Random Art of Theatre Questions-- Chap. 11
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Created by:
baileybetik on December 13, 2011
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70 terms
Terms | Definitions |
|---|---|
 Aristotelian | another name for Western theatre |
| Juan Darien: A Carnival Mass | show in which director Julie Taymor used African masks |
| 1801, Cape of Good Hope | first European-style theatre in Africa |
| Sarzan | "fish-out-of-water" play by Lamine Diakhate |
| Ken Saro-Wiwa | Nigerian playwright, executed for his outspoken views against the Shell Oil Company |
| Wole Soyinka | Nigerian playwright, considered Africa's greatest living playwright; writes about African mythology; won a Nobel Prize for "Dance of the Forest" |
| the Greek | the name for the curtain in some ancient Indian plays, proving the influence of the Western world |
| Shakuntala | play by Kalidasa, one of the most famous Sanskrit plays |
| Kathakali | means "story play" |
| Ramayana | Hindu epic from 300 BCE |
| Mahabharata | Hindu epic, more than 2500 years old |
| green faces in Kathakali theatre | represents nobility |
| red faces in Kathakali theatre | represents evil and angry characters |
| yellow faces in Kathakali theatre | represents women |
| 1700s, India | British forces colonized and began to change the culture of India |
| Bravely Fought the Queen | written by Mahesh Dattani, play about the clash of Indian tradition with modern times |
| Hinduism | religion that greatly influenced Indian theatre |
| Buddhism, Taoism, Confucianism | religion that greatly influenced Chinese theatre |
| 610 CE, China | first known theatre building in China |
| 714 CE, China | Emperor Ming-Huang created school of the arts |
| Children of the Pear Garden | Chinese actors often are referred to as these |
| Qing dynasty | time frame in which the Peking opera was brought to China |
| circling the stage | in Peking opera, showed that actor was on a long journey |
| Indian theatre | only form of theatre in which women were traditionally allowed |
| running across stage with a piece of fabric | in Peking opera, showed that it was windy |
| pantomiming a gallop | in Peking opera, showed that the actor was on horseback |
| blue faces in Peking opera | represents vigor and courage |
| red faces in Peking opera | represents loyalty |
| black faces in Peking opera | represents honesty |
| yellow faces in Peking opera | represents intelligence |
| brown faces in Peking opera | represents stubbornness |
| civil plays | Peking opera plays featuring imperial concubines,, palace eunuchs, chivalry, romance |
| military plays | Peking opera plays set during the Three Kingdoms period |
| Yang Ping Pass | example of a military play |
| 1949, China | Peking opera dramatically altered by Communists |
| Red Guard | Communist group whose sole purpose was to wipe out the culture of China in 1966 |
| 1976, China | Cultural Revolution ended |
| 1978, China | Peking opera once again allowed |
| Leiyu (The Thunderstorm) | play written by Cao Yu criticizing the old order of China |
| 1603, Japan | Tokugawa Ieyasu took power and condemned all outside influences, including Christianity |
| Buddhism, Shintoism | religion that greatly influenced Japanese theatre |
| 1374, Japan | shogun named Yoshimitsu started the Noh theatre form by inviting ritual performers to perform in his palace |
| "Noh" | means "talent" in Japanese |
| deities, samurai, women, insanity, legends | the only possible subjects of Noh drama |
| "Jo" | first part of a Noh play, usually a chance meeting between two characters, used as exposition |
| "Ha" | second part of Noh play, protagonist performs a dance that expresses their concern |
| "Kyu" | third part of Noh play, protagonist appears as a new self, and conflict is resolved |
| Sotoba Komachi (Komachi at the Grave) | one of the most famous Noh dramas |
| pine tree | according to Shinto ritual, deities descended to earth via one of these; symbolizes eternal life |
| Hashigokarti | the narrow bridge used to enter the stage in Noh theatre |
| Kabuki | means "song, dance, skill" in Japanese |
| Okuni | creator of Kabuki in a brothel |
| 1659, Japan | boys forbidden to be Kabuki actors because were getting hit on by samurai |
| onnagata | men playing women in Kabuki |
| "Daikon" | means "radish" in Japanese, used to boo a performer |
| history plays | Kabuki plays about major political events |
| domestic plays | Kabuki plays about the loves and lives of merchants and townspeople |
| dance-dramas | Kabuki plays about the world of spirits and animals |
| Kanjincho | history play about a warrior named Yoshitsune, one of the most popular Kabuki plays |
| Migawari Zazen | farcical Kabuki play about and adulterous husband foiled by his wife |
| Chikamatsu Monzaemon | considered the Japanese Shakespeare |
| The Love Suicides of Amijima | play by Chikamatsu based on a real double suicide |
| Shimpa | modern form of Kabuki theatre that integrates Western realism; women could play women |
| Chichi to kuraseba (The Face of Jizo) | novel by Hisashi Inoue that portrays life after Hiroshia |
| Batruni | one of the first shadow-theatre artists |
| Taif al-Khayal (The Spirit of the Shadow) | comic shadow play by Muhammad Ibn Daniyal |
| Ta'ziyeh plays | religious plays, enact the suffering and death of Imam Hussein |
| 1847, Middle East | first European-style play written in Arabic by Marun al-Naqqash |
| 1915, Egypt | Munira al-Mahdiyyah became one of the first women to appear onstage; went on to become first female artistic director |
| You Have Come Back | play by Fatima Gallaire-Bourega, about a woman with radical ideas |
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