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Midterm 1 Study Guide

by: Chloe Beaver

Midterm 1 Study Guide THE2000

Chloe Beaver

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About this Document

Every topic from the study guide is defined and explained, using the textbook and in-class lectures. Contains everything except the section from Wednesday's (tomorrow) class
Theatre Apprec 1
Charles Mitchell
Study Guide
theatre, Appreciation, acting, drama
50 ?




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This 4 page Study Guide was uploaded by Chloe Beaver on Tuesday September 13, 2016. The Study Guide belongs to THE2000 at University of Florida taught by Charles Mitchell in Fall 2016. Since its upload, it has received 122 views. For similar materials see Theatre Apprec 1 in Theatre and Dance at University of Florida.


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Date Created: 09/13/16
MIDTERM 1 STUDY GUIDE Liberal Arts­ Philosophy, history, languages, math and science. ‘Learning’ arts Industrial Arts­ Skilled manual labor Fine Arts­ Seen as beauty and are not used in a practical manner Convention­ an air of cooperation between actors and audience that allows the  play to successfully happen in a fictional reality The Willing Suspension of Disbelief­ by the audience, the ability to believe an  alternate reality for the time being Engaged Theatre­ theatre with elements of social justice, promoting it to the  audience Documentary Theatre­ theatre that comes from preexisting documentary  materials Passion Play/Hell House­ depicts suffering, death, or strong emotion. The Hell  House was created by a church in Texas to take the audience through reenacted  disturbing scenes to create raw emotion Agitprop Theatre­ provides new information, usually political, to the audience Role of the Producer­ the producer is the head of the entire project. They back the show and find investors, and then hire the director Protagonist­ carries the theme of the play; also could be called the main character Breakdown­ character descriptions sent out by acting companies Actors Equity Association­ labor union of theatrical performers fighting for  equality Casting Director­ works specifically to determine the best actor for a part from a  pool of potential performers Stage Manager­ works all activities backstage during a performance, such as  costume, light, and curtain cues Aesthetic Distance­ A state­of­mind that should be used when one is observing a  piece of art. The gap between conscious reality and fictitious reality Theatron­ The origin of the word theater. Greek for “the seeing place”. This was  where you went to ‘see things’ during B.C. Bentley’s Working Definition of Theatre­ A pretends to be B for C. The actor  (A) becomes the character (B) for the audience (C) Given Circumstances­ the situation of a scene that gives the actors an objective to be accomplished through tactics Upstage/Downstage­ Stage directions referring to where an actor or prop should  be placed onstage. Upstage refers to farther back on the stage while downstage  refers to closer to the front of the stage where the audience begins ACTING Rhetorical Tradition­ Using language to influence the thoughts and decisions of  others, intertwining with people’s views about government, race, etc. Emotions =  Gestures  Quintilian­ (35­96 AD) Wrote books with numerous pictures of hand  motions. Each one supposedly inspired a different emotion Declamatory Style­ Every dramatic passion or major emotion had an intonation  and a gesture. Mastering ‘the passions’ was the most important thing and was the  only way to express emotion (i.e. a hand, facing outwards, on the forehead shows  grief) Decorum­ Not putting in too much emotion so that the action is excess, rather  modulating the action so that you can switch from emotion to emotion quickly History of Actor Training: Francois Delsarte­ Created the “Science of Applied Aesthetics” after observing  people in day to day life. He recorded the movement and position of every part of  the body in every emotion or state Constantine Stanislavski­ created Moscow Art Theatre, acting academy, and the  creative state of mind  Moscow Art Theatre­ (MAT)  Creative State of Mind­ that magical feeling onstage. Created through  relaxation, concentration, naiveté, and imagination  Three Concepts: o Affective memory­ Evoking memories to help the emotion in a  performance o The Magic “If”­ asking yourself what you would do in the situation  to portray emotion o Method of Physical Actions­ The character’s objectives influences  the way the actor expresses the action Anton Chekhov­ Writer of The Seagull, Uncle Vanya, and the Three Sisters CASTING Typecasting­ Casting based on the ‘type’ of person the actor is or looks like  Leading man  Leading woman (ingénue)  Young lovers  The friend (minor character)  Character actor (extra) Non­traditional casting­ a type of casting in which ethnicity and gender is not  important to a character or to the development of the play Color­blind Casting­ when race is eliminated entirely from criteria of casting. In  color­blind casting it is possible to have a white father with black children, etc.  This is due to willing suspension of disbelief Headshots­ a picture of the head of a potential actor that shows what they look like in real life, sent to the casting company. Influential in typecasting DIRECTING Role of the Director­ the director determines the approach to the play, and has the  highest artistic say in the production. One person under the producer Climax­ the most intense or exciting part of the story Spine­ the main point of the play. The protagonist struggles to __________ Point of Attack­ the place in time where the playwright decides to start the story  A late point of attack allows the playwright to reveal the past for effect  An early point of attack shows development of characters and plot over time Director’s Concept­ how the director interprets the play, producing the stage  production Open/Closed text­ the time and place in an open text leaves room for  interpretation and imagination while the time and place in a closed text is set in  stone Blocking­ actions dictated by the director to tell a story according to the text Organic blocking­ natural movements by the actors themselves in interpretation to the text Business­ minor actions given by the director that makes an actor more human (i.e. playing with keys instead of just standing) Stage Picture­ the way actors and props are arranged on the stage, in a way that  tells the story and expresses symbolism and meaning of the text Open Call­ anyone is invited to audition Closed Auditions­ casting agents specifically invite certain actors, usually well  known, to audition Call backs­ Inviting certain actors who have previously auditioned to come back  and read sections of the script without practice On book/Off book­ On book is still reading from the script and asking for lines,  while off book is when the lines and actions are completely memorized by the  actor


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