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by: Nicole Salem


Marketplace > Texas Christian University > Theatre > THEA 11003 > THEATRE EXAM 2 STUDY GUIDE
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Covers all of exam 2 study guide
Survey of Theatre
Lydia Mackay
Study Guide
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This 19 page Study Guide was uploaded by Nicole Salem on Monday April 18, 2016. The Study Guide belongs to THEA 11003 at Texas Christian University taught by Lydia Mackay in Winter 2015. Since its upload, it has received 64 views. For similar materials see Survey of Theatre in Theatre at Texas Christian University.




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Date Created: 04/18/16
Exam 2 Study Guide: Ch. 8 and 9: The Modern Theatre: Realism – o Movement away from royalist theatre – neoclassic form o Romanticism (18 Century) – spread throughout Europe o Distance it from neoclassic – way to rigid – too many rules (why can’t we have it over many hours?) o Began in Europe o Attempt to reactivate passion o Cyrano de Bergerac o Survives today as Phantom of the Opera o Most Romanticism and Realism took place in a proscenium theatre –  Because you have a lot more options for scenery and set pieces can be brought in from the wings  Also have a grid – and a fly loft above where you can hang gigantic backdrops so you can change the scene  You can fly things in  Things can be rolled in and off the stage  Gave maximum effect to their audience o Modern/realism wanted theatre to be visceral – emotion evoking, feel in the “pit of your gut” – audience having a visceral connection Realism – o Applied to set, actual books, actual rugs, and lights, actors were not just a representation of someone, actors started to be the characters, dialogue started to be the conversation o Likeness to life, no conventions or abstractions o More local or vernacular o Focus becomes more about relationships between people o Things can actually happen o Relate more to the audience – more relatable to your experience o Highlights humanity o Realistic theatre is conceived to be a laboratory in which the nature of relationships or ills of society or the symptoms of a dysfunctional family are “objectively” set down for the final judgment of an audience of impartial observers. o European Realist Playwrights: o Henrik Ibsen – Father of modern drama  Wrote “A Doll’s House”  For most of his life he was a prolific stage manager, director, and playwright in Norway, received a travel grant to study theatre abroad and started writing plays for realism o Anton Chekhov –  The seagull  Create deeply complex relationships between characters and to develop his plots and themes more or less between the lines  Russia o George Bernard Shaw – modern realistic playwright o American Realist Playwrights: o Eugene O’Neill (more drama, 3 play cycle – morning becomes Electra) o Tennessee Williams (Street Car named Desire, Glass Menagerie) o Clifford Odets (parents were immigrants, entered into theatre as an actor) o Arthur Miller (Death of a Salesman, crucible, Married to Marilyn Monroe) o Wendy Wasserstein (Wrote for women about women, Heidi Chronicles) o August Wilson (fences, mixed race playwright – African American perspective, born into an interracial couple in Pittsburgh) Beyond Realism – o Naturalism – takes realism a step further, quite simply “slice of life,” play about this class, nothing big, dramatic, or earthshaking o Paralleled realism but was a more extreme attempt to dramatize human reality without the appearance of dramaturgical shaping o Nature, and humanities place in nature Nonrealism (Antirealism) – o Had a lot of other –isms, obsurdism, symbolism, futurism, Dadaism, idealism, impressionism, etc. o Move as far away from realism – move theatre beyond what they saw as narrow confines o Emotionally charged social and cultural movement as well (scandals, manifestos, counterattacks, and call to arms) o First appeared as symbolism – explore the inner realities that cannot be directly explored/perceived – characters don’t represent real human characters, rather philosophical ideals o Experimentation, telling stories in nonlinear ways o Break the confines of realism o Could be in theatre in the round o 1880s in Paris, France o Not at all realistic o Lots of elements of fantasy o Suspend beliefs of reality o Not “realistic” o “Forced perspective” o Extremely raked stage o Not always going to take place on a nice stage, with nice light o Shadow play to tell a story o Scripts – o Stage directors o Not a normal construction of story telling o Antonin Artaud – o French o Theatre of cruelty – theatre should look and be dirty, desperate, cruel – taste for crime, erotic obsessions, savagery, illusions, utopian ideals, cannibalism, etc. o