Theatre 100 Final Exam Review

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Theatre 100 Final Exam Review

Drake Union tour
Remember the major rooms and theatres we toured

Lecture #9: Sarah Ruhl & contemporary theatre
Brecht- Epic theatre
Alienate audience to THINK, not FEEL
Use history to comment on present
Remind audience they are in theatre: open stagecraft, musical numbers, puppets, narrators, film Samuel Beckett & Absurdism
Characters in bizarre situations
Circular/static blots- things often repeat
Sparse language- talking past each other, some conversations didn’t make sense Current trends in 21st century theatre
Adaptations of history & literature
oNovels- - ex. lord of the rings
oHistoric events/people- Frost/Nixon
Non-traditional
oClown, mimes, acrobatics - - ex. Cirque de Soleil
oPhysical acting style: viewpoints, combined with classical texts •Puppet
oEnhance/tell story, create fantasy world - - ex. Lion King •Video/film
oCreate scenery, reality vs. screen reality
Film/TV adaptations
oFilms translated to stage (& back again), Musical & NON-musical - - ex. Hairspray, Producers Sarah Ruhl & Clean House
Blend of styles: realistic, non, etc., bringing MYTH into present, examine male/female roles, challenge use of design •The Clean House
o2004, won Susan Smith Blackburn Prize, very popular for regional professional theatres, examination of family, theme: comedy & jokes

Lecture #10: Actor
Actor’s function
Create intellectual/emotional illusion, project illusion from stage  audience •Behaving truthfully under imaginary circumstances
Tools of the actor
Body, voice, imagination, intelligence
Actor training
Movement- neutral body (adapt movement of character), flexibility, strength, dance, stage combat, charisma •Voice- projection, articulation, singing, dialects
Actor in…
Preparation
oAnalyze script/character: given circumstances, what does character want? Say? Subtext? Do? •Rehearsal
oExperimentation then selection: collaboration, improvisation, curiosity, stamina-trial/error, willing to fail •Performance
oEnergy, “in the moment”, know space, feed of each other Types of actors
CHARACTER actor- transforms into character
PERSONALITY actor- hired for self (Kiera Knightly, Vince Vaan) – plays roles that are very similar Consistency
Final goal, stage vs. film acting, safety, believability, artistic integrity

Lecture #11: Production group
Artistic Director- CEO- oversees all artistic elements of company, suggests/determines seasons (themes), selects play Producer- gets $$, Broadway-investors, Community-volunteer/local business, OSU-departmental support Business manager- financial life of production: publicity, advertising, box office House manager- in charge of audience space (lobby, restroom, ushers, etc.), comfort/safety of audience Stage manager- **most important person

All aspects of production (rehearsals, meetings, costume fitting, etc.), main communication/info, run rehearsals/shows, ULTIMATE version of script (comments, revisions, lights, sounds, etc.) Dramaturg- background research, in-house critic, audience education

Production Schedule
Pre-production- design meetings, auditions (cattle call audition), call backs (2nd round) •Rehearsals- read through, exploring play, blocking, working •Technical rehearsals- add: lights, sound, moving scenery, props •Dress rehearsals- add: costumes, makeup, hair

Final Dress- preview
~*Opening Night*~
Strike- clean, dismantle, storage (costumes, props, etc.), FINAL END

Lecture #12: America onstage: reflections of race
Identity on stage
How various identities treated by American theatre? Positive/negative images, “Melting Pot”- difficult to create American identity •3 things with identity: 1. REFLECT 2. REINFORCE 3. REMAKE Roots/Sources

African
oCame to America w/ slaves, story- song, dance, jokes, performed for black/white audiences, jazz/ragtime/rock/tap •Adaptation of European theatre
oAfrican Grove Playhouse...
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