TH 1001 Intro to Theatre
Midterm Exam Review
Chapter 1 – pp. 7-24 | |||
Relationships of theatre experience | p. 9 | ||
Unique features of the theatre art form | p. 10 | ||
Psychological separation of audience from art | p. 14 | ||
Definitions of specific terminology | |||
Flashback | p. 17 | ||
Anachronism | p. 17 | ||
Metaphor | p. 18 | ||
Realism | p. 20 | ||
Soliloquy | p. 22 | ||
Chapter 2 – pp. 27-42 | |||
Definitions of | |||
Universal art | p. 30 | ||
Greek theatre structure | p. 31 | ||
Elizabethan theatre structure | p. 31-32 | ||
Broadway theatre | p. 34 | ||
Regional theatre (examples) | p. 34-35 | ||
Theatre criticism | |||
Critics vs. reviewers | p. 38 | ||
Fact vs. opinion | p. 38 | ||
Criteria for criticism | p. 40 | ||
Independent judgment | p. 42 | ||
Chapter 3 – pp. 45-65 | |||
Define performance spaces | p. 47 | ||
Proscenium | p. 52 | ||
Arena | p. 52 | ||
Thrust | |||
Spaces for spectacle | p. 49 | ||
Most widely used space | p. 52 | ||
Intimate performance space | p. 51 | ||
Black box space | p. 63-64 | ||
Marshall Performing Arts Center | |||
Configuration | |||
Use of stage lifts | |||
Chapter 4 – pp. 71-92 | |||
Acting in daily life | p. 71 | ||
Stanislavsky acting system | |||
Circle of attention | p. 74 | ||
Given circumstances | p. 75 | ||
Magic “if” | p. 75 | ||
Inner truth | p. 75 | ||
Through line | p. 78 | ||
Ensemble acting | p. 78 | ||
Emotional recall | p. 79 | ||
Puppetry | |||
Bunraku | p. 90 | ||
Hand puppets | p. 90 | ||
Marionettes | p. 90 | ||
Shadow | p. 90 | ||
Centering | p. 87 | ||
Integration | p. 91 | ||
Actors approach to role | p. 91 | ||
Chapter 5 – pp. 95-117 | |||
Role of traditional director | p. 95 | ||
Auteur director | p. 103 | ||
Definitions | |||
Casting | p. 106 | ||
Type casting | p. 106 | ||
Casting against type | p. 106 | ||
Blocking | p. 107 | ||
Technical rehearsal | p. 109 | ||
Dress rehearsal | p. 109 | ||
Preview | p. 111 | ||
Producer | p. 113 | ||
Managing director | p. 113 | ||
Chapter 6 – pp. 125-140 | |||
Subject and verb of drama | p. 127 | ||
Definitions | |||
Drama | p. 127 | ||
Story vs. plot | p. 132 | ||
Complications | p. 133 | ||
Obstacles | p. 133 | ||
Crisis | p. 133 | ||
Climax | p. 134 | ||
Chapter 7 – pp. 143-166 | |||
Climatic play structure | p. 143-145 | ||
Episodic play structure | p. 145-150 | ||
Shakespeare’s use | p. 145 | ||
Ritual | p. 151 | ||
Serial | p. 152 | ||
Character types | |||
Quintessential | p. 158 | ||
Stock | p. 160 | ||
Protagonist | p. 164 | ||
Antagonist | p. 164 | ||
Contrasting | p. 164 | ||
Guest Speakers | |||
Kelly Grussendorf – acting | |||
Ann Bergeron - directing | |||
Ashley Woods - scenic design | |||
Katie Keller - Stage 2 | |||
Sarah Olson - costumes in film | |||
Michael Caine Video – comparison of film and theatre acting | |||