Theatre: Chapters 1-4

The word "Theatre" comes from the Greek "Theatron" or

" "

• Seeing Place

• Gathering Ground

• Assembly

• Forum

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CCSS.RL.11-12.10

CCSS.RL.11-12.3

CCSS.RL.9-10.10

CCSS.RL.9-10.10. RL.11-12.10

CCSS.RL.8.10

The father of dramatic analysis is

• Sophocles

• Aeschylus

• Aristotle

• Thespis

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CCSS.RL.11-12.10

CCSS.RL.11-12.3

CCSS.RL.9-10.10

CCSS.RL.9-10.10. RL.11-12.10

CCSS.RL.8.10

In relation to Aristotle's theatrical elements, "STORY" is simply a narrative of what is seen to happen in the play, whereas ____________ has to do with the mechanics of story telling.

• Characterization

• Plot

• Scripts

• Production

Tags

CCSS.RL.11-12.10

CCSS.RL.11-12.3

CCSS.RL.9-10.10

CCSS.RL.9-10.10. RL.11-12.10

CCSS.RL.8.3

The fundamental demands of a play's characters are that they...

• Support the plot

• Make the audience care

• Are realistic

• Are fully detailed

Tags

CCSS.RL.11-12.10

CCSS.RL.11-12.3

CCSS.RL.9-10.10

CCSS.RL.9-10.10. RL.11-12.10

CCSS.RL.8.7

The terms "gravity" and "Pertinence" refer to the script's...

• use of props and stage design

• Seriousness of theme and relevance to contemporary society

• development of characters

• grave and serious tone of dialogue

Tags

CCSS.RL.11-12.10

CCSS.RL.11-12.3

CCSS.RL.9-10.10

CCSS.RL.9-10.10. RL.11-12.10

CCSS.RL.8.3

______________ is NOT one of Aristotle's theatrical elements.

• Theme

• Stage

• Music/Sound

• Spectacle

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CCSS.RL.11-12.10

CCSS.RL.11-12.3

CCSS.RL.9-10.10

CCSS.RL.9-10.10. RL.11-12.10

CCSS.RL.8.3

The American Artist most responsible for changing Stanislavski's system into Method is:

• Al Pacino

• Sanford Meisner

• Theodule Ribot

• Lee Strasberg

After vocal training, the second element of the actor's physiological instrument is:

• Movement

• Singing

• Stage Combat

• Dance

__________________________ are the agreements between the actor and audience where in the audience willingly suspends its belief and accepts the play as new or "temporary reality".

• Traditions

• Theatrical Conventions

• Dramatic protocols

• Aristotelian elements

what are the two general “modes” of performance

• Inward and outward

• presentational and representational

• Actor And Audience

• Performance and Review