Drama Practitioners
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20 terms
Terms | Definitions |
|---|---|
 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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