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Final Study Guide

by: Julia Caine

Final Study Guide THEA-UT 510

Marketplace > New York University > Drama > THEA-UT 510 > Final Study Guide
Julia Caine
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This study guide includes definitions for all the required terms, 45 questions from quizzes with answers, and important slides and captions
Introduction to Theatre Production
Edward Ziter
Study Guide
final, theatre
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This 13 page Study Guide was uploaded by Julia Caine on Wednesday May 4, 2016. The Study Guide belongs to THEA-UT 510 at New York University taught by Edward Ziter in Spring 2016. Since its upload, it has received 68 views. For similar materials see Introduction to Theatre Production in Drama at New York University.


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Date Created: 05/04/16
ITP FINAL STUDY GUIDE KEY TERMS AND DEFINITIONS  Argand Lamp o Type of oil lamp designed for the theatre  10 times brighter than just candles o Used a hollow cloth wick o Reflectors added in theatres to focus light  Theatre Royal Drury Lane o Theatre built in 1663 in England’s Covent Garden  Theatre Royal Covent Garden o English opera house built in 1732  Teatro alla Scala o Italian opera house built in Milan in 1778 o Had covered drive and horseshoe auditorium o Five tiers of boxes  Grand Théâtre de Loutherbourg o Theatre made by Phillip James de Loutherbourg  Old Price Riots o Riots at Covent Garden to protest a raise in ticket prices  Disrupted performances for 60 straight nights until prices were lowered  Phillip James de Loutherbourg o French artist o Designed Grand Théâtre de Loutherbourg  JR Planche o English antiquarian  Edwin Booth o Famous 19 century American actor  Known for his Shakespeare performances  Booth’s Theatre o Theatre built by Edwin Booth in 1869 o First to have sunken orchestra pit o Arm rests and ventilation under seats o Gas lighting  Hydraulic lifts for scenery  George II, Duke of Saxe-Meiningen o Founder of the Meiningen Players  Intensely focused on realism  Not funded by state  Able to spend months on projects  Paris Opera House o Opera house built in 1874 by Napoleon III  Nephew of the dictator  Held competition to find architect  Festival Theatre at Bayreuth o Theatre built by Richard Wagner o Fan shaped auditorium  No center aisles  No apron  Sunken orchestra  Richard Wagner o Designer of the Festival Theatre at Bayreuth  Charles Kean o Famous Irish actor  Henry Irving o Famous English actor o Known for his intense realism  Lots of focus on small physical gestures  Realism o Inclusion of small, extraneous details to give the impression of reality  Naturalism o Believes that small details shape character  Builds on realism  Symbolism o Theatre that strives more for the mood of the play than the actual setting and detail  Constructivism o Theatre with abstract sets that focus on effieciency  Émile Zola o Most famous advocate of realist theatre  Believed heredity and environment shaped human character  Alteration of Darwin  André Antoine o Created his own realist theatre company  Wanted a space to perform Zola  Théâtre Libre o Theatre company created by André Antoine  Konstantin Stanislavsky o Created Moscow Art Theatre o Highly focused on realism  David Belasco o Created Belasco Theatre o Was able to make realism commercial  Aurélien- Marie Lugné Poe o Most famous symbolist director o Added ‘Poe’ to his name in honor of Edgar Allen Poe o “The word creates the décor”  Théâtre de L’OEuvre o Symbolist theatre built in Paris in 1893  Adolphe Appia o Symbolist theorist o Worked with opera o Believed rhythm of text is key for entire production  Stage space enhances actors movements  Edward Gordon Craig o Symbolist advocate o Felt realism debased theatre  Wanted to get rid of actors  Instead wanted marionettes o Inspired by Henry Irving  Vsevolod Meyerhold o Constructivist set designer o Wanted to create space for actors to act in  More powerfully project meanings of their actions  Expressionism o Rejection of art and beauty  Otto Reigbert o Expressionist set designer  Erwin Piscator o Produced many expressionist plays o Big influence on Bertolt Brecht  George Grosz o Expressionist set designer o Worked with Piscator  Casper Neher o Expressionist set designer o Worked with Brecht  Bertolt Brecht o Expressionist playwright o Used gestures that comment on itself o Setting becomes driving force of play o Looked at artfulness of object rather than object itself  Robert Edmund Jones o Nonrealistic set designer o Worked with Eugene O’Neil  Norman Bel Geddes o Modernist