Anti language o Telling the story physically o Visual dramatic storytelling o Works of art or performances o Bertolt Brecht – o Theatre of Alienation – separate actors and audience as much as possible – in order to focus on the larger social and political issues the play generated and reflected o Actors were told to distance themselves from the characters o Created his own conventions – “distancing-effect” – the separation of the audience from involvement in the dramatic action, by lowering the lights so the pipes and wires would be displayed o Post war theatre o Always watching a show, always watching theatre o Samuel Beckett – o Theatre of the absurd o Post war theatre o There is no point in anything o Futile – futility – obsessed with the futility of all action and the pointlessness of all direction o Waiting for Godot - two men just waiting for a man that never comes Ch 10: Musical Theatre o Been around since the beginning o China, No, Bunraku o Main goal – entertain you, positive energy and optimism o Comedic style – rooted in the later 19 century (last 150 years – music theatre)  Started to turn into Musical comedy  Burlesque – broadly comedic parodies of serious musical works, often involving cross-dressing)  Vaudeville – personal acts, collections of musical and variety acts, originally performed in brothels and drinking parlors, late 1800s, early 1900s, variety acts  Came musical comedy genre o Songs o Books – scenes that link song to song o Musical theatre – the Charleston was inducted – “The Charleston” – epoch-defining dance, introduced in the 1923 black musical How Come? o 1920s – golden age of musicals – o Dramas now, more serious topics o 1929 – Great depression/Stock market crash o Out of the great depression FDR started the New Deal (country work again) – Federal Theatre Project – help artists and actors get back on their feel, help audience go see theatre, community endeavor to lift spirits o Orson Wells – Huge proponent of FTP o The Cradle Will Rock (Video) – Mark Blitzstein – dealt with politics and capitalism – government said they couldn’t perform the show – opening night they rented an old theatre, actors and musicians played from the audience because they couldn’t play from stage o Rogers and Hammerstein – o Oklahoma o South Pacific – race, relations/interracial love - break new ground, delving into social and political problems o The King and I o The Sound of Music o Stephen Sondheim – lyricist o Westside Story – composition of lyrics for Leonard Bernstein’s 1957 West Side Story o Sunday in the park with George o Touring Production: 1950s, when Broadway finished a show they would send it o Profit - made money o Nonprofit – did not make money and portray their characters Theatre can happen anywhere o 1970s – great drive forward with African American theatre specifically o Spoke to African American life o Attracted large “crossover” audiences o Ain’t Misbehavin’, the Wiz, Dreamgirls, Cogry and Bess o Europe – o People coming from other countries to US o Andrew Lloyd Weber –  Phantom of the Opera  Brought their Culture – English composer o Disney – 15 years involved in musicals  The Lion King – Julie Tamor – Broadway production, she created the animals  Wicked – Gregory McGuire  The Little Mermaid – translate cartoons into theatre – cant make them swim on stage, etc. o Spring Awakening – about growing up and love o Theatre taking a change – 5-10 years o Avenue Q – puppets for adults – curse, drinks, fornicate, etc. Ch. 11: Global Theatre: Open Theatre – o Anyone is welcome, anyone can participate, regardless of skill level o More theatre nationally o Open for an infinitely wider range of interests, cultures, and individuals that existed during any other period in theatre history o Comes from Joseph Chaikin’s short-lived Open Theatre of the 1960s and 1970s o Open the theatre to all comers – emphasizing a disconnect between actor and character is helpful in creating this openness – create “roles” more than characters – actor playing a character o Casting considerations now radically bend gender distinctions, cross racial lines, and span age ranges and living species A Diverse Theatre – o Open to someone not able to do it in the past o Women – no comprise a major force at every level of the American theatrical arts o Various races, backgrounds o Not just “white men’s game” o From top to bottom, in gender, race and ethnicity, in playwrights, performers, producers, and directors, the American theatre is now broadly heterogeneous o Have began focusing on women’s experiences – gender-role stereotyping, abortion, pregnancy, motherhood, rape, mother-daughter relationships, lesbianism, domestic violence, women’s history, violence against women, and female incarceration o Following World War II – black-themed, black-authored, and black-acted drama began to surge forward in American culture o Latino theatre has also blossomed – closely linked to its Spanish speaking routes o Asian American theatre has also claimed its share of the American theatrical scene o Native American theatre is rapidly entering the American national theatre repertoire An International Theatre – o Travel ability, being able to get places o Traveling around the world, not just confined to America o In the 19 century, with steam ships, actors and even entire theatre companies began touring the world – American audiences became accustomed to seeing celebrated foreign actors performing in the great classic roles o American actors also toured abroad o Dozens of major international theatre festivals provide vast samplings of some of the greatest theatrical achievements Macaronic Theatre – o Plays written in various languages, diverse theatre, multiple dialects and language A Theatre of Difference – o Gender, race, ethnicity, geography, and language are not the only sources of the new voices entering the theatre’s mainstream in the current era – sexual preference has emerged as a defining issue for many theatre groups, festivals, and publications o Has become principal or secondary topics in hundreds of plays o The Laramie Project Nontraditional casting – o Anyone can be cast as anything o Men as women, white as blacks o The are watching “performances of characters” rather than “characters” themselves A Spectacular theatre – o Seeks to amaze you o Freak out, magic o Moved from mere spectacle (that which is seen) to the totally spectacular (that which astounds) o Started to access technology in new ways Verbatim Theatre – o Excerpt from court turned into a play o Marina Abramovic – performance artist o Developed from transcripts of real-life speeches and interviews A Dangerous Theatre – o Physical torture, new shock factor, not nudity anymore o Pushing the boundaries o Danger in today’s theatre is more apt to come from violence and vehemence than the breaking of social codes o More direct plays about actual human savagery – during World Wars, the Holocaust, etc. o Rape, killings, dismemberments, and cannibalism o Even language of theatre has become violent A theatre of community – o Lifting people up o Creating theatre works by and for the members of their community, but also to tour their productions to localities previously un-served by the theatre at all Movement art and Dance Theatre – o Lyrical instead of verse o Movement based/maybe some sound o All movement, zero dialogue o Body centric o Visual form of storytelling o Expressive movement, dance, music, and lighting – rhythm, color, sound, and athleticism reign over plot, character, and language o The Blue Man group o Dance theatre – the mixture of speech and dramatic choreography – Pina Baush in Germany Solo Performance – o One person show o Often based on historical characters Theatre beyond Theatre – o Theatre can happen anywhere o In parks, on a street car (site specific – as the actual site of the performance is where actions described in the play are actually considered to take place) Conclusions about theatre today – the current theatre is in a process, it is current in both senses, what is hot may be cold tomorrow o Theatre today is our theatre and your theatre, there to apprehend, to enjoy, appreciate, and to respond to, just a series of plays, or a spectrum of performances o A communication between individuals and peoples that raises levels of human discourse and artistic appreciation o We cannot draw conclusions about theatre today Ch 12: The Actor Method acting: actor does things the actor would do, stay in character off set o Play a wide range of characters, truthfully, you believe them o Acting is bewildering profession o Ask everything of you and sometimes gives you nothing in return demands8 sacrifice from every direction o They cannot do anything else though Types of Acting: o External – the physical movements, clothing, technical side o Internal – becoming the character, the mind and emotion of the character, what are they thinking or feeling o The actor must think the characters thoughts, feel the characters feelings, try to win the character’s goals, and cry the character’s tears o Neither one is necessarily better Konstantin Stanislavsky – founded Moscow Art Theatre in 1924 and 1925 o Trained actors to be large and present o “The magic if” – if… how would I react or behave, how would I think or feel o Incorporate personal life/perspective o Imagination o Actors must have imagination o You have to pretend o He created and formed method acting o Living the life of the character o He decided it can be dangerous – because you can loose touch with who you are as a person o Moved away – placed