Theatre 2nd test

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Theatre 2nd test
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  1. Agon (AG-ohn)     
    In classical Greek Old Comedy, a scene with a debate between the two opposing forces in a play.
  2. Amphitheater     
    Large oval, circular, or semicircular outdoor theater with rising tiers of seats around an open playing area; also, an exceptionally large indoor auditorium.
  3. Apprentice     
    Young performer training in an Elizabethan acting company.
  4. Ballad opera     
    Eighteenth-century English form which burlesqued opera.
  5. Box     
    Small private compartment for a group of spectators built into the walls of a traditional proscenium-arch theater.
  6. Box set     
    Interior setting using flats to form the back and side walls and often the ceiling of a room.
  7. Bunraku (buhn-RAH-koo)     
    Japanese puppet theater.
  8. Cazuela (cah-zoo-EHL-ah)     
    Gallery above the tavern in the back wall of the theaters of the Spanish golden age; the area where unescorted women sat.
  9. Choregus (koh-REE-guhs)
    Wealthy person who financed a playwright's works at an ancient Greek dramatic festival.
  10. Chorus               
    • In ancient Greek drama, a group
    • of performers who sang and danced, sometimes participating in the action but
    • usually simply commenting on it. In modern times, performers in a musical play
    • who sing and dance as a group.
  11. City Dionysia (SIT-ee digh-eh-NIGH-see-uh)     
    The most important Greek festival in honor of the god Dionysus and the first to include drama.
  12. Comedia (koh-MAY-dee-ah)     
    Full-length (three-act) nonreligious play of the Spanish golden age.
  13. Compañias de parte (cahm-pa-NYEE-ahs day PAHR-teh) 
    Acting troupes in the Spanish golden age, organized according to a sharing system
  14. Comedy of manners     
    Form of comic drama that became popular in seventeenth-century France and the English Restoration, emphasizing a cultivated or sophisticated atmosphere and witty dialogue.
  15. Corral     
    Theater of the Spanish golden age, usually located in the courtyard of a series of adjoining buildings.
  16. Dominus     
    Leader of a Roman acting troupe.
  17. Drame (DRAHM)     
    Eighteenth-century French term usually denoting a serious drama that dealt with middle-class _characters.
  18. Exposition     
    Imparting of information necessary for an understanding of the story but not covered by the action onstage; events or knowledge from the past, or occurring outside the play, which must be introduced for the audience to understand the characters or plot.
  19. Gallery    
    In traditional proscenium-arch theaters, the undivided seating area cut into the walls of the building
  20. Gesamtkunstwerk     
    Richard Wagner's theory of a unified work of theatrical art.
  21. Groove system     
    System in which tracks on the stage floor and above the stage allowed for the smooth movement of flat wings on and off the stage; usually there were a series of grooves at each stage position.
  22. Hanamichi (hah-nah-MEE-chee)     
    In kabuki theater, a bridge running from behind the audience (toward the left side of the audience) to the stage. Performers can enter on the hanamichi; important scenes may also be played on it.
  23. Hand props     
    Small props carried on- or offstage by actors and actresses during a performance. See Props.
  24. Hashigakari (ha-shee-gah-KAH-ree)     
    Bridge in n¯o theater on which the performers make their entrance from the dressing area to the platform stage.
  25. Heroic drama    
    Serious but basically optimistic drama, written in verse or elevated prose, with noble or heroic characters in extreme situations or unusual adventures.
  26. Hireling
    Member of an Elizabethan acting troupe who was paid a set salary and was not a shareholder.
  27. Kabuki
    Form of popular Japanese theater combining music, dance, and dramatic scenes.
  28. Kathakali    
    Traditional dance-drama of India.
  29. Lazzi (LAHT-zee)     
    Comic pieces of business used repeatedly by characters in Italian commedia dell'arte.
  30. Liturgical drama     
    Early medieval drama, written in Latin and dealing with biblical stories.
  31. Mansions     
    Individual scenic units used for the staging of religious dramas in the Middle Ages.
  32. Masque     
    Lavish and spectacular form of private theater in Renaissance Italy and the courts of France and England.
