Below you will find helpful contact information and links you will want to bookmark.
Melissa Freeman, Director, Speech & Debate Coach
Chapel Hill High School, Room 103
13172 State Highway 64 East
Tyler, TX 75707
903-566-2311 x148
Cell 903-920-3298
freemanm@chapelhillisd.org
Friend me on Facebook, and I will invite you into Freeman’s Kids’ group where I often
post announcements, upload documents and brag on my team’s accomplishments.
Julie Westerman, Assistant Director, Speech Coach
Cell 903-372-5545
westermanj@chapelhillisd.org
Shannon Hullum, UIL Coordinator
Cell 903-521-6955
hullums@chapelhillisd.org
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Actsophia App: http://actsophia.com/
Cameron Speech & Debate Camp:
http://www.cameron.edu/academic/liberal_arts/communications/spchcamp/
CHISD: http://chapelhillisd.org/
Dramatists: http://www.dramatists.com/index.asp
Forensics Online: Where Youth Have a Voice:
http://www.forensicsonline.net/forum/content.php
International Thespian Society: http://schooltheatre.org/
ISBN Library: http://www.isbnlib.com/
Joy of Tournaments: http://www.joyoftournaments.com/
Library of Congress: http://www.loc.gov/index.html
National Forensics League: http://www.nflonline.org/Main/HomePage
Pinterest: http://pinterest.com/
Playbill: http://www.playbill.com/
Playscripts: http://www.playscripts.com/
Samuel French: http://www.samuelfrench.com/store/index.php
Shakespeare: http://www.shakespeare.org.uk/home.html
Texas Thespians: http://www.texasthespians.org/
Theatre Camp on the Coast: http://cla.tamucc.edu/theatre/events/camp.html
Theatre Folk: https://www.theatrefolk.com/
TJC Theatre: http://www.tjc.edu/theatre/
UIL OAP & Theatrical Design: http://www.uiltexas.org/theatre
UIL Speech & Debate: http://www.uiltexas.org/speech
UT Cowan Center: http://www.cowancenter.org/
Uta Hagen: http://www.hbstudio.org/
1.
2.
3.
4.
5.
6.
7.
8.
Come into the room quietly and store your belongings at the back of the room.
Bring all materials needed each day. Scripts and pencils!
Read the announcements and instructions on the Smartboard.
Follow directions the first time given.
Begin DVW unless Smartboard says otherwise.
Remain on task from bell to bell.
No food or drinks. Exception: bottle water
Do not hide or hang out in rooms other than the classroom. i.e. dressing rooms,
library, shop, green room, stage, wings, auditorium, booth, wardrobe, loft, etc.
These rooms are considered unauthorized areas unless you have explicit
permission to be there.
9. If you intend to use my copy machine, you must bring a ream of paper or pay a
$5/year usage fee.
10. I dismiss you. Not the bell.
11. Create a safe environment for performance. Do not bully others.
12. Wear comfy clothes and keep hair out of face. Your body, voice and face are
your most important acting tools, so treat them as such.
13. Remain quiet and attentive while others speak or perform.
14. Display courtesy and respect for others.
15. Believe in yourself.
Guidelines and Rules…and YES, someone has done each of these!
 We have closed rehearsals. Please obtain permission before inviting a guest.
 The director is on your side. YOU are not being criticized. We are experimenting with
character choices that make the show work. Take the note.
 It is not proper theatre etiquette for actors and crew to give notes.
 To help the director function efficiently and effectively, never approach or speak to the
director when she is working with, listening to, or watching a scene in progress. Do not
sit near the director during rehearsal, and do not wander around the stage or auditorium
drawing attention to yourself, and away from the action.
 Do not leave rehearsal without notifying the director or SM, or until the company has
been dismissed.
 Do not hang out in the theatre wing after rehearsal. Go home. It’s been a long day. 
 I run an ensemble company, not a “star” or “diva” company. Cooperate with others.
 Do not argue with the crew. Usually they are acting on my instructions. If there is an
issue, see me privately.
 Conversation backstage should be kept to a minimum, should only pertain to the show,
and should be in a whisper. Playing backstage is dangerous, distracting, and
inappropriate and may earn you a strike.
 Give 100% at rehearsal. Don’t just “mark” or go through the motions. That’s a wasted
rehearsal, lack of character development, and unfair to your fellow players.
 Pick up props ONLY in the execution of your role. Props are not toys and are often
expensive or difficult to replace or repair. A misplaced prop can ruin a performance.
Always return your props to the prop table. Do not set NON-props on the prop table.
 Don’t sit on the prop table.
 Do not sit on the dark floor in the line of traffic. Do not leave items on the floor in the
line of traffic. Always clean up your rehearsal area before you leave.
 Always hang up your costumes when not wearing them. ALWAYS. It is not the crew’s
job to hang up your costume. Notify the crew if your costume needs attention.
 Do not talk to actors who are waiting to make an entrance.
 Never question the authority of the stage manager. If there is an issue, come see me and
we will discuss it privately.
 Do not go into the house while in costume or makeup. You will ruin the effect of the
first time.
 All company members will be involved in designated photo sessions and will pose as
asked by the director.
 All members of the company will assist in set and strike, unless instructed otherwise.
 Perform the play as it was rehearsed. No surprises.
 All company members must participate in the rehearsed curtain call.
 The privileges of the company depend on your mature and responsible behavior.
 If the director or critic judge gives you a critique (note), respond with “thank you” and
write it down.
 Never ask the critic “why” they didn’t like something. It’s irrelevant and rude. Just take
the note.
 Typically, new rules are implemented when silly students make poor choices. Ask
yourself if it’s worth it.
If you show up on time, you are late.
 For example: if rehearsal begins at 4, you should be dressed and warming up in view of
the director by 3:50.
 Your DVW and your cell phone on the director table tells me you are present for roll call.
 If I have to search or send for you, that counts as a strike,
 If you KNOW you will be late, contact the SM immediately. This courtesy will allow us
to plan accordingly. Absences for illness and other serious emergencies will be excused.
Rehearsal attire is simple.
 Black bottoms (pants or skirt in the style of the character you are playing)
 White tops (in the style of the character you are playing)
 Character shoes (in the style of the character you are playing)
 Hair out of face
 Out of rehearsal attire earns a strike.
No food or drinks in the auditorium EVER.
 Exception, bottled water.
 Bringing food or drinks in the auditorium earns a strike.
 Leaving food or drinks for others to pick up in the green room, shop, classroom, booth,
wardrobe, dressing rooms, loft, wings, library, etc. will earn a strike.
