| Term | Definition |
|---|
| george II duke of saxe meiningen | first director of the modern era |
| 2 levels of work a director has | technical and artistic |
| the greeks called the director didaskolos which means what? | teacher |
| what is the real importance of the realistic directors in the 19th century | they opened the theatre to deeper psychological interpretation |
| gordon craig | most influential proponent of the stylized director |
| the contemporary director synthesizes? | script, design and performance |
| Jobs of the producer | hiring the director, establishing the budget, selecting the play |
| principal functions of the director are | envision the production and provide leadership |
| preparatory phase is? | play selection,casting, and designer selection |
| implementation phase includes? | staging, actor coaching and pacing |
| how does the design phase genrally take place | in personal confrences |
| casting decision are usually made in? | 2-4 minute auditions |
| the most obvious directorial function is | Staging |
| staging includes | blocking business and fights |
| in the final rehearsals the directors job shifts to what | coordinationg the plays elements |
| in technical rehearsal the director does what | releases control to the actors and technicians |
| most remarkable recent developments in american theatre is | emergence of directors with graduate level education |
| four basic staging formats of modern theatre | proscenium, thrust, arena and black box |
| elements of theatre design | scenery, lighting and sound |
| the first great period of scene design began in | italy during the renaissance |
| modern scenery is | realistic or metaphoric |
| best scene design today is | intrinsic to the action |
| traditional bulding block os stage scenery are | platforms, flats and draperies |
| visualizations are | sketches renderings and models |
| earliest theatres created lighting effects by | timing the plays with the sunrise and sunset, developing halos for jesus and his disciples, and using oil lamps for illumination |
| what brought stage lighting into its modern phase | the gas light |
| primary considerations of modern lighting design | visibility and focus |
| lighting for bertolt brechts didactic theatre | bright uncolored and unmagical |
| functions of modern costuming | ceremonical magic, an expression of character individuality, and wearable clothing |
| important step in costume design | cutting, draping and stitching |
| making new fabric appear old and used is called | aging |
| good costume design creates a sense of | character, period, and style |
| like costuming makeup serves fuctions as | ceremonial and illustrative |
| sound effect device of the premodern theatre include | thunder sheet, rain drums, and thunder runs |
| sound enhancements employed in the modern theatre are | effects, music and amplification |
| person who generally runs the show, calls the cues etc | production stage manager |
| hanging of lights is supervised by | master electrician |
| proscenium | the wall that separates the stage from the auditorium in a modern theater |
| thrust stage | more of an actor centerent arrangement, a theater stage that extends out into the audience's part of a theater and has seats on three sides |
| scene designers | work fundamentally with space, time and images, Responsible for interpreting plays through shaping and defining the stage space. |
| flats | wooden fram covered in fabric or hard surfae and then painted often to resemble a wall or portion of one. traditional staple of stage scenery particularly in realistic theatre. |
| cue sheet | list of when the lighting changes |
| basic makeup consists of | foundation, color shading and various special applications |
| founder of theatre libre | andre antoine |
| person responsible for the financial support of the production | producer |
| off book | rehearsing without a script after lines are memorized as opposed to on book, rehearsing with a script |
| 90% of directing is | casting |
| basic archituectur of staging | blocking |
| blocking | specific staging of a plays movements, ordinarily by the director it refers to the precise indicationsof where actors are to move moment by moment during the performance. |
| longest running musical in history with over 17000 performances | the fantasticks |
| plays distiguished by music | shakespears plays, brechts theatre of alienation, becketss thearte of the absurd |
| first broadway musical in america in 1866 | showboat |
| golden age of american musical | 1920-1950 |
| wrote musicals in the early golden age | george and ira gershwin, cole porter, rodgers and hart |
| early musical comedy included | laughably simply plots, romantic comedy characters and pretty girls in skimpy costumes |
| musical drama came of age with rodgers and harts what? | pal joey |
| musical cancelled by government officals one hour before opening | cradel will rock |
| composer of on the town and west side story | leonard bernstein |
| musical in its second period of growth characterized by | serious plots and sophisticated music |
| finest pieces of fully acted vocal literature in america | show boat by jerome kern and oscar hammerstein |
| pulitzer prize winner | of thee i sing |
| initiated growth of the importance of choreography in musicals | agnes de mille |
| improvisation with performers and dancers by micheal bennett | chorus line |
| three major contributers to musical | compuser lyricist and author |
| musicals by andrew lloyed webber are notable for | lush music |
| general direction of todays musical theatre | more serious subjects |
| dominant form of dramatic art | music theatre |
| majority of broadways income is based on | musical productions |
| what themed plays dominated american commercial theatre in the 40s and 50s | serious themed |
| dancer turned choreographer | gower champion |
| influential figure in modern musical theatre | stephen sondheim |
| musical review of presidential assassins | assassins |
| musical based on a poem written in 1928 | the wild party |
| stagecraft in the romantic period let to | universal acceptance of the proscenium theatre |
| tenets of realism | renounced idealized scenery, eschewed verse and renounced stylezed costumes |
| principle philosophy of realism was based on | the scientific method |
| realism rejected simplistic stylized melodrama for | inquiries into fundamental values |
| aesthetic of the 4th wall removed sees theatre as | a living laboratory |
| playwright most responsible for inroducing realism to the world | henrik ibsen |
| rearly realists include | gerhart hauptman, george bernard shaw and eugen brieux |
| goal of naturalism in theatre | eliminate all dramatic convention |
| realism reached stylistic height in the works of | anton chekhov |
| three sisters focuses on primarily | complex network of relationships |
| eloquence in realism as deomstrated by chekhov is found in | details of dialogue and action |
| first major american dramatist | eugene oneill |
| director chekov collaborate with | konstatin stanislavsky |
| chekovs outstanding technique in playwriting was to | develop plots and themes between the lines |
| american realists include | tennessee williams, arthur miller and william inge |
| realisms goal | likeness to life |
| plays repulsive in his time | ibsens |
| antirealism had its beginnings in | symbolism |
| tenets of symbolist movement | purity of vision, poetic encapsulations, and fantastic visual effects |
| battle of theatres in paris was between | antoine and fort |
| expressionism | form of theatre emphasizing dialogue, piercing sounds and exaggerated scenery with bright lights |
| textbook example of expressionistic play | the hairy ape |
| theatre that is obsessed with the futility of action and the pointlessness of direction | the theatre of absurd |
| absurdist theatre | samuel beckett, eugene ionesco, and harold pinter |
| brechts epic theatre includes | use of masks, songs and satire, highly political content and alienation of the audience fromt he play |
| avante-garde | the advance battalion in military terms of an army that goes beyond the front lines to break new groung in theatre terms those theatre artists who abandon conventional models and create works that are in the forefront of new theatrical movementsand styles |
| post modern approach to theatre | dismisses logic and casual determination |
| 1st great postmodern theatre movement in zurich 1916 | dada |
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