  33. Melodrama     
    Dramatic form made popular in the nineteenth century which emphasized action and spectacular effects and also used music; it had stock characters and clearly defined villains and heroes.
  34. Morality play     
    Medieval drama designed to teach a lesson. The characters were often allegorical and represented virtues or faults.
  35. Mystery plays     
    Also called cycle plays. Short dramas of the Middle Ages based on events of the Old and New Testaments and often organized into historical cycles.
  36. Neoclassical ideals     
    Rules developed by critics of the Italian Renaissance, supposedly based on the writings of Aristotle.
  37. New Comedy     
    Hellenistic Greek and Roman comedies which deal with romantic and domestic situations.
  38. No
    ("o" is special character with straight line over it)      Rigidly traditional form of Japanese drama combining music, dance, and lyrics.
  39. Old Comedy     
    Classical Greek comedy which pokes fun at social, political, or cultural conditions and at particular figures.
  40. Orchestra     
    Ground-floor seating in an auditorium; also, a circular playing space in ancient Greek theaters.
  41. Pageant master  
    During the middle ages, one who supervised the mounting of mystery plays.
  42. Pantomime     
    Originally a Roman entertainment in which a narrative was sung by a chorus while the story was acted out by dancers. Now used loosely to cover any form of presentation which relies on dance, gesture, and physical movement without dialogue or speech.
  43. Parabasis (puh-RAB-uh-sihs)     
    Scene in classical Greek Old Comedy in which the chorus directly addresses the audience members and makes fun of them.
  44. Parodos (PAR-uh-dohs)     
    In classical Greek drama, the scene in which the chorus enters. Also, the entranceway for the chorus in Greek theater.
  45. Patio    
    In the theater of the Spanish golden age, the pit area for the audience.
  46. Perspective     
    Illusion of depth in painting, introduced into scene design during the Italian Renaissance.
  47. Pit    
    Floor of the house in a traditional proscenium-arch theater. It was originally a standing area; by the end of the eighteenth century, backless benches were added.
  48. Platform stage     
    Elevated stage with no proscenium
  49. Plot     
    As distinct from story, the patterned arrangement in a drama of events and characters, with incidents selected and arranged for maximum dramatic impact. Also, in Elizabethan theaters, an outline of the play which was posted backstage for the actors.
  50. Pole and chariot     
    Giacomo Torelli's mechanized means of changing sets made up of flat wings.
  51. Private theaters    
    Indoor theaters in Elizabethan England.
  52. Régisseur (ray-zhee-SUHR)     
    Continental European term for a theater director; it often denotes a dictatorial director.
  53. Repertory or repertoire     
    Acting company which at any given time can perform a number of plays alternately; also, the plays regularly performed by a company.
  54. Romanticism     
    Movement of the nineteenth century which sought to free the artist from rules and considered unfettered inspiration the source of all creativity.
  55. Satyr play     
    One of the three types of classical Greek drama, usually a ribald takeoff on Greek myth-ology and history that included a chorus of satyrs, mythological creatures who were half-man and half-goat.
  56. Scaena (SKAY-nah)     
    Stagehouse in a Roman theater.
  57. Shareholders     
    In Elizabethan acting troupes, members who received part of the profits as payment.
  58. Sides    
    Script containing only a single performer's lines and cues. _Elizabethan actors learned their roles from sides.
  59. Shadow play   
    A play performed widely in Thailand, Malaysia, and Indonesia involving intricately carved flat leather puppets that create pattens of light and shadow when their image is projected on a screen
  60. Slapstick     
    Type of comedy or comic business which relies on ridiculous physical activity-often violent in nature-for its humor.
  61. Soliloquy     
    Speech in which a character who is alone onstage speaks inner thoughts.
  62. Storm and stress     
    Antineoclassical eighteenth-century German movement which was a forerunner of romanticism; in German, Sturm und Drang.
  63. Theatron  
    Where the audience sat in an ancient Greek theatre
  64. Tiring house     
    Elizabethan stage house.
  65. Trilogy     
    In classical Greece, three tragedies written by the same playwright and presented on a single day; they were connected by a story or thematic concerns.
