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THTR 2013

by: Art

THTR 2013 THTR 2013


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Notes from week 1 and 2 in theatre appreciation
Theatre Apprecitation
Les Wade
Class Notes
Theatre 101, intro to theatre, theatre
25 ?




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This 3 page Class Notes was uploaded by Art on Tuesday September 13, 2016. The Class Notes belongs to THTR 2013 at University of Arkansas taught by Les Wade in Fall 2016. Since its upload, it has received 7 views. For similar materials see Theatre Apprecitation in Theatre at University of Arkansas.

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Date Created: 09/13/16
Why do we watch theatre? 1. Human desire for contact 2. Spectacular  a. Feeling of being there 3. Origins: 4. Ritual  a. Egyptian myth of Osiris 5. Play a. Human instinct ­ according to Aristotle, “ludic” aspect 6. Realism vs. playful invention  a. ­double consciousness 7. Aesthetic distance a. Aware of illusion and artifice 8. Willing suspension of disbelief a. Coleridge­succumb or give in to the illusion  i. “Empathy” ­ feeling with the characters b. Colebre  9. Different audience experiences 10. Observed a. Silent onlooker 11. Participatory a. Brought into the show 12. Different historical examples 13. Different spaces 14. Different demographics  15. What do our performance choices reveal about us? a. Taste b. Cultural capital c. Prestige identity markers i. Class, ethnicity, gender, religion, education, etc.. a. Examples i. Ballet, professional wrestling, indie movies, opera,  political convention 16. Understanding dynamic of theatre 17. Frame or magic circle a. Set off from the daily or the common 18. Theatron a. Seeing place 19. What goes into the frame? 20. Actions or behaviors that: a. Entertain b. Amuse c. Challenge i. Revealing values, attitudes, identities ii. Example 1. Who is an American? 21. Theatre as laboratory for our humanity a. How we define ourselves and others 22. Photographs of Diane Arbus a. What is allowed into the frame? b. What do the photos reveal about the “normal”? c. What do the photos expose in American society? d. What do the photos want us to feel or think? i. Flip tables ii. Make normal look abnormal  23. Proscenium a. Fourth wall, boxes 24. The boards a. Stage actors perform on 25. Grand drape a. Curtain  26. Apron a. Stage that extends out into the audience  27. Pit a. Just past the apron  b. Houses the orchestra  28. Trap a. Hidden hole i. Someone with script could be there to feed lines ii. Special disappearing effects 29. Fly loft a. Can store set pieces b. Twice as high as from stage to top of box 30. House a. Seats 31. Stage business a. Small activities  i. Using a handkerchief in an intense scene 32. Business a. Movement b. 4 steps stage right 33. Arena a. Theatre in the round 34. Thrust  a. Audience on 3 sides 35. Black box a. Experimental  b. Seating changes 36. Traverse (profile) a. Performance in the middle, audience on both sides   b. High school basketball with seats on both sides 37. Promenade theatre a. No seats at all 38. Found space (repositioned) a. Not originally made to be theatre b. Factory, old house, old school 39. Theatre as communication a. Performer /audience = building block b. Rhetoric ­ manipulation of thoughts c. Roman Jakobson ­ basic model of communication i. Sender, message, receiver d. Conventions (shared performance assumptions)  i. Aside, soliloquy, musicals e. Theatre as semiotic system i. Field of signs ­ “audience as detective” 1. Signs come with implicit cultural values 40. Elements of the theatrical medium a. Space b. Bodies c. Costume d. Light e. Scenery f. Props (hand held) g. Sound (verbal, non­verbal) h. Motion i. Audience 41. Bob Ford a. Artistic director at theatresquared 42. Green Room a. Offstage  b. Place where actors hang out  43. Antonin Artaud a. Early 20th century visionary i. Theatre of cruelty 44. Richard Schechner a. 1960s director and scholar i. Environmental theatre 45. Immersive theatre today a. Found space b. Intense visual and aural stimuli c. Audience walks amid performers d. Surreal and hallucinatory effects e. Leading companies i. Shunt ii. Punchdrunk


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