How strikes work.
 3 strikes = private conference with me and possible removal from the company
 3 tardies = 1 strike
 3 rehearsal attire violations = 1 strike
 3 food or beverage violations = 1 strike
 3 failures to bring script/pencil = 1 strike
 3 cell phone violations = 1 strike
 3 behavior or slacking violations = 1 strike
 3 failures to do your “homework” = 1 strike
 You may choose to RUN OFF your strikes
 3 laps = removal of 1 strike
 laps may not be completed during rehearsal time, but on your own time and witnessed by
a director
 the Stage Manager will take role and keep a record of strikes in the official prompt book
you may also write reviews IF you clear it with me first
Audience Behavior Guidelines
The first and greatest rule: Refrain from talking.
Food and drinks are not permitted in the auditorium. Even if you’re neat, they’re noisy
and distract others.
Turn off all cell phones and other technology. Please don’t be inconsiderate to fellow
patrons and performers by text messaging, playing phone games or talking on your
phone.
Please don’t take pictures, especially with a flash. Video is allowed from the back
corners of the auditorium.
Don’t leave during a musical number or scene. Wait for a break unless you have a
crying or unruly child, in which case you should leave quietly and quickly. If you have a
child or a cough, sit near the back on the end of the aisle.
Please take your severe coughs outside. And get well soon!
Theatre Education 101: Applaud at appropriate times.
We love supportive families, but please don’t leave as soon as your student’s portion
of the performance is over. All of the students deserve an audience. Remember, your
student could be last on the program next time.
Use the restroom before the performance or during intermission.
In summary, please don’t do anything that makes people notice you instead of the
performance.
Being a great audience member requires respect for the artists, other patrons and yourself.
A play or movie review is written so that the general public can
get an idea of what a play/movie is about and use the review as a
tool in choosing whether or not to see that particular production.
I.
II.
III.
The INTRODUCTION includes the date/time you saw the production and the
conditions under which you saw it, and the preconceived ideas you have of the
show (5-6 sentences)
The BODY includes:
A. A summary of the plot/story (6-8 sentences)
B. A critique of the ACTING. You will use the actors’ names, not their
character names. Tell your audience WHY they were good actors or bad
actors. THIS IS THE LONGEST PART OF YOUR REVIEW!!! (1012 sentences)
C. A critique of the setting…whether you liked/disliked the costumes,
scenery, sound, light, etc. (6-8 sentences)
The CONCLUSION/RATING should sum up your opinions of the
production. At the end of your review, include a rating and the scale it is
based upon…i.e. “I give it 4 out of 5 stars…1 being the worst and 5 being the
best.” (5-6 Sentences)
IF you clear it with me first, I will take reviews of
plays, musicals, and other types of live performance
for ITS points, and occasionally for makeup or extra
credit work. (I will even take reviews of some worthwhile
movies based on play scripts, musicals, or research for production.)
The Actor’s Tools:
Voice
Imagination
Body
Emotion
All characters have two aspects:
-Internal
(Imagination & Emotion)
-External
(Voice & Body)
The “-ations” required for acting:
*Concentration--the ability to focus and shut out distractions
*Observation--taking note of what your senses perceive
*Imagination--visualizing a pretend existence
*Relaxation--physical ease and mental calm
*Motivation--the reason why a character does what he does
Monologue--a one character performance
Dialogue--a scene between two or more characters
Acting is a journey... of awareness.
Become more aware of yourself and the people around you. With awareness
comes understanding.
And other expressions you will hear me
say…a lot…
Slow down and tell the story.
Clear diction!
Know your age.
What do you want?
Work your space.
Don’t cover your face when gesturing.
Avoid pacing or swaying back and forth.
Plant your feet!
Build vocally; vocal variety!
Experiment with new ways to say the line.
Don’t say it the way you memorized it.
Listen to your scene partner and REACT.
Stop ACTING!
Make it pretty.
Walk in curves and arcs.
If someone steps on your line or the
audience laughs, say it again.
IMPROVise if you mess up
If you drop it, pick it up!
If you forget a line, don’t break character,
just say “line.”
Up and out! I want to see your face.
Volume! Do your diaphragm work.
Build to anger. Don’t scream.
Fight the cry. Don’t play sad.
ALWAYS look for the humor. That’s how
we cope.
Use the stage; your character’s world.
Make sure the audience can see and hear it.
Stop throwing your lines away/off stage.
Energy!
What are your
Who am I?
Consider job, age, educational background, economic status, religious background,
physical attributes, your goals in life, etc. The more detailed your answer, the richer your
work.
Who am I talking to?
Ask the same type of questions you asked for Who am I? about the other people in the
scene. Be certain to identify their jobs and define your relationship with them. Your past
experiences with an individual are bout to color the present. Clarify the power dispersal
in the relationship. A reaction you feel free to externalize with one person may get you in
hot water with someone else. Anchor the characters in action. You know the individuals
by their actions. What have they done to you? Recreate, in your mind’s eye, important
events you have shared with the people in the scene.
After you establish your literal relationship to the other people, define what they
represent to you. For example, if the other character is my boss, I know that she has a lot
to do with my economic future. Perhaps it is even more significant; however, that—on
an emotional level—I am still dealing with my mother who told me I would never
succeed.
Who are the people we talk about?
Use the questions for Who am I? And who am I talking to?
Where am I?
Define the physical space, i.e., size, shape, colors, textures, temperature, light, etc. What
do people do in this place? What is your relationship to the space? What have you done
here? How familiar is it to you? Is it your truth, or someone else’s? If you are in
someone else’s territory, what is your relationship to the owner or owners? What has
happened to you here, or what do you imagine might happen? Is this a place in which
you have experienced humiliation, or a place where you triumphed over a formidable
enemy? Is this a place where you have played silly games or fought serious emotional
battles to their bitter conclusion?
What are the places we refer to?
Use questions similar to those in Where am I?
What time is it?
Determine the year, time of day, time of year. See, hear, taste, touch and smell your
answers—the special colors of dawn, the crisp chill of an autumn day, the let-down of the
day after Christmas. Clarify the spirit of the time in which your character lives. The
experiences and outlooks characteristic of one period or generation may contrast sharply
with those of another.
What are the events we refer to?
Fill in specific details and bring to life the events mentioned, or implied. Visit in your
imagination, those moments. Recall, in vivid details the actions of particular individuals.
What happened to me in the moment before the scene?
Recreate the events that occurred immediately before the first moment in the scene. A
dry description of the events is useless. That would only serve to provide an intellectual
explanation, and it is not likely to motivate any doing.
