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| During the renaissance, a play having tragic themes and noble characters but a happy ending; today, a play in which serious and comic elements are integrated |
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| Person responsible for all creative and artistic activities for resident and repertory companies |
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| Tryouts held for performers who want to be considered for roles in a production |
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| A director who believes that his or her role is to be the author of a production. An auteur director's point of view dominates that of the playwright, and the director may make textual changes and modifications. |
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| Pattern and arrangement of performers' movements onstage with respect to each other and to the stage space, usually set by the director. |
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| Assigning roles to performers in a production; this is usually done by the director. |
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| Physical or psychological separation or detachment of audience from dramatic action, usually considered necessary for artistic illusion. |
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| Stage entirely surrounded by the audience; also known as theatre-in-the-round. |
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| A theatre space that is open, flexible, and adaptable, usually without fixed seating or a permanent stage area. It is economical and particularly well suited to experimental work. |
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| Theatre of the Spanish golden age, usually located in the courtyard of a series of adjoining buildings. |
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| Space not originally intended for theatre use which is converted for productions. Avant-garde artists often produce in found spaces. |
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| Space above the stage where scenery may be lifted out of sight by means of ropes and pulleys. |
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| Pretense that in a proscenium-arch theatre the audience is looking into a room through an invisible fourth wall. |
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| Theatre in which something is going on simultaneously in several playing areas. |
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Use of electronic media--such as slides, film, and videotape--in live theatrical presentations.
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| Ground-floor seating in an auditorium; also, a circular playing space in ancient Greek theatres. |
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| Elevated stage with no proscenium. |
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| Arch or frame surrounding the stage opening in a box or picture stage. |
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| An upward slope of the stage floor away from the audience; also, to position scenery on a slant or at an angle other than parallel or perpendicular to the curtain line. |
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| Operation of a show; also the length of time a production is performed. |
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| Theatre space in which the audience sits on three sides of the stage. |
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| Low platform mounted on wheels or casters by means of which scenery is moved on- and offstage. |
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| Scene Designer's Objectives |
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1. Help set the tone and style of the production.
2. Establish the locale and period in which the play takes place.
3. Develop a design concept consistent with the director's concept
4. Provide a central image or metaphor, where appropriate
5. Ensure that scenery is coordinated with other production elements
6. Solve practical design problems. |
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1. Line
2. Mass
3. Composition
4. Texture
5. Color
Liz Might Come To (the) Carnival |
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| the outline or silhouette of elements onstage; for example, predominantly curved lines versus sharply angular lines |
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| the overall bulk or weight of scenic elements; for example, a series of high, heavy platforms or fortress walls versus a bare stage or a stage with only a single tree on it. |
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| the balance and arrangement of elements; the way elements are arranged: for example, mostly to one side of the stage, in a vertical or horizontal configuration, or equally distributed onstage. |
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| the "feel projected by surfaces and fabrics; for example, the slickness of chrome or glass versus the roughness of brick or burlap |
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| the shadings and contrasts of color combinations |
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| "when the director and the designer have decided on an idea and a rough design, the designer will make a more complete sketch, usually in color |
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| creates and executes all props; this work may include building special pieces of furniture, finding or devising magical equipment and selecting items such as lamps and other accessories. |
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| responsible for seeing that sets are built and painted according to the specifications of the scene designer. |
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| Costume Designer's Objective |
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1. Help establish the tone and style of a production.
2. Indicate the historical period of a play and the locale in which it is set.
3. Indicate the nature of individual characters or groups in a play: their stations in life, their occupations, their personalities
4. Show relationships among characters: separate major characters from minor ones, contrast one group with another
5. Meet the needs of individual performers: make it possible for an actor or actress to move freely in a costume; allow a perfomer to dance or engage in a sword fight, for instance; when necessary, allow performers to change quickly from one customer to another
6. Be consistent with the production as a whole, especially with other visual elements |
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| To create a costume from scratch in a costume shop. |
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| Computer-assisted design (CAD) |
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| The use of computers to create design components such as ground plans, elevations, and three dimensional views. |
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| The person responsible for the appearance of each performer onstage. |
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| Front of the stage toward the audience. |
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| Single piece of flat, rectangular scenery, used with other similar unites to create a set. |
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| Floor plan or layout of stage design that outlines the various levels on the stage indicates the placement of scenery,furniture, doors, windows, and other necessary scenic elements. |
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| Left side of the stage from the point of view of a performer facing the audience. |
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| Properties; objects that are used by performers onstage or are necessary to complete a set. |
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| To choose a costume from an inventory owned by a theater company |
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| Broadly, an attempt to present onstage people and events corresponding to those in everyday life. |
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| Thin, open-weave fabric which is nearly transparent when lit from behind and opaque when lit from the front |
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| Person who oversees all technical aspects of a theatre production, especially the building, painting, and installation of scenery and related elements. |
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| At or toward the back of the stage, away from the front edge of the stage. |
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| Low platform mounted on wheels or casters by means of which scenery is moved on-and offstage. |
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| Lighting that comes from behind |
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| Total darkening of the stage. |
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| How lighted areas are arranged onstage relative to each other. |
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| Any prearranged signal, such as the last words in a speech, a piece of business, or any action or lighting change, that indicates to a performer or stage manager that it is time to proceed to the next line f action. |
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| Device for changing lighting intensity smoothly and at varying rates. |
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| Lighting that comes from directly overhead. |
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| Noises from everyday life that provide background sound in a production. |
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| Slow dimming of lights, changing from brighter to darker, or vice versa |
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| Aiming light on a particular area of the stage. |
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| Lighting instrument used for large or general area lighting |
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| Large, powerful spotlight with a sharp focus and narrow beam that is used to follow principal performers as they move about the stage. |
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| Type of spotlight used over relatively short distances with a soft beam edge that allows the light to blend easily with light from other sources; also, the type of lenses used in such spotlights. |
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| Template in a theatre lighting instrument that determines the shape and arrangement of the beam or pool of light thrown by the instrument. For example, a patter created by a gobo or template could result in stripes, leaves on trees, the outline of a windowpane, or the like. |
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| Detailed outline or diagram showing where each lighting instrument is placed in relationship to the stage. |
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| Sounds called for in the script that usually come from recognizable sources. |
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| Amplification of sounds in theatre. |
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| The use of motivated of environmental sounds. |
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| Elements of Costume Design |
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Definition
Line, shape, silhouette
Color
Fabric
Accessories |
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| Costume Designer's Objectives |
