| A | B |
|---|
| What kind of theater was Brecht about? | Epic Theater |
| Characteristics of Brecht | alienated audience not to feel, used history to comment on present, reminders to audience they were at theater by using musical numbers, puppets, narrators, film and open stagecraft |
| What kind of theater was Beckett about? | absurdism |
| Characteristics of Beckett | characters stuck in bizarre situations, circular & static plots, sparse language |
| 5 characteristics of Contemporary Theater | 1. adaptation of history and literature 2. non traditional movement 3. puppetry 4. use of video/film 5. film/tv adapatation |
| adaptation of history and literature | adaptation of novels and explored history of people and events |
| non traditional movement | use of mime/clowning/ acrobatics often combined with classical texts and physical acting styles (viewpoints) |
| puppetry | used to enhance or tell the story and create fantasy worlds |
| use of video/film | create scenery/contrast reality vs. screen reality |
| film/tv adaptation | films translated to stage (and back again) |
| Sarah Ruhl wrote? | Eurydice |
| What were elements of Ruhl's style? | bringing myth into present; examines male and female roles; challenging uses of design; blends styles like realistic and non realistic |
| Eurydice info | premiered in 2003, retelling of Greekmuth to the present; challenging designs and sound effects like raining in the elevator, and used musical structure |
| Name the actors tools (4) | body, voice, imagination, intelligence |
| What is the actor's function? | to create intellectual and emotional illusion and project the illusion from stage to audience |
| definition of acting | acting is behaving truthfully under imaginary circumstances |
| Actors training involves (2) elements | movement and voice |
| elements of actor's movement | neutral body, flexibility, strength, dance, stage presence and stage combat |
| elements of actor's voice | dialects, singing, articulation, projection, neutral voice |
| How does the actor prepare? | analyzes the script: what does character want? say? do? mean? What do others say about the character? |
| The Rehearsal process for actors | experimentation; collaboration; improvisation; curiosity (willing to fail and try again) learning lines and blocking |
| Performance by the actor | ENERGY must be fresh each night; be "IN THE MOMENT" ; know the space and proxmity to the audience feed off the audience with their laughter and applause |
| Consistency for the actors | the final goal; safety; believability; artistic integrity |
| Production group definition | a tightly organized team of people who work togehte to bring the play to life on stage |
| artistic director | oversee all artistic elements of the company and suggests/determines the season |
| producer | gets the money |
| producer on Broadway | group of investors |
| producer in community theater | volunteer effort from local businesses |
| OHIO STATE producer | departmental support |
| the business manager | financial life of the production and oversees the publicity, the advertisitng and the box office |
| house manager | in charge of audience and space as well as comfort and safety of audience |
| stage manager | oversees all aspects of production and runs shows, rehearsals, and main infromation conduit person |
| dramaturg | background research, in house critic and educates the audience |
| The production schedule | pre production (design meetings, auditions, call backs) Rehearsals (read through, scene work and "off book") Technical Rehearsals to Opening (final dress preview, opening night, strike) |
| tech rehearsals | adds lights, sounds, moving scenery and props |
| dress rehearsals | adds costumes, make up and hair |
| Identity on Stage (3) | 1. how have various identities been trated by Am. Theater? 2. positive and negative images 3. "melting pot" difficult work of creating American identity |
| Name 3 things theater can do for identity | 1. reflect culture's view of a group 2. reinforce a particular view of a group 3. remake a culture's understanding of a group |
| African Performance | came to America slaves, story telling, song, dance, jokes, performed for black and white audiences, basisc for jazz, ragtap tap and rock dance |
| African Grove Playhouse | WIlliam H. Brown |
| European theater | staged Shakespeare |
| "King Shotaway" | first play by AFrican American |
| Ira Alrdige | famous actor |
| Blackface Ministrey | 1830's |
| How did Blackface Ministrey begin? | song "Jump Jim Crow" by TD Rice |
| More about blackface ministrey | white men put on black cork, performed songs, skits and monologues |
| racial caricature | thick accents "lazy Negro" |
| Different racial identities | black, Irish, German |
| The Black Musical | invented by black community, popular with all audiences, a trip to COONTOWN by Cole and Johnson, TURNED the tables and blacks put on white faces |
| The New Negro | Harlem Renaissance 1920's and 30's |
| Famous Renaissance playwrights | Langston Hughes and Neal Huslen |
| "Shuffle Along" | very important black musical 1921 |
| The black arts movement (1950's - 70's) | xxx |
| Famous 1959 play! | Raisin in the Sun by Lorraine Hansbury |
| Lorraine Hansbury | youngest person to present a play on Broadway, and it talked about family problems complicated by race |
| "Dutchman" 1964 by Amiri Buraka | questioned how white and blacks stereotype each other and focuses on injustice and racism and theater as a weapon |
| AUGUST WILSON | wrote Piano Lesson (read in this class) and he used European tradition of REALISM |
| AUGUST WILSON's PARENTS | he had a black mom and German dad and felt "in betweenness" |
| WILSON | he argued for separate black theaters in U>S> and color blind casting |
| Initial roles of Women in plays | women were entertainment (Japan linked to brothels/US Broadway show girls (Ziegfield girls) and Greece played music danced |
| Why were women banned from stage? | considered too dangerous and stimillating |
| Women India until 1870s | played by men |
| Women in Japan | banned until 1629 |
| Women in Europe | appeared in Medieval and Italian improv comedy |
| Women in England | men played women in Shakespeare's plays |
| GENDER IS FLEXIBLE ON STAGE | just know this fact |
| Feminist Ideas | first applied to theater in 1980's / roles of women and men tell us about the time period |
| Characteristics of Women and theater | examine women's roles, montage; non-linear; gender switching and role doubling |
| Anna Deavere Smith | actress and playwright (examines current events through interviews/docudrama) explores identities, genders, race and ethnicity |
| Julie Tymer | director and designer (Studied Japanese pupeetry/bunrako) works in theater oper and film and has adapted films for stage |
| Eve Ensteler? (cant read writing) | playwright and actress (The Vagina Monologues- interviews 200 women uses homor and oral history) |