What is my point of view, or how do I think the world works?
This question is critical. After all, when you determine your point of view—what you
assume is true about the way the world works—you are establishing a belief system, a
framework in which you, the character, operate.
Find your character’s point of view, and anchor it in action by identifying the specific
events in your character-life that have shaped your outlook. If you relive, in your
imagination, an event that taught you this belief, you will internalize the belief and avoid
posturing. Your character does not choose to embrace these beliefs; your character has
learned by experience that this is how the world works. A point of view is something
you believe, something you internalize—not something you can play—and it must
be anchored in action.
I.
To Mark for Meaning:
A. Between thought units, you use a pause to provide oral punctuation:
1. For short pauses use one diagonal line
Ex. “I went home/ and painted the garage.”
2. Major shifts in though, place or time require longer pauses. Use
two diagonal lines.
Ex. “It had been a great day. // Later in the week, we returned to
the same place”
B. Emphasis means that you stress a word by giving it more force, more time,
a pitch change. You should emphasize (underline) words that have the
following functions:
1. Words that carry the main idea in the sentence.
Ex. “His team had lost.”
2. Words that carry new ideas in the paragraph.
Ex. “There were suit cases stacked all over the room when the
delivery man brought the trunk.”
3. Words that are compared or contrasted.
Ex. “Mary, not Jane, has the mumps.”
C. Works that are of less importance in the sentence, words that are repeated,
words such as “a,” “and,” & “the” are usually subordinated by using a
lower tone and saying them faster. Use parenthesis ( ) for passages to be
subordinated.
II.
Mark for Phrasing
A. Conveys meaning,
B. Keeps long speeches from sounding like a mere string of unrelated
phrases, and
C. Carries much of the esthetic value, imagery, and dramatic thrust
imbedded in the lines.
Phrasing consists of knowing
*what thoughts to join together,
*where to put emphases, *where to take breaths,
*what pace, rhythm, and melody to use to bring the obvious and sub-textual meaning
home to the listener. Even simple statements require attention to phrasing.
I expect you to begin each class and each rehearsal by doing your
In the classroom, find a mirror or a
wall and begin your DVW
independently until I call for you. At
rehearsal, face the 4th wall and build
volume until we can hear you easily in
the booth.
Articulatory Ability
Is a desirable ability
For maneuvering with dexterity
The tongue, the palate, and the lips.
***
Whether the weather be fair
Or whether the weather be not,
Whether the weather be cold
Or whether the weather be hot,
We’ll weather the weather, whatever the
weather
Whether we like it or not.
***
Peter Piper
Picked and packed a peck of pickled
pumpkins.
A peck of pickled pumpkins
Peter Piper picked and packed.
If Peter Piper picked and packed a peck
of pickled pumpkins
Where’s the peck of pickled pumpkins
Peter Piper picked and packed.
***
Alphabet
Bah bah bah bah bah bah bah bah
bah…Cah cah…(Continue through
Alphabet except vowels)
***
Vowels
A E I O U and sometime Y (really
elongate vowels sounds)
***
Czechoslovakia
Czechoslovakia boom city boom
Yugoslavia boom city boom
The Diaphragm “HUH!” (vowels)
***
The Gloom of the Sea
The gloom of the sea and the gloom of
the sky hung brooding over all.
The seagulls knew and landward flew
swooping with muted call.
***
Mary Had a Little Lamb
Mary had a little lamb whose fleece was
white as snow.
And everywhere that Mary went the
lamb was sure to go.
Start low intonation and go to high pitch
Start high intonation and go to low pitch
Soft and enunciated
Loud and enunciated
***
Solemn Silence
To sit in solemn silence on a dull, dark
dock,
In a pestilential prison with a life, long
lock,
Awaiting the sensation of a short, sharp
shock,
From a cheap and chippy chopper on a
big, black block.
***
Let’s get the rhythm of the hands 2 3 4
We’ve got the rhythm of the hands 2 3 4
Let’s get the rhythm of the feet 2 3 4
We’ve got the rhythm of the feet 2 3 4
Let’s get the rhythm of the eyes Whoo
We’ve got the rhythm of the eyes Whoo
Let’s get the rhythm of the hips Whoo
We’ve got the rhythm of the hips Whoo
Let’s get the rhythm of the numbers 1 23
***
What a to-do to die today at a minute of
2 ‘til 2
A thing distinctly hard to say, yet harder
still to do
We’ll beat a tattoo at 20 ‘til 2
With a rat-a-tat-tat-a-tat-too at 2
And the dragon will come when he hears
the drum
At a minute or 2 ‘til 2 today, at a minute
to 2 ‘til 2***
Hot in Here (group)
I said it’s hot in here
I said it’s hot in here
There must be _________ in the
atmosphere
It goes….(Rhythmic claps and stomps)
16 Count
Count to 16 while shaking right arm
them left arm then right leg then left leg
Count to 8 while…..
Count to 4 while…
Count to 2 while….
Count to 1 while….
***
Flea
Flea (repeat after leader)
Flea Fly (repeat)
Flea Fly Flo (repeat)
Flea Fly Flo Flum (repeat)
Kumalta kumalata kumalata vista
(repeat)
Oh no, no not the vista (repeat)
Eeny meeny okameeny oowanna wanna
meeny (repeat)
Shee bop bop shee bop a do bop (repeat)
Shhhhhhhhhhhh
***
Tongue Twisters (say quickly about 10
times each)
Red Leather, Yellow Leather
Toy Boat
Good Blood, Bad Blood
Unique New York
Aluminum Linoleum
***
Coffee Train
Coffee, Coffee
Cheese and Biscuits, Cheese and
Biscuits,
Apples and Blackberries, Apples and
Blackberries,
Sausages and Mash, Sausages and Mash,
Fish and Chips, Fish and Chips, Fish and
Chips, Fish and Chips,
Soup-Soup, Soup-Soup
***
Big Black Bug
The big black bug bit the big black bear
And the big black bear bled bright blue
blood.
***
Perform your piece in these styles (you
can pick one to help you improve by
overcorrecting a problem that you have:
e.g., if you tend to be too quiet, pick Big
Voice or if you have a penchant to
overact or yell, try a monotone. These
can also just be for fun and give you a
chance to practice your lines in a
different way than usual):
 Opera
 Country
 With an Irish accent
 Slow motion
 Underwater
 Keeping absolutely still
 Double time
 With a toothbrush in your mouth
 Overacting/Community Theatre
 In a monotone
 Like “Mr. Roboto”
 Like Tinkerbell
 As loud as you comfortably can
(Big Voice)
 As softly as you can (Little
Voice)
 Robert De Niro/Marlon
Brando/Al Pacino
 Remember: You can work on
fragments!