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Definition
1. Help establish the tone and style of a production.
2. Indicate the historical period of a play and the locale in which it is set
3. Indicate the nature of individual characters or groups in a play: their stations in life, their occupations, their personalities
4.Show relationships among characters: separate major characters from minor ones, contrast one group with another
5. Meed the needs of individual performers: make it possible for an actor or actress to move freely in a costume; allow a performer to dance or engage in a sword fight, for instance; when necessary, allow performers to change quickly from one costume to another
6. Be consistent with the production as a whole, especially with other visual elements |
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| theatre in the streets; brings performances to neighborhoods |
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| the relationship of a stage space to a play or production |
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| responsible for the stage set, which can run the gamut from a bare stage furnished only with stools or orange crates to the most elaborate large-scale production. |
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| responsible for selecting, and in many cases creating, the outfits and accessories worn by performers. |
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| the manner in which a work is done: how scenery looks, how a playwright uses language, etc. |
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| "Blood Wedding" scene design (allegorical and symbolic) vs. "The House of Bernarda Alba" scene design (concrete and realistic) |
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| departures from realism; all types of the theatre that depart from observable reality. |
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| Called his art "scenography"; used multiple screens on stage with multiple angles and heights; polyekran/diapolyekran/laterna magika |
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| practice using multiple screens at multiple angles and heights |
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| employs whole walls of small, square screens making up a composite image |
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| used screens in conjuction with actors; the actors were part of the film, and the film was part of the action |
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| hard, movie, or Hollywood flat |
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| consists of a thin, solid material, called lauan, mounted on a wooden or hollow metal frame; can be painted, and three-dimensional plastic moldings can be attached to it, creating cornices, chair rails, and other interesting features. |
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| small pieces made like flats or cut out of plywood |
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| A picture or drawing is projected on a screen either from in front or behind. (ex. "Sunday in the Park with George" and "the Ballad of Emmett Till") |
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| designer/front elevations |
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| drawings that show all exact scenic details from the point of view of the audience |
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| responsible for seeing that sets are built and painted according to the specifications of the scene designer. |
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| Playwright-Director; "Anna in the Tropics", McCarter Theatre in New Jersey |
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| International Director; "Marat/Sade"; "Midsummer Night's Dream", "The Mahabharata"; wants to find a universal theatrical language, draws from many different theatrical traditions |
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| In American usage, 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 metteur-en-scene |
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| Literary manager or dramatic adviser of a theatre company |
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| Rehearsal in which a play is performed as it will e for the public, including all the scenery, costumes, and technical effects. |
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| Rate at which a performance is played; also, to play a scene or an entire event to determine its proper speed. |
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| In American usage, the person responsible for the business side of a production, including raising the necessary money. |
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| Rehearsal in which the cast goes through the entire text of the play in the order that it will be performed. |
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| In the stanislavski method, a character's dominant desire or motivation; usually thought of as an action and expressed as a verb; "main action" of the play |
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| Person who coordinates all the rehearsals for the director and runs the actual show during its performances. |
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| Visual composition: how an entire scene onstage will appear to the audience. |
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| Rehearsal at which all the design and technical elements are brought together. |
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1. raising money to finance the production
2. securing rights to the script
3. dealing with the agents for the playwright, director and performers
4. Hiring the director performers, designers, and stage crews
5. Dealing with theatrical unions
6. Renting the theatre space
7. Supervising the work of those running the theatre: in the box office, auditorium, and business office
8. Supervising the advertising
9. Overseeing the budget and the week-to-week financial management of the production |
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| Dress rehearsal for an invited audience |
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| Director, playwright, and designer; "provocative, innovative, off-beat productions which he has written and directed" |
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| Cat on a Hot Tin Roof, performed with an African American cast |
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| auteur director that produced visual tableaux and called for ritualistic, repetitive moments by his performers |
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| an overall image or metaphor of a play |
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