more attention on imagination o Lee Strasberg took over method acting Actor Training – o The training of actors is a major activity in hundreds of places – development of the actor’s approach to a role (largely creating the character’s inner life) and developing the actor’s vocal and physical instrument (largely concerning virtuosity) o The actor’s instrument – or the actor’s self – her mind, mettle, and metabolism – voice needed to be toned, body needed to be sculpted or molded – “training of the actor’s instrument” o Stage combat o Ability to be malleable o Trigger emotion o Work on voice – tone, projecting voice, being heard o Characterization – movement o Voice o Speech – non regional sound, dialect work – another part of the world o Voice (breathing, phonation, resonance), speech (articulation, pronunciation, phrasing), projection o Movement o Train the body to do whatever  Periods in styles, walking, dancing, etc. o Demonstration, memorization, repetition, and constant drilling – where the actor learns to be a part of a “play” o Emotion – o Cry on cue o The psychological instrument – the gift of imagination and the willingness and ability to use it in the service of art o Discipline – sticking with the demanding life of an actor o Technique – interactions with actors, audience, energy, how you feel that day o Never the same way twice  Actor is an artist of humanity  Actors must be able to represent anything at all  Dialect, speech impediment, physical deformity, age The Actor’s Routine: Auditions - o Memorize monologue o Cold reading – give you scripts to read – come alive and have action/connection Rehearsal o 10 days – 6-7 weeks Performance – o Stage – performing for audience o Film – director says action Ch. 13: The Playwright o Playwright back in the day a more “hands on” approach o Today they write the play and send it out – for the director, they have little if no connection with the play that is being produced o Workshoped – have actors read it out to see if it works and may change things – but after they hand if off to the director o The way the playwright is spelled – they make plays o Write – just simply writing o Wright – someone who is a make of things o Where do they got their ideas o Cultures o Personal experience o Dreams o Getting message across o Past playwrights o Historical tales or events/find a new interesting topic Adaption - color story in own way, tell story in their own ways Translation – one language to another Publishing house – fights for the playwrights 13 qualities of a good play o What makes a good play? o Relate ability o When you take something from the play 1. Credibility – it takes believable, your willing to go there a. Contract between author and audience – I am going to give you my time, the audience agrees to view the characters as “people” as long as the author agrees not to shatter that belief in order to accomplish other purposes b. Audience-imposed demand that requires a play’s actions to appear to flow logically from its characters, its situation, and the theatrical context the playwright provides 2. Intrigue – what draws you in, curious, interest, the quality of a play that makes us curious to see “what happens next” a. Sheer plot intrigue – “suspense” – leaves us hanging b. Asking what does this mean, not just what will happen – make us care about the characters 3. Speak ability – easily understandable, language that has a flow, rhythm, and can be spoken, they have a believability a. A line of dialogue should be so written that it achieves its maximum impact when spoken – verbal lullabies and climaxes, fast punch lines, sonorous lamentations, sparkling epigrams, devastating expletives, significant pauses, and electrifying whispers b. Also requires that the spoken lines appears to realistically emanate from the character who utters it 4. Stage ability – it can be brought to life, how are we going to stage this a. Can it be actually accomplished? b. Requires the dialogue be written so it can be spoken effectively upon a stage – dialogue must be conceived as an integral element of a particular staged situation in which setting, physical acting, and spoken dialogue are inextricable combined 5. Flow – stream of information, continual stream of information, one that is continually saying something, doing something, and meaning something to the audience 6. Richness – something of quality or substance, interesting detail, texture, layer, style a. Leaves us with a sense of satisfaction – richness of detail and dimension – every detail fortifies our insight into the world of the play 7. Depth of Characterization – if you don’t care about the characters why should you care about the play a. Character arc – character starts with one mindset and have change, we root for them b. Some