| Term | Definition |
|---|
| artist | describes a person who has a great deal of skill or talent or whose work shows considerable technical proficiency or creativity. |
| aesthetics | the branch of philosophy that deals with nature and expression or beauty |
| art | emotionally provoking, a form of human expression, consists of a subject, and a medium, makes you feel something, provides a perception of order |
| subject | what work is about |
| medium | the method, substance, style, and technique used to create the work |
| spatial arts | sculpture and architecture, are created by manipulating material and space |
| pictorial arts | drawing and painting-created by applying line and color to two-dimensial surfaces |
| literary arts | created with written language |
| performing arts | theater, music, opera, and dance. An art performed by a person |
| theatron | greek-seeing place |
| dram | greek- to take action, to do, to make, or to accomplish |
| conflict | the key to the movement of a story and is what qualifies a theatrical work as a play |
| royalty payment | like paying rent for the playwrights intellectual property |
| writers for hire | groups of writers who are hired to do the corporations bidding and are fired if they don't measure up |
| parody | allows alteration of copyrighted material-exaggerated imitations that are done for comic effect or political criticisms |
| public domain | songs, plays and pictures that are owned by the general public and everyone has the right to produce or change them, without permission or payment to the creditor |
| three qualities of theatre and drama | 1. theatre is always live 2. they are always about human beings 3. collaborative forms of art, requiring more than one type of art and artist to produce |
| commercial theater | includes big musicals as well as comedies and dramas that are intended to be entertaining and profitable |
| historical theater | presents dramas that use styles, themes and staging of plays of a particular historical period |
| political theater | allows playwrights, directors, and actors to express their personal opinions about current issues, trends and politics |
| experimental plays | experimenting with styles and ideas that push the limits of theater |
| cultural theater | designed to support heritage, customs, and point of view of a particular people, religion, class, country or community |
| values | the principles, standards or qualities considered worth while or desirable withing a given society |
| fro asoro magnese | nigeria- the machine that speaks but accepts no reply, the term for television |
| patrons | individual contributors to the arts. corporate funding-whether from the smallest mom and pop companies or mammoth corporations, they contribute to the arts. donating is good for business |
| government funding | the money spent each year on the arts by federal, state, and local entities |
| national endowment for the arts | the federal agency that distributes our arts tax dollars, one of the smallest of all government ageinces |
| bourgeois theater | the lion king, beauty and the beast, they per sue maximum profit by reaffirming the audiences values just as rigourosly as any big budget hollywood film |
| copyright | a legal guarantee granted by the government to authors, playwrights, composers, choreographers, inventors, publishers, and or corporations that allows them to maintain control and profit from their creative work., |
| theater of the people | where there are few stars or spotlights, this type of theater provides a forum for everyday people to express themselves, it gives a voice to those whoa re seldom heard in the mainstream media |
| culture | the values, standards, and patterns of behavior of a particular group of people. expressed in a peoples customs, language, rituals, history, religion, social and political institutions, and in its art and etneratainment |
| pop culture | the fads and fashion that dominate maninstream media, music and art for a period of time |
| eculturation | the process by which we learn about our culture, and and entertainment are often sources of this |
| stereotypes | shortcuts in thinking that attribute a generalized identity to people who are in like us |
| theatre of identity | promotes a particular peoples cultural identity and invites member of that culture and other cultures to experience that cultures joys, problems, history traditions and point of view |
| theater of protest | objects to the domains cultures control and demands that a minority cultures voice and political agenda be heard |
| cross-cultural theater | mixes different cultures in an attempt to find understanding or commonality among them |
| harlem renaissance | a time when black artists, actors, poets, musicians, and writers converged into Harlem to tell the stories of their lives, their history, and their people contrary to whites stereotypes of blacks |
| black face | whites put on black makeup and perform as black people |
| ethnocentrism | we all se the world from our own point of view and most people tend to think their take on it, as seen through their culture is the correct view |
| call | the time actors arrive at the theater |
| curtain | the time the play starts |
| prop table | has each prop laid out and clearly labled |
| sound board operator | runs various sound cues and makes sure all speakers, mics, amplifies, backstage monitor and intercom are working |
| house | the place where the audience sits |
| prop check | actors do this to ensure that everything is where is needs to be |
| house management | in charge of all the ushers. deals with any seating problems and makes sure the audience finds their seats and that the play begins on time |
| greenroom | where actors wait before their entrances |
| assistant stage manager | makes sure that everything runs smoothly during the scene |
| running crew | anyone helping out backstage |
| stagehands | **** scenery and generally set up the play for the next scene |
| dresser | help actors make quick costume changes |
| riggers | (flymen) mount and operate all curtains, sets and anything else tht must move via the fly system about the stage |
| legs | the curtains used on the sides |
| teasers | the curtains that frame the top of the stage |
| sound designer | works with various effects recordings as they synthesize journals, make sure everything from the pre show music to the sound of a doorbell is exactly right |
| set designer | design sets, work several months in advance |
| dramtrug | literary advisor and expert in therater history who helps the director understand specifics about a plays performance history, the historical period in which the play is set, as well as the plays style and verse or a litearry manger, that they assist with a plays development by setting up workshop productions and staged readings to help the play find is final form |
| technical director | superivises the construction crew, which includes painters, carpenters, electricians, wigmakers, and others that are collectively known as the tech crew. |
| draper | studies the costume designers drawings and renderings and then finds a way to cut the fabric into patterns that realize the design |
| prop properties | hand props to actors while on stage, set props on stage |
| concept meeting | an artistic gathering held long before the play is cast or the sets and costumes are designed |
| group dynamics | the functioning of humans when they come together in groups |
| paper | ticket |
| paper the house | give away a lot of free ticketsto the families and friends of the cast members in order to make it appear as thought the performance is well attended |
| willing suspension of disbelief | we admit that what is happening is not real and so we dont need to rush up and save the actor who is being attacked or call the police to stop the actor playing the criminal |
| aesthetic distance | the audiences abilities to remove themselves from a work of art just far enough so that they can contemplate it or even judge it |
| presentational theater | makes no attempt to offer a realistic illusion on stage, and the actors openly invite the audience and sometimes even invite member to participate |
| representational theater | actors never acknowledge the audience and go about their business as if there were no audience present |
| realism | a style of theater that attempts to portray life as accurately as possible |
| fourth wall | an imaginary wall between the actors and the audience |
| thought | what the play means, the ideas it's trying to communicate and its themes or message |
| diction | modes of utterance, the dialogue used to create the thought, character, and plot, playwrights mode of expression |
| spectacle | the performances set, costumes, and effects. the sensory aspects of the production |
| ensemble | dozens of artists and technicians including playwrites, actors, directors, and designers, as well as painters, carpenters who join together to make it appear as thought the performances were the product of a single creative mind |
| repertory | a group of plays performed by a a theater company during the course of a season |
| literary manager | reads and evaluates new scripts for the next season. writes grant applications |
| producer | someone who backs the theater or orchestrates funding through grant money and tickets sales |
| artistic director | in charge of the overall creative vision or goal of the ensemble |
| stage manager | runs the show during the performance and helps the director throughout the rehearsal process by taking notes, recording blockings, scheduling rehearsals, and assisting during auditions |
| flat | the standard scenery unit made of wooden frames covered w/ canvas, muslin, or thin plywood |
| licensing act | 1737 in england, placed the censorship of plays under lord chamberlain, one of the officials of the royal court. any plays that contained negative comments about the king or queen or unorthodox opinions or could be censored-legitimate theatre |
| bowdlerize | to remove offensive passages of a play, novel, etc. |
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