  66. Vernacular drama   
    Drama from the Middle Ages performed in the everyday speech of the people and presented in town squares or other parts of cities
  67. Unities     
    Term referring to the preference that a play occur within one day (unity of time), in one place (unity of place), and with no action irrelevant to the plot (unity of action).
  68. Wagon stage     
    Low platform mounted on wheels or casters by means of which scenery is moved on- and offstage.
  69. Well-made play     
    Dramatic form popular in the nineteenth and early twentieth centuries which combined apparent plausibility of incident and surface realism with a tightly constructed plot.
  70. Yard     
    Pit, or standing area, in _Elizabethan public theaters.
  71. Zanni (ZAH-nee)
    Comic male servants in Italian commedia dell'arte.
  72. Plays
    were performed on portable wagon stages that were moved through the town
    • Medieval
    • theatre
  73. Old Comedy
    Greek Theatre
  74. Seneca wrote tragedies for the:
    Roman theatre
  75. Had a large chorus and few actors
    Greek Theatre
  76. Male actors portrayed female roles in
    Greek Roman and Medieval theatre
  77. Many short plays were connected together to form a cycle.
    Medieval theatre
  78. Had Thespis as an actor
    Greek Theatre
  79. Actors wore masks
    Greek and Roman theatre
  80. Theatres (architecture) were freestanding permanent structures
    Roman theatre
  81. Unlike
    Western puppet theatre, the puppeteers are in full view of the audience
    Bunraku
  82. From details in Mahabhasya or "Great Commentary," it appears that the main elements of this type of theatre were in place by 140 B.C.E.
    Sanskrit
  83. The early development of this theatre can be linked to the support or patronage of the imperial court.
    Chinese
  84. Uses
    music and song extensively
    No, Bunraku, and Chinese
  85. Li Yu, an important early dramatic critic, wrote about the importance of plot construction, dialogue, and music in:
    Chinese
  86. The stage has a bridge which leads directly from the actors' dressing room to the stage.
    No
  87. Which drama was performed in a theatre that was ninety-six feet long and forty-eight feet wide with a seating capacity for an audience of between 200 and 500
    Sanskrit
  88. The Little Clay Cart was a well know play of this type.
    Sanskrit
  89. Theatre incorporates elaborate staging devices including turntables for shifting scenery and a ramp or hanamichi that extends through the audience
    Kabuki
  90. Full-length secular plays known as comedias:
    Spanish Golden Age
  91. Developed
    the pole-and-chariot system for changing scenery:
    • Italian
    • renaissance
  92. Commedia dell' arte troupes were common:
    • Italian
    • renaissance
  93. Invented
    opera in an attempt to recreate the Greek tragic style:
    • Italian
    • renaissance
  94. All roles were played by men
    • English
    • renaissance
  95. Stages were constructed in existing courtyards
    • Spanish
    • Golden Age
  96. Constructed the "Hall of the Machines" to satisfy royal taste for elaborate ballets:
    • Neoclassical
    • France
  97. Life is a Dream and The Sheep Well were both written for this theatre:
    • Spanish
    • Golden Age
  98. Developed a dramatic form called intermezzi depicting mythological tales, which were inserted between the acts of full-length plays:
    Italian renaissance
  99. Upper-class audience members were frequently seated onstage
    • Neoclassical
    • France
  100. Which of the following forms had leading characters who were members of the middle class?
    • bourgeois
    • tragedy or domestic tragedy
  101. The Beggar's Opera is
    • ballad
    • opera
  102. The Country Wife is
    comedy of manners
  103. Of the following, which form is similar to comedy of manners, except that it reaffirmed middle-class morality?
    • sentimental
    • comedy
  104. Which form usually reflected eighteenth-century middle-class morality, with the virtuous being rewarded and the wicked being punished?
    bourgeois tragedy or domestic tragedy
  105. In this form, the hero was frequently a social outcast:
    Romanticism
  106. This form was influenced by German "storm and stress" movement:
    Romanticism
  107. This form features tightly constructed cause-and-effect development:
    well-made play
  108. In this form, the major scene, known as the obligatory scene, the opposed characters confront each other in a showdown:
    well-made play
  109. This form emphasizes surface effects, especially effects provoking fear, suspense, or nostalgia:
    melodrama

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