playwrights tend to either write all characters “in the same voice” or to divide them into two camps – good characters and bad characters c. Every character possess an independence of intention, expression and motivation d. What characters? i. Hero, rebellious, funny old person, rich powerful guy ii. Important to have variety in characters 8. Gravity – importance, gravitas – carry a great deal of importance, credible, admirable, respectful, dignity, importance of the plays theme – serious or lasting significance 9. Pertinence – Relevant, the plays touching on current audience concerns, both of-the-moment and timeless 10. Compression – shrink things – tightening things up, compress story line (time), placing days, years into a theatrical time frame 11. Economy – take out unnecessary bits, authors skill in eliminating or consolidating characters, events, locales, and words in the service of compression 12. Intensity – exciting, harsh, abrasive, explosive, eminently physical, or overtly calm, conveys to the audience an ineradicable feeling that this moment in theatre is unique and revelations are profound 13. Celebration – all playwrights celebrate life, lift us up, show us something, it does not merely depict or analyze or criticize it Core of every play – The Playwrights process o Dialogue – the writing down of the remembered dialogue from overheard conversations or from conversations in which the author has participated, also imagined dialogue o Conflict – writing scenes of forced conflict make the dialogue dramatic – discovery, victory, rejection, revelation, separation, or death o Structure – compels interest and attention, it creates intrigue by establishing certain expectations – both in characters and in the audience - keeps us always wanting more at the final curtain o Theme o Plot o Action Playwrights – o Lynn Nottage (pg. 399) – African American female playwright o Tony Kushner – Lincoln, angels in America (2 full length plays that deals with the AIDS epidemic in the 80s) o David Hwang o Arthur Miller – all my sons, death of a sailor o Loraine Handsbury – Raisin in the sun o Tennessee Williams – Glass Menagerie o Duncan Sheik – spring awakening o Steve Martin – playwright o Oscar Wild o August Wilson o Jasmine Arisa Ch 14: Designers and Technicians Main purpose of design: to transform something so a willing viewer may see it, as something else Skrim – opaque when you shine light on it, and it is transparent when you shine light behind it Mood is very important when you are designing something What is the purpose? o Atmosphere – create the look of the play o Transform one thing into something else o Make it believable How does the design process start? o You have an idea – initial framework is the play itself o Research o Details from the playwright o Your own personal desires o Make someone else have a response to it o Main job – interpret – first step is conceptual – design ideas emerge o Begins with the script/play  Time period, realistic or nonrealistic  Take from it what you can o Then a comprehensive design begins to emerge o All starts with the play Design Q’s: o Time period o How much space, how big is the stage o Scene changes o How is this accomplished – suddenly becomes night, etc. o Budget o Materials – what should the color be, the fabric, the texture o What mood you want o What time of day/year o What feelings is the play trying to evoke? o What should the actor look like – facial hair, long hair, make – up..? o Clues in the script o Ex. Tree and road  What kind of tree – dead, blooming, big, small…? Technical theatre: 1. Scenery – scenic art – what we first see o Decide what the set/world looks like o Ancient – had pretty much the same set – fixed space - Became less appealing o Last 100-150 years - Realistic – living room, believed it could be a library in the 1920s - Metaphoric – ideas, not necessarily one location, not an exact thing, open to interpretation o What makes up scenery – - Platform – raise up, raise actor up, add level and height - Flat – temporary wall, generally a hard surface - 3D – set pieces, furniture - Can use light as part of the set – lamp, actor can go and turn on - Projections – used more these days (war horse) - Props – person called “prop master” – handle all the things used by actors 2. Lighting – cast a mood o Where you should focus your emotion o Show evil or good o Show passage of time o Ancient Greece + Rome – they did it during the day – used the sun – timed speeches and monologues to the sun o Gas lights appeared – fire hazard – a lot of extra precautions – electricity was invented o Smart lights – move where you want, whatever color – computer programmed o Gobo – metal cutout put over the light, so you can reflect things on the floor o Gels – change color of light – thin translucent o Very much an art o Psycleroma – white screen you can bounce lights off of o Pg 369 – light plot – where all lights are, where it is connected to, and how it works o Q Sheets and prompt books – how they track/control the light 3. Costumes – o Tell us about the characters personality, lifestyle, age o Time period o Climate o Abstract thing o Actors were responsible for providing there own costumes - Sign of wealth o Now costume designer overseas it (20 century) o 4 functions of costume design - Retains a hint of ceremony – I am coming into this place to perform something - Shows what type of world we are in - Express character, specific role - Wearable clothing for actor o Costumes can be bought, brought, or built - Actor brings from home - Costume designer constructs from scratch 4. Makeup – o All about showing character o Sanskrit and Katakali/Moliere’s France – cover up bad skin o Men had to perform women o Xiqu – Chinese opera o Only in certain cases are there makeup designers o Prosthetics – nose - Whole other level of things that can go on 5. Sound – o 200 years ago – amphitheatre in hills to project sounds, megaphones in mask o Folly Artist – someone backstage and makes the sounds o Sound design now – huge database online, or they will create sounds specifically for that world o What sounds are playing before the play o Sound mixing board or sound designer 6. Puppets and Projections o Bunraku – shadow puppetry o Projections – can cost 20-30,000, can create a black hole on stage 7. Special effects o Theatre magic o Wind, rain, fog, snow Technicians – - Make sure things get accomplished - Production stage managers – make sure everything happens from start to finish, take over when directors leave for show - Technical designer – make sure technical aspects happen - Tech crews – changing set Summation of production team – technologists – get the production organized in a hierarchical structure, headed by stage, house, and production managers, technical directors, and shop supervisors o Production stage manager – scheduling, staffing, and budgeting of every element of production o Assistant stage managers – set out props, follow the script, prompt actors who are off book, substitute for actors who may be away o Technical director - in charge of the building and operation of scenery and stage machinery o Technical crews – push scenery pieces exactly on cue to precisely predetermined locations o Shop foreman, scenery supervisor – working in the scene shop – carpenters and scenic artists o Costume – costume director, dyers, drapers, cutters, first hands, stitches, craft specialists, hairstylists and wigmakers, wardrobe supervisors, dressers o Lighting – electricians, master electricians, lighting-board, follow-spot operators, soundboard operator, o Make up artists Trap – can have access to things below stage, stairs, grave, etc. Every element on stage has been put there for a reason and has been discussed Scenic rendering – 2 dimensional sketches Model – set designer makes a model – to show actors what they have to work with Costume rendering – what actors look like in their costumes Muslin fabric – and then make real one Ch 15: The director Didact – to teach Didaskalos - teacher Directing is an art whose product is the most ambiguous, the most mysterious; the direction of the play is not visible like scenery or costumes - Anne Bogart o “ You can only thrill yourself” o Making decisions for the wrong reasons - Daniel Sullivan - Scott Ellis o Cant look at the audience – you listen to the audience and the way they breathe o Directing in the theatre is something you cant see – “invisible hand” 2 levels: - Technical – director working with designers, organizing, the person who organizes the production - Artistic – ideas, vision, grand idea, concepts, etc. they conceptualize the play, gives it vision and purpose - Directors pull out the story that they want to tell - The more you can do in the world of theatre, the more you can understand Where did directors come from? - Ancient Greece – the playwright would be the ones to direct or “shape” the play - Shakespeare – leading actor also took lead - The idea of an independent director did not exist until the 19 century - Now – director comes in solely as the director - If you want to change something  you must get permission Phase of directors: Teacher director – teach the craft, the teacher had mastered the subject and was simply required to teach the current conventions of acting – pass on the correct performance Director of realism – set in real looking plays, strove to make their play productions more lifelike than those of past eras Director of antirealism – a lot more leeway, directing aimed primarily at the creation of originality, theatricality, and style, and