.
Forensics, more commonly known as Speech & Debate, is one of the most rewarding and
beneficial educational activities available to students. As you compete in high school
forensics, you will find that your skills in areas diverse as researching, writing, critical
thinking, presentation, time management, and interpersonal communication will
dramatically improve.
Forensics helps students gain valuable skills in four primary areas. First, it helps develop
confidence, not only in front of an audience, but in interpersonal communication as well.
One student, in summarizing his experience in forensics, said, “It has made me more
confident, not only in presenting myself, but in all aspects of my life.” Another student
tells how he was painfully shy until joining his school’s speech team, but found that if he
could speak in front of a roomful of people, he could just as easily speak to people in
one-on-one situations.
Secondly, forensics helps develop academic skills essential to high school and collegiate
level work. Not only do speech students develop presentation skills, but they also learn to
conduct academic research, think critically through problems, listen analytically to
arguments, understand current social and political issues, better appreciate literature,
and develop writing skills. Obviously, these skills not only benefit students in academic
situations, but also provide forensics competitors with an advantage when they go into
the working work.
Thus, enhanced professional skills is the third benefit of participation in forensics. The
high number of speech and debate students who attain various levels of higher education
and enter into professional careers demonstrates that this activity provides benefits for
forensics competitors long after they leave school.
The final benefit of participation in forensics is much less serious, but just as important: it
is fun. It is a chance for students to shine in an academic environment; a chance to win
awards for intellect. Since it is a competitive activity, objectives become clear, progress is
easy to measure, and speech students find that they are often pushed to do work beyond
what they thought possible. They often begin with the objective of competitive success
and find that, in striving for that goal, they have learned much in the process. Also,
speech tournaments are a good place to meet people and make friends. Students get to
know their teammates intimately through extensive practice sessions, long bus rides, and
off-time at tournaments, and also get a rare opportunity to meet various students from
other schools in their area.
1. Choose an event that suits your interests and abilities. When you first examine the
events, there may be one that “jumps out at you” as the event you would most like
to try. Say, for instance, that you are a good writer and like the assurance of
knowing exactly what you will say when you enter a room to speak. You may
wish to try oratory. Or, if you have an interest and talent in acting and performing,
interpretation of literature may be your natural event. Go with these instincts. No
matter how many events you will eventually try, you can only prepare one at a
time. You might as well start with the one with which you will be most
comfortable.
2. Experiment with as many events as possible. Even though you will probably want
to start competing with the event that initially seems most compelling to you, you
should then expand your efforts to include as many forensic events as possible.
There are a number of advantages to trying many events. First, you never know
for sure what you will enjoy or what you will do best until you try everything.
Experiencing one event invariably makes you better in other events. Students
who try many different events are tremendous assets to the team. These students
have a better understanding of forensics as a whole and can advise and help coach
their teammates in many areas.
3. Ask for the help of your teammates. Your coach is available to help, but so are your
peers. Trust them to help you select, cut, and prepare material. It is impossible for
one coach to help 100+ students prepare at the same time; we need to help each
other as much as possible.
4. Competing in forensics dramatically increases your chances of making the UIL
speech team, the NFL team and capturing a role in the OAP company. It gives
you a chance to show off your work ethic, dependability, talent, maturity, etc.
Objectives are WANTS of a character.
The Obstacle is what stops the character from getting what s/he wants.
WANTS are:

at create drama





Wants are the very energy of human life and is the aspect to character the actor must give
their utmost attention. The actor discovers the wants.
Everything else is a condition – in response to the want.
The wants are the “golden key” to understanding character.
To “act” is a verb (an action). The wants must be seen as verbs (actions).
For example, if Sally wants a new car (a noun, not a verb) …. the actor considers
how to approach this as an action. Perhaps Sally wants to impress her friend, or
Sally wants to convince her father of her success. This understanding of character
provides the actor with a direction and gives meaning to the behavior.
Obstacles may be physical, emotional, intellectual, or spiritual.
State the objective as:
“I want to _________________ (verb)”
Change nouns into verbs:
I want a motorboat.
Change to ---- I want to EARN enough for a motorboat.
I want a wife.
Change to ---- I want to WIN Gloria’s heart.
I want peace.
Change to ----- I want to ELIMINATE distraction in my life.
I want attention.
Change to ----- I want to FASCINATE everyone.
I want order.
Change to ---- I want to ORGANIZE this mess.
Or change adjectives into verbs:
I am angry with her.
Change to ---- I want to DESTROY her.
I am nervous.
Change to --- I want to FOCUS my attention.
I am frustrated.
Change to --- I want to FIND a way out.
I am in love.
Change to ---- I want to TAKE CARE of her forever.
I am being charming.
Change to --- I want to DAZZLE the guests.
I am confused.
Change to --- I want to FIGURE OUT a solution.
I am giddy.
Change to --- I want to CONTAIN my rapture.
I am drunk.
Change to --- I want to PRESERVE business as usual.
I am arrogant.
Change to --- I want to BELITTLE him.