set designer o Designed The Miracle for Max Reinhardt  Jo Mielziner o Modernist set designer o Wanted to strip away what’s unnecessary  Mordecai Gorelik o Modern symbolic set designer  Jerzy Grotowski o Postmodern acting theorist o Theatre is ritual and communal experience  Create relationship between actor and audience  No costumes, scenery, unnecessary props  No fourth wall  Jerzy Gurawski o Postmodern designer o Worked closely with Grotowski  Richard Schechner o Postmodern director o All space for both actors and audience  Environmental Theatre o Theatre aimed at heightening audience awareness by eliminating the distinction between audience and actors’ space  Ralph Koltai o Postmodern set designer  Ming Cho Lee o Postmodern director o Mixed styles and time periods  Robert Wilson o Actor, dancer, set designer, sound designer, lighting designer, sculptor, choreographer, director, playwright, painter, video artist o Created silent operas  Josef Svodoba o Postmodern theorist o Used projections that live actors interacted with o Different scenes could happen at the same time o Used mirrors to create multiple reflections of actors  Action Design o Theatre more focused on effect of performance than beauty of art  Drama Therapy o Drama intended to help patients overcome trauma  Therapeutic Theatre o Drama intended to help patients overcome trauma  Theatre for Development o Drama used to empower communities  Theatre for Education o Drama used to teach  Community Based Theatre o Drama based in certain group of people QUESTIONS FROM QUIZZES (answers at the bottom) 1. In his Recollections, James Boaden explains that when John Phillip Kemble opened the new Covent Garden in 1809 he needed new scenery because a. The enlarged theatre (which would now account for over 700 pounds sterling in ticket sales) would require scenery of greater height and width b. The old scenery had burned c. They had switched from painting flats to three-dimensional properties d. Capon had destroyed the scenery when Kemble withheld his wages 2. In response to the new ticket prices at Covent Garden in 1809 a. Parliament passed a bill condemning Kemble b. Audiences stopped coming to the theatre c. Theatre-goers circulated a petition demanding that the old prices be restored d. Audience rioted for 61 nights 3. In his Recollections, O’Keefe reveals that by 1780 a. The scene painter was given a copy of the drama from which to design a setting in card-paper, and then gave orders to additional painters b. The author was often brought into the scene-room to comment on the progress of the work c. The wardrobe keepers were given a copy of the drama to produce the dresses of each character for the author’s comment d. All of the above th 4. Mlle. Clairon performed without panniers (or side hoops) which 18 century women wore to widen their skirts. Diderot responded that a. This was a good thing because such simplicity was more natural b. There would be no point in having costume designers if actresses wore whatever thing they had lying around the house c. This was a bad thing because it was indecent for a woman’s outline to be immediately visible d. It might seem natural but it was out of character 5. The La Scala Opera House (1778) of Milan included a. A covered drive b. A horseshoe auditorium c. Five tiers of private boxes (loges) with private retiring rooms d. All of the above 6. In lecture sentiment and sensibility were defined respectively as a. Pragmatic approaches and overly emotional approaches b. Deeply experienced feeling, sensation, or impression, and the capacity to respond to stimuli c. The title of Jane Austen’s novel d. Scene painting using sizing and scene painting using oil paint 7. Mlle Clairon made several suggestions about costuming. Which was NOT one of her suggestions? a. The costume designer should coordinate all elements of costume to create a consistent and accurate image of the period depicted. b. Chiffons (ornamental accessories) and giant headdresses should be avoided. It makes the actress stiff and distorts their faces. c. Clothing should contribute to character. Hermione might have a magnificent dress but her grief should be evident in air of neglect. d. Costume contributes to illusion, but should not be exact that would be indecent and ridiculous. The dresses of antiquity are only proper to paintings and sculptures 8. The scene painting be DeLoutherbourg for Maid of the Oaks was a. Said to cost 1,500 pounds and compared to the landscape of Claude b. Was reportedly created in 15 minutes c. Was derivative of the work William Capon had done at the Covent Garden d. Ignited on the third performance leading to the destruction