TH 114 Notes Ch.1-9
TH 114 Notes Ch.1-9 TH 114
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This 8 page Class Notes was uploaded by Jasmine Navarro on Friday January 16, 2015. The Class Notes belongs to TH 114 at University of Alabama - Tuscaloosa taught by Christopher Billinger in Spring2015. Since its upload, it has received 100 views.
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Date Created: 01/16/15
What is theatre Theatre I is a collaborative form of ne arts gtUUl UUNl r thi i Nature of theatre s everywhere Community Religion Origins Religious rituals Community rituals Celebrations Story telling The universals of theatre LIVE Ephemeral can t be repeated Collaborative Synthesis IV Elements of theatre 1 Audience 11615 1049 AM 2 Performers 3 Place 4 Story V Two Forms 1 performance based a aboriginal dance b live nativity c improve d livejazz 2 text based a western dance b Jesus Christ superstarquot c play d rock concert VI Conventions Rules of 1 Conduct 2 Communications 3 Are contact with the audience Dictate style and genre Willing suspension of disbelief a Created by Samuel Taylor Coleridge poet drama critic b Allows you to empathize with the character c Allows you to accept reality I Purpose of Theatrical Space 1 de nes the performeraudience relationship 2 Helps to de nes convention l way we act and communicate 3 De nes the world of the play 4 ldeally form follows function but not always quotquot39gt ll Conventions of space 1 relationship with the audience proximity seating raked continental etc 2 Sightlines how you can see what you are allowed to see like the technical elements behind stage 3 how scenery is represented 4 how the space helps tell the story Ill Parts of a Greek theater 1 Theatron where the audience sits 2 Parodos the aisles 3 Orchestra where the chorus performs 4 Scene where the acts perform where the word scene comes from Other features a mechane quotGod from the machinequot god takes over the ending of the play a giant crane that lifts the acts above and over the skene how gods would enter and exit in a play b ekkyklema l the cart that holds the quotdeadquot body of the person that died in the play Greeks didn t like violence c periaktoi l like the billboards that chan e an element Parts til 3 Greek Theater that Ehanges the background of a N Shane scene up to three times IV Thrust Stage a History 1 platform stages with scene houses 2 wagon or booth stages 3 discovery spaces in such stages 4 ex the globe pit groundlings b Parts of the stage c Other features of a proscenium picture fame stage apron y space orchestra pit stage curtain footlights U39lbUUNl l Wing Stage Right Stage g 1 g c arena to E blackbox theatre L 4 7r w ioneered b Walter Thrust Stage Empius y i a total theatre circular 39 t l moving platforms l 3 STAGE E 929 1 1 E d other types of space D E j a black box 9 tennis courtprocessional l stage a E E Q found space x environmental space AUDHEMEE i 39 multifocus street theatre l Guerrilla theatre site speci c V Stage directions WILL NOT ALWAYS BE IN THIS DIRECTION Johann Wolfgana Von Godthe created modern SD Wm GHSETFLEE E F F aTii39ia EL armrest h 1 U1 LIL UR Erma L EllaBEE TJLEE more intimate VI Audience Seating Continental seating Balconies Boxes Mezzanine SRO I standing room only Raked seating Wagner A How does space affect performance Smaller spaces make shows Effects moodtone of show Music B What de nes theatrical space De nes your whole experience starts as soon as you make your way to the theatre C How does cultural context of the location affect the space Disney stores around Broadway changes outlook Acting playingliving truth in imaginary circumstances Universal qualities of acting in the theatre NGUDWNH Energy commitment presence Control timing coordination Focus awareness choice Purpose l meaning choice Dynamics rhythm tempo volume Enlargement l audience size speci c to theatre Transformation l character commitment Balance amp Paradox the art of acting 1 interpretation 2 two styles of acting 1 Presentational l heighten stylized 2 Representational l realistic Diderot the paradox of the actor 1 To maintain control of the performance 2 3 4 Acting re ects culture Training Acting training Voice training Movement training Delsarte French 1800 s l training actors in movement feet positions Stanislavski System 1 U1gtUU given circumstances l race class gender physicalmental ability the world in which they live in magic if l if the GC were truereal objective I what drives the character at any given moment psychophysical action how is objective achieved adaptations how does the character s tactics change