Common Verbs for Acting
I want to CONVINCE I want to HELP
I want to ENCOURAGE I want to SEDUCE
I want to PREPARE I want to IGNITE
I want to ENLIGHTEN I want to BUILD
I want to ANNIHILATE I want to HURT
I want to GET EVEN I want to AWAKEN
I want to OVERWHELM I want to MOCK
I want to REASSURE I want to CRUSH
I want to BOMBARD I want to INSPIRE
I want to SUPPRESS I want to DESTROY
I want to BELITTLE I want to INCITE
I want to LAMBAST I want to TEASE
abase
abet
abolish
absolve
abuse
accept
acquaint
acquit
addle
address
admonish
affirm
afflict
affront
aid
ail
alarm
alert
allow
allure
amaze
amend
amuse
anger
antagonize
anticipate
ape appeal
approach
arouse
arrange
assess
assist
astound
attack
authenticate
baby
badger
baffle
bait
bear
beckon
befuddle
beg
beguile
belittle
berate
beseech
bewitch
bid
blame
bless
bluff
boost
brainwash
bribe
buck
bushwhack
cajole
calculate
call
catch
caution
censure
challenge
charge
charm
chastise
cheat
check
cheer
chide
clarify
cloak
coax
coddle
coerce
collude
command
commend
con
conceal
concern
conciliate
condemn
condescend
confide
confirm
confound
confuse
consider
consign
contest
convince
correct
corroborate
court
cover
criticize
crucify
crush
curse
damn
dare
deceive
declaim
deduce
defame
defraud
defy
delight
delude
demean
denigrate
denunciate
deny
detect
deter
devastate
dictate
direct
disconcert
discourage
discredit
disencumber
disgrace
disgust
dishearten
dispirit
displease
dissuade
distress
divert
divine
dodge
dominate
dramatize
draw
duck
ease
educate
elevate
elicit
elucidate
embroil
enchant
endear
endure
enflame
engross
enkindle
enlighten
enmesh
ensnare
entangle
entertain
entice
entrap
entreat
entrust
eradicate
eschew
estimate
evade
evaluate
excuse
execute
exploit
facilitate
feed
force
frame
free
frighten
frustrate
fuddle
gag
gauge
gladden
goad
graft
gull
hallow
harangue
hassle
help
henpeck
hoodwink
humble
humiliate
humour
hurt
hush
hypnotize
imitate
impair
implicate
indict
indoctrinate
induce
indulge
insinuate
inspire
insult
interview
intrigue
invite
judge
lambast
lampoon
lead
lecture
libel
liberate
lure
magnetize
malign
maneuver
manipulate
marshall
mask
mend
mimic
mislead
misuse
mobilize
mortify
motivate
muffle
muster
mystify
nag
nauseate
negotiate
notify
nullify
obliterate
offend
oppose
organize
orient
orientate
overlook
panic
parrot
patronize
perform
perplex
persecute
peruse
placate
plan
please
pledge
pontificate
pose
pray
preoccupy
press
prevail
prick
prod
promise
promote
prompt
propagandize
propel
propose
propound
prosecute
provoke
purge
purify
pursue
quash
quench
query
rack
rally
ratify
ravage
rave
read
rebuke
recreate
rectify
reiterate
reject
rejoin
release
relegate
remedy
renege
repel
reprehend
repress
reprimand
repulse
resist
retract
revolt
ridicule
sanctify
satisfy
scheme
scold
scrutinize
sedate
seduce
settle
shake
shame
shroud
shun
sicken
simplify
slander
slur
smother
snare
sober
somber
soothe
spellbind
spoil
spur
spurn
squash
squelch
startle
still
stir
stretch
strike
strip
study
stymie
substantiate
suffer
suggest
summon
supplicate
support
suppress
surprise
swindle
tantalize
tarnish
tease
tempt
terrify
thwart
tickle
titillate
tolerate
torment
torture
trammel
trick
trouble
tyrannize
unburden
understand
uproot
urge
vacillate
validate verify
victimize
vilify
vindicate
warn
wheedle
woo
worry
worship
wrangle
Verb List is
from :
Playing: An
Introduction to
Acting. Kuritz,
Paul,
Prentice-Hall.
1982
Ideally, I would like you to prepare at least one performance piece or product from each of the 4
sections. Due the first week of October. We will enter the Van Way Off Broadway Performing Arts
Festival. Should you do well in the Van PAF, you may be able to enter the Texas Thespian
Convention and/or the TETA Convention.
SECTION A
PROSE INTERPRETATION
A. Time Limit: 7 minutes maximum including introduction
B. Program may consist of single or multiple selections with a central theme.
C. Introductions and transitions SHOULD BE MEMORIZED.
D. Manuscripts MUST BE USED.
E. Plays and monologues are not acceptable in this category
DRAMATIC INTERPRETATION (DI)
A. Time Limit: 10 minutes maximum including introductions
B. Each student will interpret a dramatic selection from a published material
C. Selection MUST BE MEMORIZED
D. Movement is encouraged and acceptable
E. Costumes, props, makeup may be used but not a requirement for the performance
IMPROVISATION
A. Time Limit: Preparation: 3 minutes, including drawing a topic; 5 minutes maximum; no minimum
B. This is a TEAM event for TWO or THREE people
C. One member from each team will draw three topics, choose one, and return two. No team discussion
will be allowed on the draw.
D. Performance must have a definite beginning, middle, and end.
COLD AUDITION (Cold reading)
A. Students will be assigned an appropriate male-female monologue, approximately 2-minutes in length
B. Students will be allowed five minutes with the monologue to prep
C. Students may mark on manuscripts
D. Emphasis will be placed upon characterization and voice. Gestures and movement will be allowed.
E. Contestants should state the character, title, and an author as an introduction (these will be on the
manuscript).
SECTION B
POETRY INTERPRETATION
The rules are the same as for Prose Interpretation except the selection must be Poetry
HUMOROUS INTERPRETATION (HI)
The rules are the same as Dramatic Interpretation except the selection must be humorous in nature
SECTION C
READERS THEATRE
A. Time Limit: 10 minutes maximum including introduction
B. This is a group event and may include two to four members
C. The selection may be from anything that has been published or is original
D. Contestants must use scripts
E. Some movement will be allowed, but should be kept to a minimum
F.
NO costumes, props, or make-up will be allowed
AUDITION (Prepared)
A. Time Limit: 5 minutes
B. The performer is encouraged to reveal as many of his/her theatrical skills as possible within the allotted
time.
C. Performance from dramatic or humorous literature is encouraged; the playing of a musical instrument,
abilities such as juggling, acrobatics, singing—all are encouraged in this event.
D. No introduction is required.
STORYTELLING (NFL event rules)
A. Time Limit: 7 minutes maximum including introduction
B. Each student will present a story acceptable for 4 to 8 year olds
C. It may be serious or humorous in nature; may be original
D. Costumes, props, makeup may be used.
E. Selection must be memorized
SECTION D
ENSEMBLE ACTING (Duo, NFL rules)
A. Time Limit: 10 minutes maximum including introduction
B. Presentation must be a cutting from a published play
C. It may be serious or humorous in nature
D. Must include 2 to 4 characters
PROP-COSTUME IMPROVISATION
A. Time Limit: 5 minutes maximum for performance. 2-minute preparation
B. TWO students will be given one costume and one hand prop. The costume and the prop will be
assigned by a staff member in the room.
