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TH114 Exam 1

by: Jess Snider

TH114 Exam 1 TH 114-009

Jess Snider

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Th114 exam 1 study guide
Intro to Theatre
David Bolus
Study Guide
intro to theatre, TH114, midterm
50 ?




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This 5 page Study Guide was uploaded by Jess Snider on Sunday February 14, 2016. The Study Guide belongs to TH 114-009 at University of Alabama - Tuscaloosa taught by David Bolus in Winter2015. Since its upload, it has received 141 views.


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Date Created: 02/14/16
TH114 Midterm Review I. Chapter 2: a) Reviewer vs. Critic i) A reviewer describes a production and gives his opinion on how well it was done. He writes for a general audience. (1) can be anyone with an opinion ii) A critic analyzes the play in greater detail and writes for an audience of theatre  people: directors, designers, and actors. (1) Has a solid knowledge of theatre history, dramatic literature, and theatrical  production b) Performer: to entertain an audience by singing, acting, etc. c) Space: the amount of an area, room, surface, etc., that is empty or available for use d) Event: something of importance occurs e) Spectator: a person who watches an event, show, game, activity, etc., often as part of an  audience f) Rise of Realism i) Realism is when the audience is asked to accept the stage world as believable  alternate reality where things happen, much as they would in life, and people behave  in seemingly natural ways ii) Creates the fourth wall (1) Separates the stage from the audience (invisible) g) Definitions  i) Empathy: the capacity to identify emotionally with the characters on stage ii) The House: term used by theatre people to describe the collective audience  iii) Asides: short comments that revealed a character’s inner thoughts often to comic  effect iv) Soliloquies: lengthy speeches through which a character revealed state of mind v) Monologues: speeches vi) Catharsis: the process of releasing, and thereby providing relief from, strong or  repressed emotions vii)Agitprop: early form of political theatre developed during the 1920s in Russia &  later adopted abroad viii) Distancing/alienation effect: separation of the audience emotionally from the  dramatic action ix) Theatre of the Oppressed: theatrical forms that the Brazilian theatre practitioner  Augusto Boal first elaborated in the 1960s, initially in Brazil and later in Europe x) Theatre of the Absurd: designation for particular plays of absurdist fiction written  by a number of primarily European playwrights xi) Theatre of cruelty: dynamic & poetic world of images, sounds, & movement­­­ &  sought a universal language that could assault the senses of the audience  II. Chapter 3: a) definitions: i) Deus ex Machina: to resolve the drama ii) Climax: the point of highest emotional intensity iii) Denouement: resolution iv) Point of attack: place in the story where the action begins, usually late in the story v) Exposition: part of the play where events that occurred before the start was revealed b) Aristotle: first to devise a method of dramatic analysis/ lays out a system for critiquing  Greek tragedy, classified the types of dramas  c      Story vs. Plot i) Story: what happened ii) Plot: how you tell what happened  d     Character Types i) Psychological: represented by a character with clearly defined goals & motivations,  whose actions may be tracked more or less like a real persons ii) Archetypal: broad generalization of an entire class of people iii) Stock: opposite of psychological, representative of a type & defined by  externals(class, occupation, marital, status) rather than their individual characteristics   e      Plot Structures i) Circular: associated with Absurdist theatre, usually ending a play more or less where it began ii) Climatic: Aristotelian structure & includes clear exposition, rising action, & a  resolution iii) Dramatic: describes the scope & progression of the action/ a plotted tale to frame or  shape of action iv) Episodic: early point of attack in the story & proliferation of characters & event; less  restricted & takes places over a longer time span v) Serial: composed of  a series of scenes that don’t follow a continuous story ot even  include the same characters III. Chapter 4: a) Greek Tragedy: main character is brought to ruin or suffers extreme sorrow, especially  as a consequence of a tragic flaw, moral weakness, or inability to cope with unfavorable  circumstances i) Began with a prologue, followed by parodos (entrance of the chanting & dancing  chorus) b) Roman Tragedy: No early Roman tragedy