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THEA 111 > Unit 1&2 Test > Flashcards

Unit 1&2 Test Flashcards

(115 cards)

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1
Q

Arguments Against Ceremonies and Rituals

A

Effaciousness vs Memis
Methexis

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2
Q

Effaciousness

A

Religious intentions of a show.
I.e. Worship, pleasing Gods, practising forgiveness.

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3
Q

Methexis

A

Audience participation in the show.
Spectating vs. participating
entertaining/teaching vs being or becoming

Discussion: Participatory/immersive theatre and sociodrama therapies

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4
Q

Positivism

A

Historical approach that suggests that history can be explained logically, chronicled objectively, and reconstructed

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5
Q

Metahistory

A

Questioning means of and reasons for history reconstruction.
Understanding that history can never be completely objective.

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6
Q

Revisionism

A

History has been told from the perspective of a social elite that neglects “mainstream” experiences while favouring the revolutionary.

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7
Q

Feminist

A

A historical approach that seeks to uncover forgotten women or feminist interpretations of existing works.

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8
Q

Multiculturalism

A

Re-examination of the careers of minority professionals.

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9
Q

LGBT Historians

A

Study of LGBT professionals and the impact of their sexuality on their work/

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10
Q

Semiotician

A

Historians who apply semiotics (place emphasis on audience reaction/type of audience)

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11
Q

Post-modernism

A

History is reconstructed, filtered through too many biases to hole any validity

History has been written by those who have benefitted from it. (part of cisheteropatriarchy)

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12
Q

Marxist/Class-Oriented Historians

A

How theatre reflects the political status of a setting.

Profit motive and capitalism’s affects on theatre.
Breaking class boundaries.

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13
Q

Post-colonial

A

Dissect the relationship between theatre and colonialism.

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14
Q

Performance Studies

A

Performance and anthropology, sociology, political science, and cross-cultural studies

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15
Q

Discussion: The Origins of Theatre

A

Presence of a script.
Effaciousness: Political and religious audience participation of Greek plays: enforcing oppressive norms
Mimetic definition of theatre allows for many other forms of theatre before Greek vs search for written scripts.
Multicultural, revisionist, performance history.
Consider geographies
Critical of positivism and discussions of first by Yvette Nolan and circles

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16
Q

Abydos Play

A

2500 BCE
Abydos Stela
Retelling the story of the resurrection of the god of fertility and death, Osiris.

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17
Q

Abydos Stela

A

Details Ikhernofret’s trip to
Abydos where he participated in
the annual festival
Inscriptions suggest reenactment
and dramatic play were a key part
of this festival activity.
Stone slab

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18
Q

Living Traditions

A

Kwakwaka’wakw potlatch
Purpose of potlatch: Demonstrate wealth by giving, celebrate big life occasions
Potlatch ban: 1883-1951 - Big loss of culture

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19
Q

Kwakwaka’wkaw Potlatch Theatrical Elements

A

Costuming, masks, dramaturgy, music

Distinguished from theatre with ceremonial elements

Rabinal Achi

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20
Q

534 BCE

A

Viewed as the legitimate origin of world theatre.
Thespsis jumped out of his wagon and started impersonating dialogue.

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21
Q

Thespis

A

Considered the first actor ever.
Said to be a playwright - but no actual copies of scripts have been found.
Participated in City of Dionysia

