A

Globalization

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32
Q

Experimental theater that initially incorporated elements of dance in the visual arts. Since performance art often is based on the vision of an individual performer or director rather than a playwright, the autobiographical monologue has become a popular performance art form. 

A

Performance art

33
Q

Contemporary concept suggesting that artist and audiences have gone beyond the modernist movement of realism and departures of realism

A

Postmodernism

34
Q

Term meaning that there is no text in a traditional sense with a dialogue written by a dramatist; rather, there is a scenario created by director or an ensemble, which is then usually expanded through improvisation

A

Non- text- based theater

35
Q

Short agit- prop dramas about the lives of Chicano workers 

A

Actos

36
Q

A term meaning agitation – propaganda, referring to place with a strong, social or political agenda

A

Agit-prop

37
Q

Term encompassing different types of drama that presented material in the fashion or journalism of reporting period drama that is supposedly based on factual occurrences and materials

A

Documentary drama, (or theater of fact)

38
Q

The audience is desire to believe in the reality of what is happening onstage

A

Willing suspension of disbelief

39
Q

The separation of audience member from the performance of artwork to experience it, aesthetic qualities

A

Aesthetic distance

40
Q

The audience plays an active role in someway, often moving through a performance space, sometimes even choosing where they go within that space, and what they say and do. Many immersive productions, use transformed, redesigned space, as well as require the audience member to engage in a complete sensory experience 

A

Immersive theater

41
Q

Oldest and best-known genres are:

A

Tragedy and comedy

42
Q

• Tragic Heroes and Heroines
• A person of stature—king, queen, general
• Stand as symbols of an entire culture or society
• Trapped in a fateful web of tragic circumstances
• Tragic Circumstances
• Tragic Irretrievability
• Acceptance of Responsibility
• Tragic Verse
• The Effect of Tragedy

A

Traditional tragedy

43
Q

• No queens or kings as central figures
• Written in prose rather than poetry
• Probe the same depths and ask the same questions

A

Modern tragedy

44
Q

_____ definition of tragedy:
Attractively is a dramatic imitation of an action that is serious, complete, and of a certain magnitude

A

Aristotles

45
Q

• Serious drama that has heroic or noble
characters and certain other traits of classic tragedy
• Has a happy ending
• Assumes a basically optimistic worldview even if the hero or heroine dies at the end

A

Heroic drama

46
Q

• Deals with people from everyday life instead of kings, queens, and nobility
• Common themes are:
• Problems of society
• Struggles within a family
• Dashed hopes
• Renewed determination

A

Domestic drama

47
Q

• Suspension of Natural Laws
• The Comic Premise (its so absurd it can’t happen)
• contrast between individuals in the social order

A

Comedy

48
Q

Anything that amuses, movement from unhappiness to happy, or action that excites joy: writing or playing which provokes laughter from the audience based on their recognition of incongruities, in their characters, situation, or line.

A

Aristotles definition of comedy

49
Q

• Thrives on exaggeration
• Has no intellectual pretensions
• Aims are entertainment and laughter
• Has excessive plot complications
• Humor results from ridiculous situations as well as
pratfalls and horseplay

A

Farce (comedy)- been around the longest

50
Q

• Relies on knockabout physical humor, gross exaggeration, and occasional vulgarity
• Historically, it was a ludicrous imitation of other
forms of drama

A

Burlesque (comedy)

51
Q

• Uses wit, especially sophisticated language; irony;
and exaggeration to expose or attack evil and foolishness

A

Satire (comedy)

52
Q

• Usually deals with family situations
• Found in TV situation comedies

A

Domestic comedy

53
Q

influential Roman writer of architecture who was read and studied extensively by Renaissance. He wrote De Architectura

A

Vitruvius

54
Q

First modern director

A

Duke of Saxe Meiningen

55
Q

being stylistically accurate, then decorative, as to stage historicism. (Meiningens way of realism)

A

Antiquarianism

56
Q

careful control of stage crowds had been tried before, but not too successful. (Meiningens way of realism)

A

Groupings and crowds

57
Q

previous systems such as the star system and scenic practices made unity difficult. Made his own designs( Meiningens way of realism)

A

Unity

58
Q

got rid of the star and made them abide by his rules. Got rid of ego. Saved money. (Meiningens way of realism)

A

Rejection of star sustem

59
Q

was a private theatre that could only be attended by subscription.

