theatre ch 3

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onjimusha
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theatre ch 3
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2012-02-17 20:46:49
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theatre ch 3
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  1. Style
    The manner of expression and methods of onstage behavior as they affect composition and performance. Style is dictated by language- poetry, prose, and dialects. Style is identified by character movement and social manners and by changes and fashions in architecture, clothes, furniture and decoration ( on both low and high economic scales.)
  2. Context of Performance
    The place of performance that suggests audience expectations for a particular production; an audience member has a different set of expectations when attending a Broadway show with a high ticket price than a community theatre production, for example
  3. Artistic Intent
    The purpose of a production such as to entertain, to shock, to pursuade, or comfort. In establishing the intent of the artists, an audience member can more effectively evaluate how well the production acheived its goals.
  4. Taste
    The personal inclination and preferences of the beholder of an aesthetic experience.
  5. Theatre Critic
    A writer who specializes in evaluating the production and sharing that viewpoint with the public.
  6. Review
    A published account of a production Giving information about the show: where, what, when, and ticket information. An effective review gives gives the consumer enough information about the show th make an intelligent decision given personal tastes and priorities.
  7. Criticism
    analysis, interpretation, or evaluation of a play or a production.
  8. Chorus
    A group of performers working togeather vocally and physically. A chorus of approximately twelve to fifteen singers and dancers who interacted with and responded to the actors was an important element of ancient greek theatre.
  9. Dithyramb
    In ancient greece a choric presentation sung and danced in homage to the god Dionysus.
  10. Orchestra
    In a modern proscenium theatre the audience seating area at floor level immediately in front of the stage. 2) In ancient greece a typically circular performance space, literally "dancing place".
  11. Parados
    In greek theatre, an open space between the skene and the theatron that served as entrance and exit for the chorus and sometimes actors.
  12. Skene
    In ancient greece, a stage house upstage of the circular orchestra ( Our source for the words scene and scenery)
  13. Theatron
    the audience seating area ( literally "seeing place ") in the theatre of ancient Greece. At first temporary seating on a hillside, seatswere set in stone permanently by the fourth century B.C.E.
  14. Trilogy
    Three related plays; ancient Greek playwrites submitted three trageties-sometimes a trilogy - for the contest in honer of Dionysus in Athens.
  15. Revival
    Any production of a play that occurs after the original production.
  16. Mime
    1) In ancient Greece and Rome a " Pass the Hat" street performer; a kind of variety entertainment. 2) Today used in interchangeably with "pantomine" and " Pantomime artists"
  17. Poetics
    The first important examination of the trajic form written by the Greek philosopher Aristotle. in 335 -323 BCE.
  18. Trap
    An opening in the floor for ascents and descents.
  19. Vomitories
    An entrance to elevated seating for the audience that runs underneath the audience and comes up to empty out into the seating area.
  20. Facade
    An architectural backround for the action of a play; a generalized standing or hanging structure, often multileve, that may be nuetral or decorated but always resides upstage of the action, creating a backround that can suggest nearly any location, inside or out.
  21. Poetic Art
    A critical document by the Roman Horace 65-8 BCE ) That influenced the Italian renaissance as much as Senenca and perhaps more than Aristotle.
  22. Trope
    An exchange of dialogue in musical form in which the singers or chanters represented characters from the bible, presented as early as C. 925 in the european christian monasteries ad cathedrals. The first recorded type of lyturgical Drama.
  23. Liturgical Drama
    Plays performed by the clergy in latin as part of the worship service in christian monasteries and cathedrals during the middle ages.
  24. Platea
    In the middle ages in Europe, an open playing space in front of a symbolic scenic Unit ( mansion)
  25. Mansion
    A symbolic scenic unit indicating place in staging during the middle ages.
  26. Cycle
  27. A series of religious plays ( often called mystery plays) popular throughout europe during the middle ages. Cycles ( or cycle plays ) where based on biblical stories ranging from the creation of the world to the last judgement and were performed outdoor in vernacular ( local languages).
  28. Mystery Play
    see cycle
  29. Morality Play
    A play depicting humanities struggle with good and evil using allegorical characters such as Good Deeds And death, popular during the middle ages in Europe.
  30. Miracle Play
    European play from the fifteenth or sixteenth centuries that recounted the real or Apocryphal lives of Saints. Also called Saints Play.
  31. Play Master
    A man who coordinated and staged the cycles in Europe during the middle ages; A precursor of the modern director. Also called Prompter and ordinary.
  32. Prompt book
    A notebook kept by the director and stage manager of a production containing the text of the play, detailed stage directions, lighting and sound cues, and notes on production practices.
  33. Processional Staging
    In the middle ages, the practice of moving wagons or pageants through the streets carrying actors and scenery to perform in various locations.
  34. Pageant
    In the middle ages, wagons with scenery used in processionla staging.
  35. Interlude
    A secular play ( Nonreligious drama) in the medieval period, sometimes presented between the courses of banquets Interludes began to be written and performed by the 1200's. Most surviving interludes are farces from France and England.
  36. Sanskrit Play
    A play from the ancient Hindu culture organized by mood or Rasa. Sanskrit drama suggested directions that later asian theatre would take.
  37. The Natyasasra
    Sometimes translated as "doctrine of Dramatic Art" a detailed Indian document by Bharara that appears to predate the most important surviving Sanskrit plays and outlines the principles of performance, staging, and dramatic form as practiced in India and applied to Sanskrit Plays.
  38. Kutiyattum
    A religious theatrical form from India based on ancient epics using music, open space, , male and female performers, and colorful costumes.

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