C. Students then have two minutes to create an improvisation in which the costume and the prop dictate
the characters they perform
D. The improvisation should have a definite beginning, middle, and end.
E. The costume and the prop should be used logically to create character
TECHIE TOOL TEST
A. Technicians will be administered a 50 question test including multiple choice and matching
B. Subject matter will be technical devices used in the theatre
C. Students have a maximum of 30 minutes to complete the test.
D. Each question counts two points: 90-100= superior; 80-89=excellent; 70-=79=good; 69 or below=fair
SET DESIGN (UIL Rules)
A. Using a 1-inch or l/1-inch scale, construct a model of one scene from any published play
B. The model should be in color and to scale
C. The set pieces should be secured to the stage floor
D. No doll furniture will be permitted
E. On a 3 x 5 index card, write the following information: title of the play, author, scene of the designed
set, the scale you used, your name and school number (which you will receive the day of the festival)
POSTER DESIGN (UIL Rules)
A. Posters must be at least 12” x 18” and not larger than a full-size poster board
B. It must contain the following information: title of play, author, publishing company, time, place, date,
group performing, admission
C. The design SHOULD SET THE MOOD OF THE PLAY
D. No more than 4 colors may be used with the color of the poster board counting as one color
E. Any method may be used to produce this poster. THE DESIGN MUST BE ORIGINAL
F. Include your name and school number on the back
COSTUME DESIGN (UIL Rules)
A. A minimum of 5 designs for the same play
B. Any medium may be used to design (water color, 3-D, etc)
C. Write the title of the play, the author, character of the play that the costume is designed for at the
bottom of the design. No constructed design and no material samples are needed
D. Include your name and school number
PROGRAM DESIGN (UIL Rules)
A. Program designs should be a 11 X 8 l/2” paper folded in some fashion.
B. Program cover should contain the following information: title of play, author, group performing
C. On the cover or within the program should be the following: publishing company, time, place, date,
admission
D. The design SHOULD SET THE MOOD OF THE PLAY
E. No more than four colors may be used with the color of the program counting as one
F. The design MUST BE ORIGINAL
G. Include your name and school number on the back
MASK CREATION
A. Mask must be an original creation made to life size or larger
B. Mask may be made from any medium—be CREATIVE!
C. Mask should be made to be worn by an actor, with head straps or other attachment capabilities—mask
should be practical, not a wall hanging
D. Submit a 3 x 5 index card with a brief explanation of the mask’s uses and a brief explanation of how
the mask was made. Card must include name and school # on reverse side.
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
17.
18.
19.
20.
21.
22.
23.
24.
25.
26.
27.
28.
29.
30.
31.
32.
33.
34.
35.
36.
37.
38.
39.
40.
When does my character live? Past, present or future?
Where does my character live? In the country, the city, the suburbs…?
What is the socioeconomic background of my character?
Does my character work? If so, at what?
What is a typical day for my character like?
Who lives with my character and what are their relationships?
Who else heavily influences my character?
Is my character very religious, political, or otherwise a member or some kind?
What is my character’s biggest life goal?
What is my character’s biggest goal within the play?
How does my character’s motivation change from the beginning of the play to the end?
What is the primary emotion my character has throughout this piece?
What other emotions are affecting my character underneath that emotion?
Does my character have mental or emotional difficulties, illnesses or tics?
What kind of self-esteem does my character have?
How does my character relate to the outside world?
What props or scenic elements does my character relate to within the play?
How do those props/scenic elements develop my character?
What emotion should the audience feel toward my character? Sympathy, hate, friendly?
In the beginning of the play, what do we discover about my character?
In the middle of the play, how does my character grow and change?
At the end of the play, what will happen to my character?
What information about my character has been cut out of the piece for IE performance?
How can I add the elements of that information in my performance?
How important is my character to the action of the play as a whole?
When does my character help the plot along and how?
What is the most important element to my character: family, love, or career?
How old is my character? What major historical events have they lived through?
Does my character have children? How does (s)he feel about them?
Is my character manipulating or being manipulated by anyone?
Does my character have a hidden agenda or a deep secret?
Who are they hiding this from? Another character? The audience?
How strong are my character’s emotions in this piece? Pure hatred? Mild lust?
What is my character’s greatest fear?
What is my character’s greatest accomplishment?
What is my character’s motivation in each unit of the piece? Does it coincide with or
conflict with other character’s motivations in those units?
Does my character have their wants achieved at the end of the play?
If not, will my character ever have those wants achieved?
What person or fictional character does my character most remind me of?
If I met my character, how would I react to them?
41.
Uta Hagen's "Nine Questions"
The following questions must be answered for each character study in order to define
your role with as many specifics as possible. Consider these questions as research
questions and continue to add answers and details as you explore and rehearse your
character.
1. WHO AM I? (All the details about your character including name, age, address,
relatives, likes, dislikes, hobbies, career, description of physical traits, opinions, beliefs,
religion, education, origins, enemies, loved ones, sociological influences, etc.)
2. WHAT TIME IS IT? (Century, season, year, day, minute, significance of time)
3. WHERE AM I? (Country, city, neighborhood, home, room, area of room)
4. WHAT SURROUNDS ME? (Animate and inanimate objects-complete details of
environment)
5. WHAT ARE THE GIVEN CIRCUMSTANCES? (Past, present, future and all of the
events)
6. WHAT IS MY RELATIONSHIP? (Relation to total events, other characters, and to
things)
7. WHAT DO I WANT? (Character's need. The immediate and main objective)
8. WHAT IS IN MY WAY? (The obstacles which prevent character from getting his/her
need)
9. WHAT DO I DO TO GET WHAT I WANT? (The action: physical and verbal, alsoaction verbs)
Go to a public place and observe a stranger. Try not to be noticed. Take notes on the
person’s behavior and characteristics. Then complete this form. Be prepared to portray
this character in an improvisation.
1.
Where did you observe the person?
2.
When did you observe him?
3.
How long did you spend observing him?
4.
Describe the following external qualities of the person you observed:
(be specific and elaborate)
5.
a.
Posture
b.
Movement
c.
Mannerisms
d.
Voice
e.
Appearance
Determine internal qualities as best you can from your observations:
a.
Education level/ job:
What clue suggested this idea?
b.
Level of intelligence:
What clue suggested this idea?
c.
Attitude towards others:
What clue suggested this idea?
d.
Basic emotional traits:
d. What clue suggested this idea?
Humans have always had a basic need to imitate. We acquire most of our learning by
imitating others. Infants learn language by imitating the sounds made by those around
them. Children’s play often involves imitations of things they have seen or stories they
know.
Imitation is the basis of all theater. One definition of theater is a person or persons (the
actor/s) imitating the actions and words of others (the play) for the benefit of others (the
audience).
We know little for certain of how the theater evolved during primitive times. This lack of
knowledge is due to the absence of written records. To find answers, anthropologists
have studied artifacts and drawings in caves. They have also visited with and recorded
the activities of primitive tribes still in existence. Though proof is scarce, anthropologists
have developed several theories to explain the birth of theater.
