Theatre 100, Notes on Weeks 1 through 3
Theatre 100, Notes on Weeks 1 through 3 THEA 100
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This 7 page Bundle was uploaded by Nichole Notetaker on Monday February 1, 2016. The Bundle belongs to THEA 100 at Ball State University taught by Robert Dirden in Winter 2016. Since its upload, it has received 41 views. For similar materials see Introduction/Theatre in Theatre at Ball State University.
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Date Created: 02/01/16
1/13/16 Art ● Art is: manmade a sensory reaction subjective ● Definition: the expression and application of human creativity and imagination ● All art wants an aesthetic response ● Society makes art popular ● Art is split into 2 subcategories: Fine Arts: painting, sculpting, drawing, etc. Performing Arts: dancing, theatre, choir, etc. 1/20/16 Performances ● All share the 5 A’s: Actor: person who does something Action: the thing being done Arena: where action takes place Audience: people watching the actor Arrangement: how the actions are arranged; set of rules ● Reasons for performances: to entertain to persuade to inform as part of a ritual to make money: this is seen most commonly in film and TV ● Theatre is live, and therefore ephemeral, meaning no show is exactly the same twice ● FIlm and TV are eternal, meaning that they always appear the same every time you see it Greek Theatre ● General Overview: Greek theatre is complex, and it reads slower because it is difficult to understand It was one of the first forms of theatre There were no females onstage; female roles were played by male actors It was usually performed at festivals lasting 2 to 3 days held to celebrate major events ● Masks: They used many masks, some of which were archetypal, meaning they represented the role of a villain or hero, and not necessarily a specific character. These masks were built to amplify sound, so the audience could hear the actors clearly ● The purpose of Greek theatre: To keep culture alive; many plays were based on myth or religion To teach the audience how to be a good person and fit into society ● Setting: Performed in large outdoor theatres called amphitheatres There were large trapdoors used for spectacles from hell, and a rope and pulley system used to show a character descending from heaven The lighting was supplied by fire, usually in the form of burning torches They had generally large, painted sets They rolled 3 sided set pieces called periactoids on stage, because they were cheap and made scene changes quicker and easier ● Chorus: Usually the chorus was made up of 15 to 150 people talking simultaneously It was the chorus’s job to set up future events and to tell the backstory The chorus had no masks the actors used their masks to act out what the chorus said 1/22/16 Vocabulary ● Improvisation making it up as you go; this leads to more authenticity in an actor’s performance ● Blocking placement; where actors stand and how they move; sometimes is provided by the script, but can be altered at director’s discretion ● Audition tryout ● Casting assigning actors to roles ● Acting pretending to be someone/something else ● Readthrough first time the cast reads through the script together ● Table work where everyone sits down at a table and attempts to improve the script ● Text written words What to Look for in a Text ● Title: can give clues to the plot ● Characters: people in the play ● Stage directions/Blocking: actions of characters ● Preface/Introduction & Summary: give background information that can help you understand the plot better Ways a Story can be Presented ● Linear progression: action takes place in chronological order ● Episodic: action is told in a series of stories and can jump around through time 1/25/16 Chapter 2 ● Plot = Story; what happened and who was there 1. Exposition: background information 2. Rising Action: introduction of conflict 3. Climax = Midpoint; turning point/marked change; usually drastic 4. Falling Action: wrapping up conflict; starting to answer questions 5. Resolution: how the story ends ● For tests in this class, you don’t have to provide extremely detailed plots 2/22/16 Chapter 7 & 8 Design ● design has a reason behind it and it’s not easy ● a designer’s job is to tell the visual story (unspoken details) ○ they give evidence for what and where the characters are ■ they need to know a play’s function, purpose, the space’s capacity for people, etc. ● a simple ground plan shows what goes where ○ pieces are included in the script or part of the action ■ the director makes artistic changes, but the basic details of the story stay the same ● the simple ground plan gets adapted to the performance space once its dimensions are known ● picture elevations show the color, texture, and other details of the set ○ scrim walls are fabric walls ● build elevations show how to construct the set (hardware, light fixtures, etc.) ● white model is a threedimensional cardboard model of the set built to scale Lighting ● the lighting designer’s job is to set the mood of the play and describe the setting without the use of physical, tangible objects ● basic light plot ○ tells the electrician what type of lights to put where ● basic section plot ○ describes pools of light on stage ○ the sections are usually programmed into a control board ● gobos: add effects to lights (patterns) ○ they go over the lights like