of the theatre 9. Marie Justine Favart innovative costume in Les Amours de Bastien et Bastienne was a. A pair of flesh colored leggings that gave the impression of nudity b. Wooden shoes and a linen dress such as village women wear that left her arms c. A Turkish costume imported directly from Constantinople d. A fat suit that, while appropriate to the character, left the critics convinced that the actress had gained 40 pounds 10.In lecture the increasing capacity of 18 century English theatres was discussed. It was mentioned that a. In 1732 Covent Garden Theatre had a capacity of 1,397. In 1793, Holland renovated Covent Garden to hold 3,000. And in 1794, Holland redesigned Drury Lane to hold 3,611. b. The Lyceum sat 1200 at the start of the century but after William Capon’s renovations it sat 1,375. c. Both the Globe and The Theatre doubled their capacity d. Lincoln Inn’s Field seated 1,000 at the start of the century and 1,850 by the end of the century 11.When Huang Zuolin says that “fluidity” is a salient feature of traditional Chinese theatre, he refers to a. The way silk costumes shimmer with the actors’ graceful movements b. The frequent use of water as both a symbolic and representational stage property c. The ratio of the tangential frictional force per unit area to the velocity gradient perpendicular to the direction of flow of a liquid d. The scenes flow one after another, with an appropriate rhythm, unlike Western theatre that inserts breaks such as scene changes or the lowering and raising of the curtain 12.When Huang Zuolin refers to “sculpturality” as a salient feature of Chinese traditional theatre, he refers to a. That the actors are not under a Western proscenium (creating a flat stage picture) but stand out on a square platform b. The fact that the Chinese state is decorated with multiple sculptures c. The fact that every job in the theatre, from a custodian to lead performer, must approach their job like an artist preparing to work in clay d. The tendency of actor to freeze in a sculpture-like tableau 13.Huang Zuolin and his wife Dani were the first in China to a. Teach Stanislavsky technique b. Perform the leads in Romeo and Juliette c. Perform Beijing Opera in Western dress d. All of the above 14.According to Tom Robertson’s essay “Theatrical Types”, the stage carpenter a. Can always be found hammering away all year long b. Works hard during the pantomime, when all other theatre workers become insignificant c. Is always the first to show up at the theatre and last to leave d. All of the above 15.When the noted antiquarian, Francis Douce, explained to John Kemble that he was incorrect to include columns and other architectural elements of the age of Emperors when the plays were set in the republican era, Kemble a. Punched him in the nose b. Immediately changed the set from imperial marble to Republican brick despite considerable expense c. Exclaimed, “Why if I did, Sir, they would call me an antiquarian.” d. Didn’t understand what he was referring to 16.This theatre installed electric lighting in 1881, the first English theatre to do so a. The Savoy b. Covent Garden c. Lincoln Inn’s Fields d. The Lyceum 17.Limelight refers to a. A system of lighting whereby streams of hydrogen and oxygen gas are lit, heating a piece of calcium oxide (quicklime) that casts a brilliant glow b. The greenish hue of light that was produced by the Argand lamp c. A dietetic lime-flavored drink popular in the Victorian period d. A system of lighting whereby an electric current passed through a stick of like (calcium rich rock) producing a bright glow 18.According to Tom Robertson’s essay “Theatrical Types” the stage manager a. Directs everything behind the scenes b. Argues with an armourer about the correct cut of a shield c. Directs a wardrobe keeper of the correct cut of a mantle d. All of the above 19.Aurélien- Marie Lugné Poe’s motto at Theatre de L’Oeuvre was a. Love the art in yourself, not yourself in the art b. To save the theatre, the theatre must be destroyed, the actors and actresses must all die of the plague c. Follow your nose, it always knows d. The word creates the décor 20.William Poël’s 1901 prothction of Everyman was a. Staged in the 14 century Charterhouse School in London b. The first time that a medieval play had been staged in modern times c. Went on to play on conventional theatres and toured throughout Britain d. All of the above 21.Naturalism in Theatre was authored by a. Adolphe Appia b. Andre Antoine c. Thérèse Raquin d. Emile Zola 22.Edward Gordon Craig said that since the actor’s whole nature tends towards freedom a. There is no institution so conducive to the forming