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22
Q

BC

A

Before Christ - counts backwards from 1

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23
Q

BCE

A

Before Common Era

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24
Q

AD

A

Anno Domini counts from 1.
AD 2023

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25
CE
Common era 2023 CE
26
Dithyramb
Choral performances; soloists. few characters, the few that we have are by Bacchylides
27
Bardic Performances
800BCE performances of epic poetry
28
Narrated vs Dramatic
show instead of tell - epic vs theatre brexion theatre: narration alongside dramatic representation dramatic: mimesis
29
Eurocentrism
Ancient origins of theatre crediting Greek over Egypt. Assumption that the Greeks were white due to painted statues.
30
The pronomos vase
Most important peice of visual proof of greek history. Depiction of entire chorus performing alongside Pronomos in the presence of Dionysus.
31
Tetralogy
Sets of four plays - three tragedies and a comedy. Aeschylus' Oresteia is the only surviving example of a trilogy, its Satyr play has been lost.
32
Theatres
Theatron Orchestra Skene
33
Theatron
House (seating) Carved into hillsides
34
Orchestra
Area for actors - circle or rectangle in the middle
35
Skene
Scene building area for changing scenes, props storage, set, etc.
36
Paraskenia
Side wings
37
Proedria
front row; was reserved for politically and religiously important dudes
38
Thymele
Altar in the middle of the orchestra
39
Periaktoi
Triangular flats used for set pieces
40
Ekklyma
Role out wagon used to reveal off-stage deaths. No violence was seen onstage.
41
Deus ex machina
god from machine a crane used to lower actors who were playing gods from above or a riser through a trap-door - introduced by Aeschylus Plot device to resolve seemingly hopeless situations.
42
Tragedy (Aristotle)
An imitation of an action that is serious, complete, and of a certain magnitude. Embelished language Action not narrative Purgation of pity and fear
43
Parts of Tragedy
1. Plot 2. Character 3. Diction 4. thought 5. Song 6. Spectacle
44
Medium of imitation
Song, diction
45
Manner of imitation
Spectacle - least connected with the art of poetry
46
Object of imitation
PLot Character Thought/theme
47
Character
That which reveals moral purpose, showing what kind of things a man chooses or avoids. Must be good: good intention.
48
Plot
arrangement of incidents only including what is necessary
49
Thought/Theme
The faculty of saying what is possible and pertinent in given circumstances (intellectual processes of the characters as well as the values and beliefs articulated in the play)
50
Tragedy Structure
Prologue Parados Episode Stasimon Kommos Exodus
51
Prologue
A monologue or dialogue presenting the tragedy's topic
52
Parados
The entry of the chorus; using unison chant and dance, they explain what has happened leading up to this point
53
Episode(s)
The main sections of the play, where most of the plot occurs. Actors speak dialogue about the plot (more so than taking action, much of which is offstage and later commented upon)
54
Stasimon
Choral ode where the chorus comments on the episode to the audience Major elements of the ode, a type of lyric poetry: Strophe Antistrophe Epode
55
Strophe
Signified the first section of the ode, was the first half of a debate or argument presented by the chorus, and was recited by the Chorus as it moved across the stage
56
Antistrophe
chorus' movement back to its original side the other half of the debate or further exploration of the argument presented by the strophe usually complicates the issue
57
Epode
Final section of the ode - used for metrical structure often omitted
58
Kommos
Lyrical song of lamentation in a tragedy that the chorus and a character sing together. If present, near the end.
59
Exodus
The final chorus chant where the moral of the tragedy is discussed
60
Tragic Hero
Main character who starts off in the prime of life but makes errors in judgement that causes them to spiral down, either to destruction or death
61
Hubris
Excessive pride or self-confidence, transgressions against the gods
62
Hamartia
fatal flaw change of fortune of a person who is not eminently good and just, yet whose misfortune is brought about not by vice or depravity, but by some error or frailty
63
Peripeteia
Sudden reversal of fortune or change in circumstance subject to rule of probability or necessity
64
Anagnorisis
Recognition of one's true identity or true nature of their circumstance Producing love or hate; good or bad fortune
65
Types of Recognition
Signs character speaks memory trigger reasoning from incidents
66
Nemesis
an unavoidable consequence that usually comes because of the hero's pride
67
Anthropomorphism
The attribution of human characteristics or behavior to a god, animal, or object Two eagles overwhelmed by grief.
68
Zoomorphism
Figurative language that characterizes people, objects, places, and ideas with animal attributes. The sphinx (diety-as-animal)
69
Metatheatricality
The aspects of a play that draws the audience's attention to its nature as drama or performance, or to the circumstances of its performance