be unrestrained by rigid formulas – create sheer theatrical brilliance, beauty, and excitement The Contemporary Director – directional function is fully established as the art of synthesizing script, design, and performance into a unique and splendid theatrical event that creates its own harmony – understands realism and antirealism Duke of Saxe Meiningen – 1 modern director Imagination, tech, skill, talk to designers and actors Adaption – changing the original to something new, but it is basically the same, to make it relevant Process – 1. Preparation a. Finding a producer – finance production, raise money b. Choosing play – selection of the play may originate with the director or the producer c. Adaptation – cutting the text, etc. i. Getting prepared 2. Conceptualizing the production a. Core – most important ideas, what they story is about, highest priority image, idea, style, or emotion – gives the production meaning b. High – elevate and expand the story, introducing highly unexpected insights into character, story, or style, directors can make a familiar play surprising i. Placing a play in a different time period c. Dramaturge – literary advisor, does research about the play, serves as a bridge between the director and the playwright 3. Implementation a. Select designers b. Collaborate with the designers – transforming vision into actuality c. Cast actors (90% of directors work) – represents what the audience cares about and remembers the next day 4. Rehearsal a. Staging – positioning the actors on the set, having them move about b. Actor coaching – guiding the actors through the script c. Shaping emotion of play d. Blocking – where to go on stage e. Business – what to do with the teacup, etc. f. 10 days to 6-7 weeks g. Discover how much you are like the character h. Pacing and energy (perhaps the only aspect of a theatrical production for which general audiences and theatre critics alike are certain to hold the director accountable for i. Might have some specialists come in (fight, dancer, choreographer) Ch 16: The Critic o It doesn’t relate to us o Judgmental nature o We think they could improve o Different values and morals o Comes from our opinion, our perspectives, our worldview o “Theatre demands mutual communication” 2 types of critics: o Professional – make a living being a critic, go to see multiple plays and assess what they saw, gracefully and articulately in a blog or a paper o Education – knowledge o No Bias – seeing the subject with new eyes o Experience – have been around the theatre o Culturally aware o Someone who is passionate about the art o “They must be very fluid at articulating their emotions immediately”  Must work on a deadline – what good does a review do 3 – 4 weeks after it opened o Amateur – students, go see plays from time to time and don’t have a paper, article, or blog o Go in with more opinions or none at all o “I loved it or I hated it” – expression of the play not a critique of the play 5 types of criticism: 1. Observant – someone who has an open mind, and a sharply tuned mind 2. Informed – education to back up criticism, background 3. Sensitive – generally give a more favorable review, more understanding of the human condition 4. Demanding – sets a very high bar, demands excellence 5. Articulate – clearly articulate what you think or what you feel How do we critique? o Am I convinced? o What were they trying to do o Did you feel a specific emotion o What was the production of quality o Was the purpose executed o When we ask ourselves these questions we are engaging in dramatic analysis (informed, articulate, and communicative response of the critic or reviewer to what he or she has seen on stage) 5 critical perspectives: 1. Social significance – does the play give us food for through on social topics/issues a. Civil rights, religion, what it means to be human 2. Human significance – see a part of us or someone we know on stage, see reflections of ourselves leading to evaluations of ourselves a. May change our opinion, link up with our deepest musing and help us put our oftentimes random or suppressed ideas into some sort of order or philosophy 3. Artistic Quality – a. Does it thrill you, draw you in, did it come to life, stimulate the intellect? 4. Relationship to theatre itself – each play redefines the theatre itself and makes us reconsider, at least to a certain extent, the value and possibilities of the theatre itself a. Plays are not simply the things that happen in the theatre; they are theatre 5. Entertainment value – did it entertain me? a. What is entertainment i. Laugh, thrill, believable, hold your attention, make you think or care, etc. ii. Does it stir our feelings – emotional, intellectual, spiritual, aesthetic.


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