of a free-born people as theatre b. The theatre must be similarly free in its rejection of convetion c. He was useless to the theatre and should be replaced by a “uber- marionette” d. Biomechanics could never succeed 23.In lecture it was asserted that the avant garde ultimately concluded that techniques of the bourgeois theatre a. Were no longer economically available b. Would enable the theatre to both please and instruct c. Were complicit in the lies of the bourgeois theatre d. The only way to assure a large subscriber base 24.In Naturalism in the Theatre, Emile Zola asserted that costumes a. Should be designed as abstractions (rather than reproductions) of what is commonly worn b. Are of little significance; the theatre is about action c. Should be supplied by tradespeople d. Should be magnificent rather than correct 25.In Light and Space, Adolphe Appia asserts that in the forest scene for the opera Siegfried, the designer a. Should use distemper painting rather than oil as it dries more quickly and is cheaper b. Should use a cut forest scene with ground rows that break up the composition c. Should employ perspective scenery as an ornamental backdrop to the actor d. Should no longer seek to give the illusion of a forest but that of a man in the atmosphere of a forest 26.In lecture it was asserted that despite Naturalism’s echoing of Evolutionary theory, Naturalism differed in a. Its desire to entertain b. Its adoption of biomechanics c. Its attempt to account for the behavior of specific individuals d. All of the above 27.Andre Antoine created the Théatre Libre in 1887 because a. He was tired of being attached as a commercial artist b. He had grown bored in his position as director of state theatre Odéon c. The amateur company he was part of refused to do a dramatization of Zola’s Jacque Damour 28.Which of the following designed productions written by Bertolt Brecht? a. Otto Reigbert b. Casper Neher c. Ted Otto d. All of the above 29.Erwin Piscator wrote that he first introduced stage projections a. When working with Bertolt Brecht on an adaptation of Edward II b. After WWI, when trying to do theatre for workers on an empty stage with very little money c. During WWII when rationing deprived the theatre of paint d. With Otto Reigbert when directing Hasenclever’s The Son in 1919 30.Who wrote: “A good scene, I repeat, is not a picture. It is something seen, but it is something conveyed as well: a feeling, an evocation…It says nothing but it gives everything” a. Norman Bel Geddes b. Caspar Neher c. Jo Mielziner d. Robert Edmond Jones 31.On the subject of stage furniture, Robert Edmond Jones wrote a. Forget the chairs, the actors can stand b. In the hands of a master designer, a sofa sings of human misery and a bed of a young girl’s hopes and dreams c. There is no such thing as a symbolic chair. A chair is a chair. It is the arrangement of chairs that the magic lies d. The theatre’s only salvation will be the plague. Once the actors are dead can we fully enjoy the drama truthfully apportioned salon 32.When Robert Edmond Jones was unable to study at Edward Gordon Craig’s scene design school a. Jones obtained permission to observe Max Reinhardt b. Jones began working with Harley Granville Barker in London c. Jones enrolled in Harvard d. Jones created in own theatre in London 33.For Norman Bel Geddes design for Reinhardt’s 1924 production of The Miracle a. They created a setting that would transform to externalize the internal experiences of the main characters b. They flew characters in angel costumes over the audience c. They redesigned the interior of the Century Theatre to look like a cathedral d. All of the above 34.Robert Edmund Jones said of his own costume design a. Many costumes I design are intentionally somewhat indefinite and abstract. A color, a shimmer, a richness, a sweep- and the actor’s presence! b. I give the greatest attention to details in costumes, because an excess of jewels or a lace ruff is often the key for opening a character c. Give me simple costumes, provided by a trade person, truthful to the setting and devoid of art d. A naked actor will always generate greater interest than anything I could design 35.In lecture several elements of Expressionistic drama were described. Which was NOT one of the elements? a. Realistic stage settings b. Telegraphic speech c. The stage space is a projection of a character’s lived experience or perceptions d. Episodic structure rather than linear or logical progression 36.The term “Expressionism” a. Was coined in 1919 to describe the play The Son by Walter Hasenclever b. Was never used in the early part of the 20 century and was only