Drama Practitioners

Created by J-Caton 

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STANISLAVSKI

One of the greatest of all acting teachers. Referred to as the father of modern acting. Co-founder of Moscow Art Theatre. Created Stanislavsky system (Method Acting).

BRECHT

German dramatist and poet who developed a style of Epic Theater (1898-1956).

ARTAUD

Play writer, director, theorist, influenced by surrealism, mentally crazy, experimented with drugs, most famous for his concept of Theater of Cruelty.

BERKOFF

Born in 1937 Actor, director and playwright. Contemporary, controversial practitioner who believes in 'total theatre'. Focuses on the physicality of the perfromer.

EDWARD GORDON CRAIG

English modernist actor, producer, director, and scenic designer. He built elequent and symbolic sets.

PETER BROOK

Believes you need 3 things for theatre (place, audience, actor) wrote THE EMPTY SPACE.

MEYERHOLD

He was an anti-realist, who trained at Moscow Art Theatre, but wanted to free theater from rules and conventions. Most famous for creating biomechanics. Wanted to train actors to become machines: reduce tension, improve balance & increase kinesthetic awareness.

THEATRE OF CRUELTY

Antonin Artaud's visionary concept of a theatre based on magic and ritual, which would liberate deep, violent, and erotic impulses.

PHYSICAL THEATRE

Theatrical performence in which the primary means of communication is the body, through dance, mime, puppetry and movement, rather than spoken word.

REALISM

Actors recall their own emotions and transfer those feelings to their characters. Set, costume, lighting and acting must all reflect the scene as naturalistically as possible.

THE ART OF THEATRE

Craig believed that people go to 'see' a play not hear it. He put a huge emphasis on design and staging details.

EPIC THEATRE

A term for Brecht's theories. He believed theater was a tool to bring social change. Alienation, he wanted audience to know they were watching a play by: direct address, visible/technical elements.

THE EMPTY SPACE

Brook believed the theatre was for 'the here and now'; it should be spontaneous and any space is suitable for this.

MAGIC IF

Stanislavski's acting exercise which requires the performer to ask "How would I react if I were in this character's position?"

EMOTION MEMORY

Use of previous experience or feelings to inform character reaction.

THE FOURTH WALL

This refers to the boundary between the world of the play and the world of the audience.

INSTINCT RESPONSE

Artaud's ideas for encouraging an earthy respose to real emotional triggers.

UNEASY ATMOSPHERE

The audience are made to feel uneasy by the experience of the play they are watching - Artaud's Theatre of Cruelty links to this atmosphere.

PHYSICALITY

Berkoff's theories which allow the actor to show a phisical interpretation of emotion, meaning and narrative

MULTI-ROLLING

One of Brecht's techniques which helps remind the audience they are watching a play and should not be identifying with a an actor who has become just one character.

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