survives, though it was highly regarded in its  day; historians know of three early tragedians—Quintus Ennius, Marcus Pacuvius and  Lucius Accius c) Elizabethan Tragedy: served as a warning to would be tyrants of what might await them should they abuse their power; traced the effects of disruption in the political & familial  order i) Focused on characters of high status, who spoke in elevated poetic language  d     Cycle Plays i) Passion plays: episodic plays depicting events from the passion of Christ ii) Saint plays/miracle plays: depict events from the lives of saints iii) Morality plays: use allegorical characters to depict moral lessons e) Autos sacramentales: Spain’s version of Christian religious dramas; part of Corpus  Christi celebrations f) Liturgical Drama: from the middle ages; type of plat acted within or near the church &  relating stories from the Bible & of the saints  g     Types of Comedy i) Satire: explore pressing social issues & provoke debate ii) Farce: relies on broad slapstick humor, extreme situations, & superficial  characterization  iii) Romantic: centers around the relationships between sympathetic young lovers whose destiny in marriage meets with obstacles  iv) Comedy of Manners: makes fun of ridiculous social mores or practices & the people who engage in them h) Melodrama: a serious drama with a happy ending i) Hubris: excessive pride or self­confidence j) Dithyramb: ancient Greek hymn sung & danced in honor of Dionysus, the god of wine  & fertility   k     Best Plot Contained this According to Aristotle: i) Tragic character: highborn & prosperous, an essentially good person with whom we can identify, who does not deserve his misfortunate ii) Tragic Miscalculation: sometimes translated as character flaw, a miscalculation that  causes the hero’ downfall iii) Recognition: seeing the error of one’s way at the moment of downfall iv) Reversal of fortune: the hero falls from a high position & loses everything v) Pathos: suffering of the tragic hero vi) Pity & fear: emotions evoked in spectators as we watch the travails of the tragic hero vii)Catharsis: the purging of the audience’s emotions that allows the lessons to be  learned through feeling IV. Chapter 5: Performance Traditions: Legacy and Renewal a) Natya: is no longer practiced as a living art form in India today i) Stylized movements in eyes, head, hands, and limbs; dance; music; makeup;  costumes b) Commedia dell’arte: from the renaissance; resembling ancient mime & Atellan farce  with masks, stock characters & improvisation  c) Improve: improvised drama; used scenarios i)  Scenarios: general outlines of plots with short descriptions of each scene d) Lazzi: set bits of comic stage that an actor could turn to for comic effect e) Xìqǔ: also known as Chinese opera i) Sets consist of a table and two chairs of less f) Kabuki: From Japan;actor centered tradition with extradinoary costume & makeup;  compared to Western opera, operetta, & musical theatre i) Onnagate: female role type; idealized woman played by male actors in white  makeup, black styled wigs, & kimonos. ii) Mie: physical poses capturing the high points iii) Hanamichi: the flower path g) Noh: stylized ritualistic form in which a few pages of text can take hours to perform i) Passed down from generation to generation (1) Yugen: grace h) Kyōgen:  comic form that shares noh stage but has its own acting, speaking, & costuming conventions        Puppets i) Banraku: combination of puppet manipulation, ballad singing, & playing of the  three­stringed instrument         8 Model Works: i) eight operas in China allowed after the revolution (1) Yangbanxi (2) virtually the only films, stage performances or music available to the entire  Chinese population V. Chapter 6: a) Anna Deavere Smith: actress, playwright, & professor b) Avant­Garde: artist who rebel against established theatrical tradition  c) Opera: longest continuous tradition of popular Western musical theater i) Characteristics: dramatic music & settings, spectacle & story lines that are generally  sung d) Operetta: secondary music theater tradition that features music with dance, farce &  clowning which often culminates in romance fulfilled. Commonly satiric in nature, deals  with light hearted subjects & features  more dialogue e) Musical Theatre: newest form of western music theater tradition. Combines elements of  music, dialogue, & dance in a collaborative way that fleshes out the story. The book is  the important element here, as all other elements combine to tell the story f) Variety Shows i) A theatrical entertainment consisting of successive unrelated acts, such as songs,  dances, and comedy skits


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