subsequently applied to painters and playwrights of that period by recent art historians c. Was coined in 1910 by Erwin Piscator d. Was coined in 1901 to describe painters like Van Gogh, Cezanne and Matisse 37.In lecture several points were made about Jerzy Grotowski’s work. Which was NOT one of the points? a. Grotowski abandoned the proscenium b. Grotowski sought to recast theatre as ritual and communal experience c. Grotowski tried to reduce theatre to its essential elements d. Grotowski made extensive use of projections and video 38.Which designer used mirrors to present to audiences actors who crawled on the floor or performed beneath stage floor? a. Jarislav Malina b. Ming Cho Lee c. Robert Wilson d. Josef Svodoba 39.Ralph Koltai’s set for Zimmerman’s The Soldiers at the Opera de Lyon featured four performances spaces a. Three of which were over-sized parts of a woman’s body b. Which were simply four unadorned separate platforms c. The stage and three areas in the audience d. In four different venues, requiring that audience travel throughout the city in buses chartered for the performance 40.In the 10 years Grotowski created theatre works (before a period of paratheatrical practice) Grotowski created a. 40 productions b. 21 productions c. 11 productions d. 100 productions 41.In one performance of Dionysus in 1969 a. The set caught on fire and audiences assuming this was part of the show remained seated while the NY Fire department entered the theatre and extinguished the flames b. The entire audience walked out before the last act, leaving the actors to perform to an empty house c. Some audience members rescued to actor playing Pentheus, and Schechner had to ask an audience member to perform the role to complete the performance d. Several audience members began performing Euripides version of the play, such that the two scrips were performed simultaneously 42.Which statement was made by Josef Svodoba? a. I don’t want a static picture but something that evolves… a setting that is dynamic, capable of expressing changing relationships, feelings, moods, perhaps only by lighting during the course of the action b. Weeds, they say, grow quickly, and that wilderness of weeds, soon sprang up. The future of the Divine Puppet, attracted fewer and fewer lovers c. To save the other, the theatre must be destroyed, the actors and actresses must all die of the plague. They poison the air, they make art impossible. It is not Drama they play, but pieces for the theatre d. All of the above 43.Artaud sought to a. Aggressively assault the sense of spectators b. Transgress the limits of communication c. Establish a direct communication releasing a latent cruelty stored in the organs of spectators d. All of the above 44.For a Brussels production of Hamlet (1965), Svodoba designed a set a. Perfectly accurate reproduction of a medieval Danish Castle b. Composed entirely of a video projections c. That recreated Elizabethan performance conditions d. Of massive walls of rectilinear elements, both solid and cavities, that slid forward to create platforms and staircases 45.With the Insect Comedy (1965) Svoboda saw his challenge as to project on stage “the sheer multitudinous of man.” He accomplished this with a. A cast of 478 actors b. By paradoxically casting one actor to play all the roles and not including set or design elements c. With 25 by 25 foot mirrors with honeycomb segmentation and angled to the stage floor, which was a giant turntable d. Filling the stage with models of dead insects Drury Lane Holland. 1808 Covent Garden Smirke. 1809 Covent Garden Pouf au Sentiment Fitzgigio Riots Covent Garden 1763 Old PrOld Price Riots La Scala La Scala Clairon. Orphan of China 1755 Grand Theatre Bordeaux Argand Lamp Edwin Booth Booth's Theatre Festival Theatre at Bayreuth Irving's Macbeth Paris Opera Meiningen Players Ernest Ludwig Kirchner Self-Potrait Otto Reigbert. Drums in the Night. as Soldier 1915 Brecht 1922 3Penny. Brecht. Caspar Neher. 1928 Mother Courage. Brecht. Ted Otto. 1949 Robert Edmund Jones. The Dumb Miracle Wife. 1915 1Robert Edmund Jones. Hamlet. 1921 Death of a Salesman MAT Doll House 1890 Dionysus in 69 Easiest Way 1909 Poel's Hamlet 1881 Lugne Poe Hamlet 1913 Constant Prince The Wedding on the Eiffel Tower, 1921 Koltai. Suddenly Last Summer. 1998 Josef Svoboda. Insect Comedy. 1965 Answer Key 1-A, 2-D, 3-D, 4-A, 5-D, 6-B, 7-A, 8-A, 9-B, 10-A, 11-D, 12-A, 13-A, 14-B, 15-C, 16-A, 17-A, 18-D, 19-D, 20-D, 21-D, 22-C, 23-C, 24-C, 25-D, 26-C, 27-C, 28-D, 29-B, 30- D, 31-C, 32-D, 33-C, 34-A, 35-A, 36-D, 37-D, 38-D, 39-A, 40-C, 41-C, 42-A, 43-D, 44- D, 45-C


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