THE2000 exam1 PDF

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1.difference between useful, fine, liberal art philosophy, history, languages, math, and science were given the term liberal arts (“arts befitting a freeman”). Now the term simply means subjects separate from science and technology and implies an education that is not particularly specialized. Fine arts. Coined in the eighteenth century, it was meant to include sculpture, painting, music, and poetry. Later, the performing arts were added along with disciplines such as printmaking, photography, and collage. “Fine” was not intended to suggest art that was “acceptable” or “delicate” —it was supposed to classify artistic endeavors (艺术活 艺术活 动) that were beautiful for their own sake and not compromised by serving any practical function. Useful art, or useful arts, is concerned with the skills and methods of practical subjects such as manufacture and craftsmanship. 2.aesthetic distance 审美距离 gap between a viewer's conscious reality and the fictional reality presented in a work of art. a branch of philosophy that deals with beauty and taste.

aesthetic

3.convention an unspoken agreement between actor and audience concerning a fictional reality 4. “willing suspension of disbelief” the decision by an audience member to put aside any doubts about the narrative being presented. In other words, the audience chooses to believe as long as the actors hold up their end of the bargain and support the established reality. 5.engaged theatre drama that aspires to promote dialogue and social justice through performance. It can take many forms. 6.documentary theatre (a form of engaged theatre) constructing plays using material directly from first hand interviews as well as historical or contemporary documents. 7.passion play/Hell House passion play - depicted the suffering, death, and resurrection of Christ.

Hell House - a yearly alternative to the traditional Halloween haunted house that frightens the audience away from behaviors it considers sinful.

8.agitprop theatre a blending of the words agitation and propaganda. Designed to provide new information and galvanize the public to act upon it, this type of political action is often practiced as street theatre. 9.role of the producer the producer is very much like the CEO of any business or chairman of the board. We are responsible for all aspects of the business of putting a show together. We have to hire the management team. We have to find a product that we are going to sell—that would be the show. We have to find a location to sell that product So it's similar to owning a hardware store or restaurant or anything else. In fact, especially nowadays, as I hear every politician on both sides of the dial screaming about how the future of this country is in small business, that's what we are: we are small businessmen and small businesswomen. 10.breakdown character descriptions distributed to the casting industry so they can put forth actors for auditions. 11.Actors Equity Association the labor union for theatrical performers 12.casting director working with directly with actors or through actors’ agents, can be useful in trimming the pool of potential performers down to those who will work best for the parts. 13.stage manager running all activities backstage, for maintaining the prompt book, and for facilitating communication among the entire production team. 14. Bentley’s working definition of theatre A (actor) performs B (character) for C (audience) 15.upstage/downstage Upstage - toward the back of a theater stage Downstage - toward the front of a stage.

16.given circumstances The setting - who what where why of the scene 17.drama therapy a type of therapy where participants are invited to rehearse desired behaviors, practice being in relationships, expand and find flexibility between life roles, and perform the change they wish to be and see in the world Acting 18.rhetorical tradition Rhetorical: art of using languages so as to persuade or influence others Notable teacher Quintilian. He ran a school of oratory and produced an influential twelve-volume textbook on the subject. effective player must first feel the emotions present in a speech. After feeling these emotions, they can be “impersonated” later 19.declamatory style repetition of a speech with studied intonation. (overdramatic plays) 20.decorum Modulating your performance to avoid any excess emotion, especially when switching quickly from one emotion to another. 21.history of actor training Master and apprentice model was used, and trial and error. 22.Francois Delsarte 1st tried to universalize acting teaching, studied the human body's movements 23.Constantin Stanislavski 1863-1938.Father of Modern Acting! Forms a company called Moscow Art Theatre. Opens an acting academy. Created highly detailed productions. 24.Anton Chekhov Wrote The Seagull, Uncle Vanya and Three Sisters pioneered a new kind of play that had none of the heroes and villains found in the melodramas of the time. Instead, his characters are flawed human beings struggling for personal happiness.

25.creative state of mind Relaxation Concentration- focus on text Naiveté - not knowing what’s going to happen Imagination 26.affective memory (emotion focused) To consciously evoke memories to help a performance (early Stanislavski) 27.method of physical actions (action focused) An actor expresses actions based on his character’s objectives 28.magic if A Stanislavski acting practice where the actor asks themselves: "What would I do in the [scenario the actor is depicting]?" 29.typecasting There are a set number of types of castings:Leading Man, Leading Woman, Young Lovers, "The Friend", Character actor 30.non-traditional The casting of ethnic minority and female actors in roles where race, ethnicity, or sex is not germane to character or play development 31.color-blind overlooks race entirely as a consideration 32.headshots Representative photos that actors give to casting agents and directors. 33.role of director Highest artistic authority in production. Hires designers. 34.climax The highest emotional point in the play 35.spine "x struggles to do..." Plot line sort of Sister A struggles to prove Father Flynn is guilty

36.protagonist/antagonist Protagonist: character that carries the theme Antagonist: character that opposes the protagonist 37.point of attack the point in time within the story's universe at which the playwright "picks up" the story and begins writing the play. Initial start of the play in timeline. 38.director’s concept A director's approach to the play. They decide which way to do it. 39.open/closed text Open text:has room for a lot of interpretation Close text: more rooted in time/place, less room for interpretation 40. blocking vs organic blocking Blocking: any movement on the stage (from the actor's POV) directed from the director. Organic blocking: Blocking that actors themselves come up with from their reaction to the text 41. Levels Who has status 42.foregrounding practice of making something stand out from the surrounding words or images Who is in upstage and whos in downstage 43.business Minor actions given by the director. Activity or motion done to make a scene more interesting rather than just speaking lines to each other 44.stage pictures Bodies arranged on the playing space to communicate ideas. Tells you who has the power and what the relationships are 45.T.D. Rice popularized blackface and minstrel shows with his character "Jim Crow" 46.Stephen Foster famous old songwriter who wrote a lot of songs for Minstrel Shows

47. The Interlocutor This was the emcee and leader of the ensemble for minstrel shows. 48. Mr. Bones This was the person who beat rhythms with sticks and spoons. 49. Mr. Tambo This was the person who would play tamborine....