| Term | Definition |
|---|
| Hubris and Punishment | overweening pride or arrogance is the main character flaw in Greek characters. Trying to be too close to Gods |
| Capricious gods | "They kill us for their sport" |
| Catharsis | tragic flaw; emotional purging of the soul (ex. greed) |
| Deus ex Machina | "god from the machine" - fake ending (Plot contrivances in Moliere) |
| Dionysus | God of wine and fertility |
| World View of Greek Theater | Humanism/Nihilism |
| Greek Chorus | take a side, foreshadow, & mirror the audience's emotions |
| Satire from Satyr plays | political comedies |
| Domestic Comedy | focused on pitfalls of romances (Plautus based his plays on Greek new Comedy) |
| Stock Characters | influenced Commedia dell'Arte characters by developing recognizable stereotypes |
| Pragmatic | The world view of Roman Theater is _________ |
| The Globe | Burbage brothers began building this across the Thames river in 1599. Shakespeare became 1/8 owner |
| Expansive Humanism and Nihilism | World view of Shakespeare's Theater |
| Personality | Shakespeare invented ___________. |
| Tartuffe | A play about religious hypocrisy by Moliere |
| Women on stage | first appearance of _______ __ ______ began in English Restoration Theater |
| Comedies of Manners | poke fun at the social conventions of the upper classes |
| Melodrama | Good triumphs in good vs. evil in these modern plays |
| Greek theater | _____ _______ gave us Dionysian rituals, tragedy, comedy and satire, tragic flaws |
| Roman theater | _____ _______ gave us domestic comedy and bloody tragedies |
| Shakespearean theater | ______ _______ gave us human personality in real people, psychological motivations, exalted humanism & nihilism, poetic dialogue that transcended human emotion |
| 18 | __th Century theater gave us comedy of manners |
| 19 | __th Century theater gave us many new forms of drama, including melodrama, realistic & tragic-comedy |
| Eugene O'Neill | avoided melodrama, sparseness of style, honesty of emotion, saw the stage as a literary medium |
| Eugene O'Neill | only playwright to win a nobel prize |
| Eugene O'Neill | wrote Long Day's Journey into Night |
| Tennesse Williams | used lyricism in dialoge (poetic imagery in language)--and memory play: used the arrest of time |
| Arthur Miller | conscience of American theater, & used paradox (bc of his hidden son) |
| Edward Albee | well crafted work, unsympathetic look on modern life |
| Arthur Miller | hid his son bc he had down syndrome; wrote no great plays after his son's birth |
| The Crucible | detailed story of extraordinary tragedy in the lives of ordinary people |
| the girls were lying | Mary Warren confesses that ___ ____ ____ _____. |
| killer yellow bird | Abigail undermines Mary's testimony by pretending to see a ______ ______ ____. |
| He confesses his adultery | The desperate action Proctor takes: |
| She cannot tell a lie | What does Proctor tell Danforth about his wife, Elizabeth? |
| She lies | What happens when Elizabeth is brought into the courtroom? |
| God is dead you are raising up a whore | Proctor says when all seems lost after Mary Warren gives her allegiance back to Abigail that "___ __ ____" and that "___ ___ _______ __ _ _____" |
| confess | Hale wants Elizabeth to get Proctor to ________ in the final scene |
| She forgives him, and she asks for her forgiveness | How do Proctor & Elizabeth reconcile? |
| name | Proctor changes his mind at the very end so that his sons won't cary his ____. |
| Edward Albee | Father producer of Keith/Albee vaudeville theater chain |
| Albee | Who's plays are unsympathetic examinations of modern conditions? |
| Exorcism | In "Who's Afraid of Virginia Woolf?" in the 3rd act this is how Albee ends the fake child persona |
| Paul Robeson | Son of runaway slave, All-American, Law Degree. Eugene O'Neill saw him & gave him roles in "Emperor Jones, Hary Ape". Had a concert & recording career |
| Greek theater | _____ _______ chorus is like today's musical theater chorus bc they both provide exposition, foreshadowing, & reflect the audience's emotions |
