Term
|
Definition
| Central thought of a play; the idea or ideas with which a play deals and which it expounds. |
|
|
Term
|
Definition
| As distinct from story, patterned arrangements of even and characters in a drama, with incidents selected and arranged for maximum dramatic impact. |
|
|
Term
|
Definition
| These are the people presented in the play that are involved in the perusing plot. Each character should have their own distinct personality,age, appearance, beliefs,social economic background, and language |
|
|
Term
|
Definition
| The word choices made by the playwright and the enunciation of the actor of the language. Language and dialog delivered by the characters moves the plot and action along, provides exposition, defines the distinct characters. Each playwright can create their own specific style in relationship to language choice they use in establishing character and dialogue |
|
|
Term
|
Definition
| Music can encompass the rhythms of dialogue and speeches in a play or can also mean the aspects of the melody and music compositions as with musical theatre. Each theatrical presentation delivers music, rhythm and melody in its own distinctive manner. |
|
|
Term
|
Definition
The spectacle in the theatre can involve all of the aspects of scenery, costumes and special effect effects in a production. The visual elements of the play created for theatrical event. The qualities determined by the playwright that create the world and atmosphere of the play for the audience’s eye.
|
|
|
Term
|
Definition
| Physical or psychological separation or detachment of audience from dramatic action, usually considered necessary for artistic illusion |
|
|
Term
|
Definition
| Principal character in a play, the one whom the drama is about |
|
|
Term
|
Definition
| Tension between two or more characters that leads to a crisis or climax; a fundamental struggle or imbalance-involving ideologies,action,personalities,etc,-underlying the plot of a play. |
|
|
Term
|
Definition
| The high point in the development of a dramatic plot. The scene toward the end of a drama in which all the forces reach their highest pitch and the fate of the characters is determined. |
|
|
Term
|
Definition
| The person responsible for the overall unity of a production and for coordinating the work of contributing artists. The American director is the equivalent of the British producer and the French |
|
|
Term
|
Definition
| A believable,realistic approach to acting became more important than iver at the end of the 19th century, when drama began to depict characters and situations close to everyday life. |
|
|
Term
|
Definition
| Most plays discussed in the section on plot complications. Farce thrives on exaggeration-not only plot complications, but also broad physical humor and stereotyped characters. |
|
|
Term
|
Definition
| The person responsible for creating, installing, and setting controls for stage lighting |
|
|
Term
|
Definition
| The person who puts all these ideas into effect .Every production requires someone who takes responsibility for the costumes. Costumes are pulled or built |
|
|
Term
|
Definition
| the person who chose a story to be told, selected the characters, determined the sequence of dramatic episodes, and wrote the dialogue for the character to speak. |
|
|
Term
|
Definition
| Convention, in a proscenium-arch theatre, that the audience is looking into a room through an invisible fourth wall |
|
|
Term
|
Definition
| Konstantin Stanislavsky's techniques and theories about acting, which promote a naturalistic style stressing( among other things) psychophysical action as opposed to conventional theatricality |
|
|
Term
|
Definition
| Serious drama takes a thoughtful,sober attitude toward its subject matter. Ask very basic questions about human existence. |
|
|
Term
|
Definition
| are not necessarily more frivolous or less concerned with important matter than people who create serious works. Should also be noted that there are many kinds of laughter. |
|
|
Term
|
Definition
| Organic unity, single view, single viewer approach, shared values of audience, metaphorical or representational, linear, closeness, time a singularly staged, space is unified |
|
|
Term
|
Definition
| Interdisciplinary, no single view can predominate, multiperspective, multifocus, multicultural, presentational, nonlinear, simultaneous, distance, multiple time frames are presented simultaneously, space is fragmented and can be simultaneously conceived. |
|
|
Term
|
Definition
| In the Stanislavsky method, a character's dominant desire or motivation; usually thought of as an action and expressed as a verb. Also the " through-line" or general action that runs through a play from beginning to end. |
|
|
Term
|
Definition
| a similar transformation takes place with another form of imaginative substitution. Metaphor simply stage directly that one thing is another. Annouce one thing is another, in order to describe it or point up its meaning more clearly. |
|
|
Term
|
Definition
| A sign, a visual image, an object, or an action that signifies something else; a visual embodiment of something invisible. A single image or sign stand for an entire idea or larger concept |
|
|
Term
|
Definition
| That which delays or prevents the achieving of a goal by a character. An obstacle creates complication and conflict. |
|
|
Term
|
Definition
| The directorial concept should serve the play. The best concept is one that remains true to the spirit and meaning of the script. D can translate that spirit and meaning into stage terms in an inspired way will create an exciting theatre experience. Straightforward one deriving from the play itself, not a scheme superimposed from outside. |
|
|
Term
|
Definition
| Stage entirely surrounded by the audience; also known as circle theatre or theatre in the round. |
|
|
Term
|
Definition
| Arch or frame surrounding the stage opening in a box or picture stage. |
|
|
Term
|
Definition
| Point near the end of a play when suspense is satisfied and" the knot is untied" |
|
|
Term
|
Definition
| Imparting of information necessary for an understanding of the story but not covered by the action onstage; events or knowledge from the past, or occurring outsite the play, which must be introduced so that the audience can understand the characters or plot. |
|
|
Term
|
Definition
| Opponent of the protagonist in a drama |
|
|
Term
|
Definition
| Symbolic representation of abstract themes through characters,action, and other concrete elements of a play |
|
|
Term
|
Definition
| author using this term to describe certain film directors, who,they said, were really the author of the films they made. In thse films the point of view and the implementation of that point of view came almost entirely from the director, not from a writer. |
|
|