a filter ○ they are expensive, but used often ● gels: used to add color to lights ○ used often in shows Costumes and Makeup ● both costume and makeup designers have to tell the story of the play through the appearance of the characters ● costumes tell who the character is: ○ what is their occupation? ○ are they rich or poor? ○ what is their personality like? ● makeup is used to transform the actor into the character ○ basic corrective: tries to make the actress look as much like herself as it can while she is under the bright stage lights ○ makeup made Doug Jones (Ball State graduate) famous (had roles in Hellboy and Pan’s Labyrinth completely disguised by makeup 2/24/16 Design Continued ● designers are the aesthetic response team ○ make sense of the space, and the flow of the show ○ they make sure the audience sees the director’s vision ● designers do A LOT of research ● they work from the director’s concept (a document written by the director explaining what they want the show to be like), so it is preferred to acquire this early on in the process Scenic Designers ● they design the look (the set and the furniture) ○ they are in charge of everything the eye sees ○ they need to know the logistics of how set pieces move on and off stage as part of their job ○ they need to know what material things are made of ○ they need to know the size, shape, style, color, and texture of every item on stage ○ their work helps to set the mood ○ a drop piece is a large fabric background that gets dropped down onto the stage ○ fly space: the space above the stage where drop pieces are flown in from and out to Lighting Designer ● they have to set the mood with intangible things ○ create the appropriate atmosphere ○ in charge of how the lights look on stage ○ hanging and automated lights are used ■ automated lights can be refocused with the touch of a button, and programmed to do certain things, but they are very expensive, and the technology is not completely reliable, so mostly they are used as a backup ○ hazer: like a fog machine, but much lighter effects ■ create about 1/10 the thickness of fog ■ used by many lighting designers ○ special effects ■ lightning, thunderstorms, explosions, etc. Costume and Makeup Designers ● they read the play, do research, and tell the visual story using the appearance of the actors ○ they use the knowledge that people judge based on appearances ○ actual research (newspapers, magazines, yearbooks, etc.) is preferred over a google search ● costumes ○ can tell a character’s income, where they’re from, etc. All Designers ● have budgets ● do research ● have to make things work for the director ● budget, planning, and fitting ○ design must be an adaptive process in order for the play to work Chapter 9 Who does what? ● the director’s job ○ pick a play ■ small theatres generally have more flexibility than large theatres who have already released their schedule for the season in regards to what play they put on ■ directors are usually given 511 months notice before the play goes into rehearsal as to what production they will be directing ○ analyze the play ■ EVERY WORD ■ lots of reading is involved ○ create director’s concept ■ it is a statement detailing communication from text to visuals ● concerned with how the play should feel ■ goes to designers MUCH sooner than actors ■ can change a bit if necessary ■ it is the director’s overall vision for the play (can make a simple play complex, or a complex play simple) ○ cast the show ■ mostly, there are open auditions in community theatres ● professional theatre (Equity houses) cast only professional actors ○ actors have to gain a certain amount of points to become a member, but once they are in, even if they aren’t working in a professional production, they still have to be paid a certain amount ■ the director has to figure out what he or she needs, then cast it ■ sometimes directors are assigned a cast ● usually this happens with TV shows ○ guide the show through the entire process, including rehearsals and production ■ rehearsals: for 46 weeks, a play will usually be rehearsed 67 days of the week ● once a week, all the designers and the director meet to make changes ● Props designer ○ designs every prop (NOT set pieces) ■ set pieces are large things that stay put, like furniture ■ props can be moved around easily by one person ○ have a budget ○ usually, there is a prop house stocked with props from previous productions ■ if a prop cannot be found in the prop house, it must be built by the props designer ● Producer ○ not seen often ○ their job is to fund and advertise the play ■ neon signs, tshirts, posters, radio ads, etc. ○ they also negotiate contracts for all plays except Shakespeare ■ they are charged based on the size of the performance space usually (royalties are paid to those who own the rights to the play) ■ the contract ensures that the play cannot be taken away at the last minute ● Technical Director (TD) ○ “God” in small houses because they seem to know everything about everything ■ costume and makeup are the only people who don’t report to the TD unless there is a safety issue or a technical aspect of a costume ■ in charge of lights, sound, sets, and props ○ oversee the creation of the design ■ maintain safety (fire safety, CPR, etc.) ■ have many degrees in different fields (painting, woodworking, etc.)
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