| recitative | __________ opera is dialoge mixed w/ song |
| aria | _______ opera is all song |
| The Black Crook | 1866- 1st "Accidental" Musical |
| March of the Amazons | song w/ French ballet dancers in flesh-colored tights |
| Gilbert and Sullivan | Operetta- British team writing light-hearted song/story format |
| patter songs | fast paced rhyming song; joke in the song |
| George M. Cohan | first great American song-and-dance man from Vaudeville who wrote the earliest American musicals--developed unique musical performance style-athletic |
| Yankee Doodle Dandy, Give my Regards to Broadway | George M. Cohan's two most famous songs |
| AABA song structure | George M. Cohan developed this |
| vaudeville | genre of variety entertainment prevalent on the stage |
| burlesque | baudy/sexual humor |
| Book musical | narrative driven musical |
| concept musical | atmosphere driven musical |
| Florenz Ziegfeld and the Ziegfeld Follies | SPECTACLE & MUSICAL REVUES: he created musical revues w/ comic sketches, songs/dances/ & lavish spectacles |
| Irving Berlin | MUSICAL REVUES: His popular music served as the social barometer for much of the 20th century America; self taught musician-played only the black keys |
| Cole Porter | set new standards for sophistication & wit- made theater safe for sex |
| WIT | white marriage: w/ a gay man and woman |
| 1940s to 1960s | Golden age of broadway musicals |
| Rodgers and Hammerstein | greatest composer/lyricist duo in US musical history (Oklahoma "Oh what a beautiful morning") |
| Stephen Sondheim | apprenticeship w/ oscar hammerstein (did lyrics for West Side Story) |
| Sweeney Todd the Demon Barber of Fleet Street | Sondheim's masterpiece |
| Doubt and A chorus Line | biggest concept musicals |
| spectacle | 1980's was defined by |
| Cameron Mackintosh | producer of musical theater |
| Stanislavski, Anton Chekhov, Nemirovich Danchenko | original founding partner of Moscow Art Theater |
| Konstantin Stanislavski | author of The Method- russian actor/director |
| David Garrick | influenced the imagination of the actor, credibility |
| convincing | Method: Make outward behavior ____________. |
| character | Method: Inner needs of ___________. |
| continuous | Character's life must be _______________. |
| techniques of the Method | observation, concentration, circle of attention, attention to specifics |
| the magic if | psychophysical actions- purposeful actions to fulfill the character's needs |
| actions | The actor MUST NOT play emotions- must play ________. |
| emotions | actions lead to __________. (not the other way around) The "Spine" & the "Super-Objective" |
| director | the __________ must visualize & orchestrate |
| bombastic | 18th century had a _____________ acting style. |
| claques | paid ___________ were audience members paid to clap |
| star system | through this, actors addressed lines to the audience rather than each other |
| producer/director | Greek CHOREGUS/Roman DOMINUS |
| David Garrick | actor/manager of Drury Lane Theater in 1780's- he banished spectators from the stage, and abolished the star system |
| The Duke of Saxe Meiningen | had a single controlling artistic vision (1874) |
| Harold Prince | director of Sweeny Todd ___________ |
| Hugh Wheeler | Sweeny Todd book is by __________ |
| horror and musical | What are the two genres of Sweeney Todd |
| no break in the score | Sondheim's score for Sweeney Todd is "thorough-composed" that means there is |
| Operetta | What influence of Gilbert & Sullivan can be found in Sondheims' "Little Priest" |
| Sweeney Todd & Judge Turpin | Who sings the duet "Pretty Women" |
| Sweeney Todd & Mrs. Lovett | Who sings the duet "A Little Priest" |
| revenge | What is the scheme of Sweeney Todd |
| Lucy | Who is the Beggar woman? |
| Mrs. Lovett | Who does Todd kill before he is murdered? |
| Tobias | Who kills Todd in the end? |
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