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1

Quote Garson Kanin

Remember, the world is a playwright, W.R.I.G.H.T like wheelwright. A play is not so much written as it is wrought, its designed, built, shaped and carved out.

2

4 stages of writing a play

inner readiness - preparation of the playwright, to write the play his or her preparation is curiosity leading to life experiences.
Germinal Idea - the seeds of the play, its seminal impulses it is the "spark" of creativity.
Structure - climatic, episodic, ritual or cyclical
Creating characters
- observe the people around you even eavesdrop
- make them frail or herotic
- write them outside the superficial standards of their time
- describe your character beautifully
- share common ground between the writer and the character

3

The spark of creativity

- is a way of dealing with life experiences, of processing of asking difficult questions.
- brings satisfaction/delight to the writer
- can have an effect upon others

4

Where to playwrights get their ideas?

new, world events, history, mythology, personal experience, imagination (if you are open and attentive)

5

Climatic structure

1. plot starts late story
2. covers a short period of time
3. set in a restricted locale
4. only a handful of characters
5. linear or singular plots, few if any subplots.
6. all action is cause and effect

6

Episodic Structure

1. plot starts early in the story and moves through a series of episodes.
2. plot may cover days, month, years.
3. has a profusion of characters
4. several threads of action/subplots
5. scenes are juxtaposed to one another

7

Ritual/ Cyclical

1. repetition of action that repeated so meaning is acquired
2. structure that reoccurs to allow the audience to draw meaning rather than focus on what happens next.

Ritual - an attempt to control the unknowable forces of the universe through repetition.

8

three things needs for theatre to exist

Actor, Audience, Something to communicate

9

Wearing "masks" in daily life and acting:

1. acting is observed whereas in real life "acting" may or may not be observed but is not critical, whereas it is in the theatre performances.
2. Actors play a role that they do not play in real life whereas the roles we play in real life are genuine.
3. acting is a conscious event whereas most people go through life unconscious about who they are. Acting is a rehearsed and planned event it is a skill to be learned.
4. Dramtic characters are not real people. Characters are symbols of real people, that signify or are "signs" that reflect the choices we make in any given situation.

10

Sir LAwrence Oliver

"acting is the art of persuading"

11

Define actor

a person who interprets and plays a character in a play.

12

Willing suspension of disbelief

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

13

Three ingredients in the actors craft

1. native ability - charisma
2. training - representational, not imitating them but actor represent the characters body and soul.
3. practice

14

Constantin Stansiavski

-He believed you could train an actor to be better.
-Created a system for acting.

15

Lee Strasberg

- the method
1. actors voice and body should be thoroughly trained to meet the demands placed on it
2. be a skilled observer of reality
3.seek an inner justification for everything done on the stage
4. analyze the script
5. be a student of life

16

Text/Subtext layout

TEXT
what the characters says/speaks/diction
______________________________
SUBTEXT
what the character thinks but does not say.



Acting is all about doing the action not the emotion

17

The producer

- purchases a property from the originating artist or if deceased, her estates to produce in a form other than for which it was orginally created
- producer than seeks to capitalize the production: funds needed to produce the production
- capital is understood to be an asset rather than income (primary ticket sales)
- the producer hire a stage director

18

Public Domain

when intellectual property rights have lapsed.

19

Stage Director

is the individual who supervises the creative aspects of a dramatic production
- serves as liaison between the production and audience

20

The director

- chooses or is contracted to direct a "property"
- interprets the text/script
- works with the production team
--- scence costumes light sound designer
- casts parts
- guides the rehearsal process
- coordinates all production elemnts into a unified finished product

21

Two kinds of Dicrectors

Interpretive
- translates the work of the primary artist and serves her vision
Auteur director
- primary artist she uses the tools of the theatre to fashion her own world of art, servicing her vision, not that of the playwright.

22

Factors that determine casting

pyschial attributes
talents
can an actor grow in a role?
match with other actors

23

color counciousness casting

interionally considers the race and ethnicity and gender of actors and character in teh order to oppose racism

24

Gender

Performance of ones sex
that is performing masculinity or feminity

25

Mise-en-scene

placing on the stage
--- it is the visual theme of visual telling of the story

26

Communicating

the approperate first impression for the audience member
the tone and mood for the production

27

contributing

- by providing the actors and director with the physical elements needed to tell the story
-- place or locale
-- time and period
-- style of the production
-- social status of the characters
-- how and where the actors are able to move on the stage (blocking)
-- how we move from locale to locale

28

teamplayer

theathre is a collabrative process
working together/combining the work of other artists.

29

being theatrical

exhibitionistic, exaggerated
the result of the partnership between the audience and the live performance

30

5 elements of design

line - shape or outline
mass - weight or how to occupy space
color - hue, pure color name. Value - contrast
texture - appearance of feel, fabrics on stage
scenic/costume elements - the b;ance or arrangment of pulling togeter of all elemts.