70
Motif
A repeated element that has symbolic significance to a story
71
Stichomythia
Dialogue in which two characters speak alternate lines of verse, used as a stylistic device in ancient greek drama
72
Verisimilitude
The appearance of being true or real Believability of character action due to identity Ex. Honest caring character apologizes. Audience takes it as a genuine apology
73
Catharsis/Purgation
the process of releasing, and thereby providing relief from, strong or pressed emotions Fear and pity
74
Mimesis
Referring to the act of imitation or representation Attempt to replicate or simulate reality Debated between Plato and Aristotle
75
Plato
Excludes theatre and mimesis in "Republic" because it takes us away from the true reality. Deceptive, misleading, and capable of leading individuals from the truth
76
Aristotle
Mimesis is about understanding and interpreting human actions. Provides insight into universal truths about human nature and behaviour. Human nature is to imitate
77
Pathos
Refers to a quality in something experienced or observed that evokes sympathy and a feeling of sorrow
78
City of Dionysia Structure
Before: Parade (proagon) Five days for dithyrambs and plays Ends with awards 534 BCE Held at the end of March: opening of ports
79
Cothornos
Shoes worn by actors. May have been for height.
80
Choregus
Producer; buy, assemble, cast, collect
81
Role of the Chorus
Fun/Entertainment Reflect the perspective of the community (political) Exposition/background info interaction with offstage characters Commentary on action Described off-stage action
82
Myth
Story handed down from generation to generation Often an attempt to explain natural events.
83
Aeschylus
525-456 BCE First to develop drama outside of other art forms. Tetralogy Added the second actor Reduced chorus
84
Sophocles
496-406 BCE Third actor Didn't act in his own plans Added realism into scene painting Single dramas instead of trilogies General/civil leader/ambassador/priest
85
Euripides
480-406 BCE Sympathy towards women Realsim Tragedy, melodrama, and comedy together Skeptical treatment of gods and heroes No active social part in Athens
86
Complex Tragedies
Suffering hero discovers what has lead to their downfall (Anagnorisis)
87
Simple Tragedies
Character does not experience anagnorisis
88
Antigone
Play by Sophocles - part of the Oedipus trilogy. After Oedipus with his daughter as the main character.
89
Satyr Play
Short play with a chorus of satyrs (half goat men with phalluses) that pokes fun at the preceding trilogy
90
Four Types of Tragedy
Complex Pathetic (passion motivated) Ethical (ethically motivated) Simple
91
Epigraphic
Used to desribe historical evidence that is not written. Stela, Promonos, Perian Marble (winners of the City of Dionysia)
92
Iconography
Image writing HIstorians who are interested in the symbolic meaning of the various theatrical elements
93
Epidoris
Best/earliest surviving theatre in ancient Greece
94
Minoans
2700-1450 BCE - Developed on the island of Crete Developed religion, constructed palaces
95
Mycenaeans
1600-1100 BCE - City in South-West Athens Highly developed architecture and pottery
96
Peisistratos of Athens
Supported popular religion and festivals
97
Polytheism
Belief in many gods, complex that all gods have their own influence
98
Requirments for theatre
Story to be told dramatization of story (script) meeting place for performers performers to enact drama, costumes, stage, scenery, and audience
99
Arion
Harpist/Poet - added speaking sections to dithyrambs
100
Dionysian Events
Rural dionysia, lenaia, anthesteria, city dionysia
101
5 Days of City Dionysia
2 days or 10 dithyrambic choruses (1 with men, 1 with boys) 3 days of tragedies and satyrs (tetralogy)
102
Archon
Appointed government official who chooses plays 11 months in advance
103
Pinake
A type of flat (wooden frame covered with stretched fabric)
104
Agonistes
Greek actor
105
chorodidaskalos
choral trainer
106
Prologue of Oedipus
Oedipus is told about the plague Kreon says the plague will end when the murderer of the former king is found and punished
107
Parados of Oedipus
Chorus of elderly men pray to end the plague
108
First Episode of Oedipus
Oedipus claims he will find who is guilty Theiresias hints that ti is Oedipus
109
First Choral Ode of Oedipus
Chorus asks who the murderer is, doubts that it is Oedipus
110
Second Episode
Kreon defends himself against angry Oedipus who accuses him of conspiring with Theiresias Jocasta tells Oedipus to ignore te oracle
111
Second Choral Song
Chorus begins to have doubts about Oedipus' innocence
112
Third Episode of Oedipus
Messenger reveals that Oedipus is not the son of the king of Corinth, who has died Jocasta and Oedipus find out the truth
113
Third Choral Song of Oedipus
Chorus says all life is sorrowful, bemoans Oedipus
114
Exodos of Oedipus
Messenger announces Jocasta killed herself and Oedipus took out his eyes
115
Oedipus complex
A boy's sexual desires toward his mother and feelings of jealousy and hatred for the rival father.

THEA 111 (1 decks)

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