Here is one popular theory of how theater developed. Some members of the tribe went
out to hunt. The hunts had to be successful to provide necessary food for survival. The
rest of the tribe stayed to protect the camp site. When the hunters returned, the most
important question was, “Did the hunt go well?” The hunters may have answered “Let us
show you.”
They then re-enacted the hunt. This showed the others what happened. Some of the
hunters portrayed the animals. They may have used animal skins as costumes. Others
portrayed the hunters. Together they showed the story of the hunt. This re-enactment of
the hunt was theater. Actors (the hunters) wearing costumes (animal skins) imitated other
characters (the animals) to tell a story (what happened during the hunt) to an audience
(the non-hunters).
As years passed, changes in the acting out of the hunt occurred. Perhaps this is the way
things evolved. The primitive tribes decided to act out a successful hunt before they went
out to search for the animals. They believed this would create magic that would bring
them success. The primitive people used magic to explain things they did not understand.
They also used magic in attempts to protect themselves and control nature. They repeated
this “magical theater” performance before every hunt. It soon became a ritual. A ritual is
something performed repeatedly in exactly the same way.
The hunting ritual and others like it continued to increase. The tribe chose one member to
oversee the rituals. This was the shaman. The shaman was also the religious leader of the
tribe. The rituals became the religious celebrations of the tribes.
In these primitive times, religion and theater were the same. In many civilizations that
followed, it was hard to separate theater from religion. Theatrical performances were an
important part of almost all religious ceremonies.
For each theatre type/playwright below, find a picture (cut, print, copy, sketch) that
represents that time period. Paste it into your book. Then write or paste the following
information:






Historical information:
 Period when written ~ how it affects the play
 Period play is set/correlation between the two
Author information
Type/Category of literature/explanation
Other information specific to your content area
Summary of entire play, scene by scene
Acting excerpt or excerpts from play
1. Greek Tragedy/Sophocles
11. Restoration/Comedy of Manners
2. Greek Tragedy/Euripides
12. 19th Century/George Bernard Shaw
3. Medieval Theatre/Unknown
13. 19th Century/Oscar Wilde
4. Italian Renaissance Commedia del
Arte
14. Moscow Art Theatre/Anton Chekhov
5. Elizabethan Theatre/Marlowe
15. Realistic Drama/Henrik Ibsen
6. Elizabethan Theatre/Jonson
16. African Drama
7. Elizabethan Theatre/
Shakespeare~Tragedy
17. Spanish Renaissance/ de Vega
18. Asian Theatre/No, Kabuki
8. Elizabethan Theatre/
Shakespeare~Comedy
9. Elizabethan Theatre/
Shakespeare~History
10. French Theatre/Moliere
Other categories as approved by teacher.
You may choose to do this as a
PowerPoint, or some other method. Just
clear it with me first.
In this exercise you will create and play a stage character. You will have only a few
lines and your imagination to work with.
Step One
Read and memorize the following short dialogue:
A: You're late.
B: Sorry, I thought you'd understand.
A: Not this time.
B: What's the problem now?
A: I have something to give you.
B: Well, what is it?
A: Here.
B: I should have known.
Step Two
These lines have not meaning--yet. Think about the situation that it suggests to you.
What mood do you feel?
Who are these people?
What past history do they share?
Where are they?
What are they talking about?
There are no right or wrong answers. Only choices. And those are up to you and your
partner--and your combined imaginations.
Step Three
Select a partner for the scene. Share different ideas; brainstorm. Then as a team, decide
the answers to the above questions.
Step Four
Now, you begin acting. Decide the age, personality, voice, body movements of your
character. Bring your experience, understanding, and talent to the creation of your
character. Decide what emotions you want the audience to experience. Rehearse various
options, tryout different styles. Refine your character and practice your lines "in
character" with your partner.
Step Five
Perform. From the moment you are called on to give your performance get in character
mentally and physically. The acting of lines in front of the class will not take long. You
want the impression you create with your character to last in the audience's memory.
Remember, you only have once chance to make a first impression.
Blocking fits 3 basic categories:
1. Advance
2. Retreat






3. Business
(Related to Props)
Blocking is one half analysis and one half instinct & common sense.
Blocking is sequential.
Some movement should occur on virtually every line.
Blocking starts with the set design.
Consider ground plan traffic patterns. (Doors, set pieces, windows, etc.)
Put windows, mirrors, etc. on the fourth wall if pantomimed.
Blocking considers
character, relationship, circumstances, and place.
Blocking evolves from the text (line) and
propels the objective (verb).
Good blocking has variety in:

pace/tempo/rhythm (as does the scene)

type of movement used (curves, lines, angles)

traffic pattern (use of entire playing area by each character)

Levels (height)

Diagonals/Depth

Body line/pose

Innovative yet appropriate use of furniture or props
Remember to use:
diagonals, figure-8, and triangle movement patterns.
© 2002 by Karen Baker, Spirit Productions
Get with a partner and create a situation, characters and dialogue that motivates following
movement:
Actor A
Actor B
1. Enter UR
2. XDR
3. XDL
4. XC
5. Sit
6. EnterUL
7. XC
8.Sit
9. Stand
10. XDR
11. XDR
12. XDL
13. XDL
14. Physical Exchange
(ex. hug, hit, slap, push, kiss)
15. Exit R
16. Exit L
http://www.franticassembly.co.uk/
http://cw.routledge.com/textbooks/9780415467605/
Research it! Watch the Chair Duets on youtube.com.
Laban Movement
Fast Hard Direct
Demonstrated
or
or
or
in
Slow? Soft? Indirect? choreography?
Comments.
1. Pressing
(push/pull)
2. Flicking
3. Wringing
4. Dabbing
5. Slashing
6. Gliding
7. Thrusting
(punch/ kick)
8. Floating
9. Creativity/
Originality
10.
Showmanship/
“Selling it”
Total Points
Earned
Points
earned
STAGE DIRECTIONS:
Stage Right:
The actor’s right as he stands onstage facing the audience.
Stage Left:
The actor’s left as he stands onstage facing the audience.
Downstage:
Toward the audience.
Upstage:
Away from the audience.
Below:
Toward the audience. Same as “Downstage of.”
Above:
Away from the audience. Same as “Upstage of.”
In:
Toward the center of the stage.
Out:
Away from the center of the stage.
STAGE AREAS:
In order that a director may designate an actor’s position onstage precisely. The acting portion of
the stage is divided into areas:
UR
UC
UL
SRC
CS
SLC
DR
DC
DL
Apron:
DSR:
The segment of the stage in front of the main curtain.