A

Andre Antoine and Theatre Libre

60
Q

Antonin seeks 4 things

A

1) Improvement of the repertory
2) First example of an “art” theatre-eclectic
3) Popularization of realistic acting “a work that is true must be played truly.”
4) Creation of realistic directorial styles

61
Q

_______was an amateur actor/director. _______ is considered to be the “Father of Modern Acting.” Good at observing ppl

A

Stanislavski

62
Q

felt one should place form over content and precise workmanship
-He praised purely decorative art – art needs no meaning.

A

Oscar Wilde. Aesthetic movement

63
Q

-They produce plays for and about Ireland. -Yeats believed acting should be static, with concentration of the “sound of the human voice.” Lines sometime chanted or sung.

A

William Butler Yeats and Lady Gregory founded Irish
Theatre

64
Q

not associated to one movement or “ism” but rather dealt with many.
-He begins in realism, but felt it unrewarding.
-Symbolist, and later expressionist
-His main objective was unity of play, setting and action; that the actor be emphasized in this setting.
The actor is center and not the trickery of the staging.

A

Adolphe Appia

65
Q

Major design considerations for Appia

A

1) light 2) vertical shapes 3) low flights of steps 4) lighting is key throughout 5) actor center of all

66
Q

He wanted to save theatre from itself. -Much like Appia but felt a need to move away from actor
to a stage of movement and mass.

A

Edwin Craig

67
Q

Major design considerations for Craig

A

1) movement 2) color 3) light 4) mass 5) symbol 6) all one and same

68
Q

it celebrated images of motion (machines,
cyclist, industrial workers) and used the shapes of
machines, industry and early aerodynamics. -Movement was heavy into politics which led it toward
Fascism. -Celebrated war, modernism, materials and machines.
Filippo Martinetti

A

Futurism

69
Q

founded by Tristan Tzara. was chosen from French dictionary at random; and is
baby talk in French for anything to do with horses. Most negative. were disgusted by a world that could produce global war.

A

Dada

70
Q

began around 1924 by André Breton
-Breton worked in a mental ward during WWI and also was a big fan of Sigmund Freud. makes the subconscious mind the source of the artist most significant perception.

A

Surrealism

71
Q

most promising surrealist playwright

A

Jean Cocteau

72
Q

Jean Cocteau work

A

The Ox on the Roof
Orpheus
The Infernal Machine

73
Q

members of this new movement saw an internal truth with
all the clarity of nightmare, and presented their plays with sharp angles, garish colors and shocking angles. Major movement

A

Expressionism

74
Q

1) they approved (sort of) realism and naturalism
2) fundamental truth found in man – his soul, his desires, his vision
3) sought a world free of war and hate

A

Rules of Expressionism

75
Q

1) message centered
2) action of play takes place in form of a search,pilgrimage
3) central character is most often Christ-like- epitomizes social attitudes
4) sought to reduce each element to essentials
a) plot – argument
b) characters – the Son, the Man, the Wife.
c) dialogue – frequently reduced to one or two word sentences.
5) distortion is evident in every element (events are bizarre)
6) sharp contrast – dialogue; characters; realistic scenes fade into dream visions.
7) dreamlike fantasy and magic
8) message in a nightmare or vision

A

What the sought in expressionist plays

76
Q

From Morn to Midnight & Gas I - George Kaiser
Man and the Masses – Ernest Toller
R.U.R. – Karl Capek
Adding Machine – Elmer Rice

A

Plays and Playwright of expressionism

77
Q

he formed a theory known
as biomechanics

A

Vsevolod Meyerhold

78
Q

1) rid oneself of unproductive, useless movement
2) rhythm
3) correct positioning of body center
4) stability

A

Made Rules of Biomechanics

79
Q

(Meyerhold) wanted the setting to be machine like with no wasted space or useless detail. Practical rather than decorative

A

Constructivism

Drama (6 decks)

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