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by: Skylar Considine


Marketplace > Texas A&M University > Theater Arts > THAR 101 > INTRO WEST THEATRE DRAMA
Skylar Considine
Texas A&M
GPA 3.89

Amm Quackenbush

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About this Document

Amm Quackenbush
Class Notes
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This 6 page Class Notes was uploaded by Skylar Considine on Wednesday October 21, 2015. The Class Notes belongs to THAR 101 at Texas A&M University taught by Amm Quackenbush in Fall. Since its upload, it has received 146 views. For similar materials see /class/226215/thar-101-texas-a-m-university in Theater Arts at Texas A&M University.

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Date Created: 10/21/15
THAR 101 TEST 1 info The test is Monday Oct 12 during class Information from Chapters 1 8 of the textbook will be included on the test as well as information from the lecture slides quotWhy Theatre However Chapter 1 coverage is minimal No information from the guest lecturer will be on the test Nothing about the media viewing assignments will be on the test BRING 8 X 11 SCANTRON AND PENCIL There will be 50 questions worth two points each multiple choice including some TrueFalse Why Theatre Study Guide THAR 101 Test 1 Gnothi Sauton Know Thyselfquot Theatre reflects society learn about society by looking at the role theatre plays Origins of Theatre Mimetic Instinct Theory Mimesis ImitationRepresentation Embodiment of an action which took place elsewhere Representation of setting Separation of performer and audience Learned behavior children s play Pleasure through recognition Ritual Theory Came out of the Western idea ofthe hierarchy of civilized man and quotprimitivequot man Primitive man s actions were formalized into ritual which become more elaborate and sophisticated gradually ritual became less about purpose and more about beauty Fundamental aspects of theatre what defines theatre Embodiment of an action some kind of physicality without embodiment storytelling Separation of performer and audience agreement between the two Doesn t exist until performed transitory and immediate moves through time Subject matter always human beings Chapter 12 The Audience The relationship between performer and audience We are not just in the presence of the performers they are also in OUR presence Aesthetic distance A theatre audience does not contemplate theatre individually but rather as individuals within a larger group Theory of Group Behavior a crowd develops a collective mind which makes them feel think and act in a manner quite different from that in which each individual of them would feel think and act were he in a state of isolation Each individual audience member s personal knowledge experiences and expectations shape their experience as well as shaping the experience of the group as a whole Factors that contribute to an audience s makeup Gender Race 39 39c 39 o 39 Age Observed Theatre Audience participates vicariously and empathically defines most theatre Participatory Theatre Participation through direct action aim is usually therapy Willing suspension of disbelief always necessary in a theatre by performers AND audience Believing in fantasy Accepting dramatic shiftsin time and place Rapid movements back and forth in time Anachronism something not in its correct historical or chronological time Symbols a sign token or emblem that signifies something else Metaphor stating that one thing is another in order to describe its meaning more clearly Realism resembles observable reality see chart on pg 34 Theatre of Fact Docudramas distinguishing stage reality from fact Nonrealism everything that does not conform to our observations ofsurface reality see chart Chapter3 quot 39D 39and quot I 4 quot of the quot quot39 Pages 44 48 Modern theatre and culture Background information on the playwright Experiences BroadwayResidentAlternative Theatres The test will NOT include pgs 4957 to be covered later Chapter 4 Reviewers and Critics Criticism is the understanding and appraising of a theatrical event A theatre critic is someone who observes theatre and then analyzes and comments on it and should possess Knowledge of theatre history acting directing and design Familiarity with different plays and different styles as well as playwrights The ability to relate theatrical events to society Goes into greater detail in describing and analyzing the theatre event Usually works for a magazine or scholarly journal Critical criteria answers willhelp you learn how to judge a performance What is being attempted Have the intentions been achieved Was the attempt worthwhile Reviewer Usually works for television radio or newspaper on a short deadline for a short piece Reports on the theatrical event Summarizes plot and identi es actors Offers an opinion on whether or not the eventis worth seeing Descriptive Criticism Attempts to clearly and accurately describe what is happening in a play or performance Prescriptive Criticism Attempts to not only describe the play or performance but also offers advice and comments about how it should be done The test will NOTincIude information about dramaturgy Chapter 5 Stage Spaces Proscenium Stage The most familiar type of theatre space and the standard for the last 300 years The auditorium or quothousequot where the audience is seated is slanted or raked Many proscenium auditoriums include a balcony or two and the main floor seating is known as the orchestra originated in Ancient Greece quotfourth wallquot or quotpicture framequot stage Includes a quotfly loft above the stage where scenery can be held or flown in and out and wings along the sides ofthe stage and these allow for elaborate scenery Arena Stage Also known as quotcircle theatre orquottheatre in the roundquot The playing space is in the center of the room with the audience surrounding the stage on all four sides much like a boxing ring Not much scenery can be used as this would block the audience s view Thrust Stage The most widely used space in theatre With a thrust stage the audience sits on three sides or in a semicircle surrounding the stage which projects into the middle of the audience The thrust stage makes the play seem more intimate with the performers acting within arm s reach ofthe audience Modern thrust stages still contain the proscenium arch The Black Box Can be adapted to almost any configuration Seats lights platforms levels are all exible and movable Alternative stages using a space to fit a play rather than making the play fit the space Created and Found Spaces Non theatre Buildings Adapted Spaces lofts warehouses fire stations basements churches breweries etc Utilized by many avant garde theatres Chapter 67 Acting Acting in everyday life Imitation Mimicking or copying someone else s vocal patterns gestures facial expressions posture etc Children are especially good atimitation Role Playing Social roles Personal roles People can hold multiple roles and roles can change Historical or quotClassicalquot Acting primarily found in England during the 18th and 19th century Required formal movement and stylized gestures Not intended to replicate real life Language was poetic Had to project the voice to be heard the audiences were talking too ActingToday Theaudition Monologuescold reading Callbacks Rehearsingthe play Technical rehearsals Opening night The Stanislavski System for training actors developed in the late 19th century but are still used today Concentrate only on highlighted terminology Relaxation Concentration and observation circle of attention Importance of sp Outer or external aspect of acting physical and vocal training and special skills Inner or internal aspect of acting sincerity truthfulness and conviction Chapter 8 The Director the material on Producing will NOTbe covered on the test The Director s job entails Choosing a script The quotspinequot ofthe play The style of the production The directorial concept Concept and period Concept and central image 0 Concept and purpose The physical production Designers for Costume Set scenery and props Lighting Sound Casting Auditions Typecasting Casting against type Rehearsals Blocking I Upstagedownstagestage leftstage right Visual composition Stage pictures Movement Pace and Rhythm Technical RehearsalsDress RehearsalsPreviews


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