The strongest area of the stage. In our culture, we read left to right. The innate habit is to
look left first when in the audience, then survey the rest of the stage. The audience left
is stage right. Downstage is stronger than upstage, because it's closer to the audience.
Onstage: That part of the stage enclosed by the setting which is visible to the audience in
any particular scene.
Plane: A segment of the stage running the full width or depth, as in "the downstage plane"
Offstage/Backstage:
All parts of the stage not enclosed by the setting.
Wings: the offstage areas to the right and left of the acting area.
Out front/House: the auditorium where the audience sits.
BODY POSITIONS:
Body positions apply to the actor as he faces the audience:
Full front (FF): The actor faces directly front. This position is used for important lines.
One quarter (1/4): The body is a quarter turn away from the audience, R or Ln at a 45
degree angle. This position is the most frequently used when two actors
share a scene, for it places each of their bodies so that the audience
can easily see them, in this position the
Profile (Pro): Two actors face each other directly with the upstage foot advanced
slightly toward center. This position is used for intense scenes such as
quarreling, accusing, romancing, etc. It is sometimes used to obtain
comic effects.
Three quarter (3/4): The actor turns away from the audience so that they see three
quarters of his back and only one quarter of his face. This position is
used when it is necessary for an actor to "give” a scene, or turn all
attention to another actor upstage who “takes" the scene.
Full back (FB):
The actor stands with his back to the audience. This position is
used only in special cases.
Notice that the one quarter, three quarter, and profile positions can be turned toward the right
or left. For example, one quarter right would be when the actor assumes the one quarter position
with his body slightly facing the right.
Stage Crosses, indicated by “X,” are movements from one stage area to another. Generally the
actor takes the shortest, most direct route, which is a straight cross. Straight crosses indicate
strength and determination. A curved cross suggests indecision, casualness, grace, or ease.
Open: An “open” position is one in which the actor is facing toward the audience, or nearly so.
To “open” is to turn toward the audience. Since effective communication requires that the actor be
seen and heard, he must-without sacrificing believability-keep himself as “open’ as possible. You
should follow these practices unless there is reason for doing otherwise:
1.
2.
3.
4.
Play shared scenes in a quartered position.
Make turns downstage.
Do not cover yourself or other actors in making gestures or passing objects. In other
Kneel on the downstage knee.
Closed:
A “closed” position is one in which the actor is turned away from the audition. To
“close in” is to turn away from the audience.
ACTOR’S POSITIONS IN RELATION TO EACH OTHER: Actor’s positions in relation to each
other are considered with regard to the relative emphasis each actor receives.
Share: Two actors share a scene when they are both “open” to an equal degree, allowing the
audience to see them equally well.
Give, take:
When two actors are not equally “open” and one receives a greater emphasis
than the other, the actor emphasized is said to take the scene. The other is said to give the
scene.
Upstaging: The term applied when one actor takes a position above another actor which forces
the second actor to face upstage, or away from the audience. Since the downstage actor is put at
a disadvantage, “upstaging” has an unpleasant connotation and is generally to be avoided. You
should take positions on the exact level of the actor with whom you are playing. Learn neither
intentionally nor unintentionally to upstage another actor unless you are directed to do so.
STAGE MOVEMENT
Cross: Movement from one area to another. In writing it is abbreviated by X.
Stage Crosses, indicated by “X,” are movements from one stage area to another. Generally the
actor takes the shortest, most direct route, which is a straight cross. Straight crosses indicate
strength and determination. A curved cross suggests indecision, casualness, grace, or ease.
Motivation means you must find a reason for the character to move. (to advance; to retreat, to do
some business.)
Always start a cross with your UPSTAGE foot.
If you need to get upstage, it takes two crosses. Cross to L or R; turn in, then cross US.
Unless directed to, don't back up on stage. Looks amateur. (Exception: your line is "John, put
down the gun." In that case, back up. Way back.)
Don't "hug the furniture" as you move around it. Give it clearance. It looks better.
Counter cross: A movement in the opposite direction in adjustment to the cross of another actor.
The instruction usually given is “Counter to left” or “Counter to right.” If only a small adjustment is
necessary, the actor should make it without being told.
Cover: An actor is said to be covered when another actor moves into a position between him and
the audience, thus obstructing him from view. Covering is usually to be avoided. These principles
and practices are generally to be observed:
1. The responsibility is on the downstage actor. In other words, do not stand in front of another
actor.
2. If another actor does stand directly below you, make a small adjusting movement.
3. Since a moving actor usually should receive attention, make crosses below other actors so you
are not covered. This rule does not apply if the moving actor should not receive attention.
Dress stage: A direction requesting the actors to adjust their positions to improve the
compositional effect of the stage picture.
STAGE BUSINESS: Small actions, such as smoking, eating, using a fan, tying a necktie, are
known on the stage as “business.”
PROPERTIES: Business often involves the use of properties. Props, as they are commonly
called, are divided into several categories.
Hand props: Small objects which the actors handle onstage such as teacups, letters, books and
candles.
Personal props: Hand props which are carried on the actor’s person and are used only by himsuch as watches, spectacles, cigarette holders. An actor is usually responsible for taking care of
his personal props during rehearsals and performances.
Costume props: Costume accessories used by the actor in executing business-such as fans,
walking sticks, gloves, handbags.
Stage props: Objects for dressing the stage which are not used by the actors in executing their
business. Vases of flowers, lamps, clocks, bric-a-brac might be stage props.
Prop table: Tables are usually placed offstage right and left to accommodate props which the
actors carry on and off the set. The property master and the stage manager are responsible for
placing props on the tables, but a careful actor checks his props before each performance. And it
is the actor’s responsibility to return immediately to the table all props he carries off the set.
LINES AND DIALOGUE:
Ad lib: Coming from the Latin ad libitum (at pleasure), the term applies to lines supplied by the
actor wherever they may be required as in crowd scenes or to fill in where there would otherwise
be an undesirable pause. “Ad libs’ must be motivated and related to the character’s intention as
carefully as the playwright’s s dialogue. Mechanical or indifferent “ad libs” can destroy belief in an
otherwise effective scene.
Aside: A line which the other actors onstage are not supposed to be hearing. The aside was a
regular convention in plays of the seventeenth, eighteenth, and nineteenth centuries. It is rarely
used by modern dramatists.
Build: To increase the tempo or the volume or both in order to reach a climax.
Cue: The last words of a speech, or the end of an action, indicating the time for another actor
to speak or act. An actor must memorize his cues as carefully as he memorizes his lines.
Drop: Lines on which the actor does not project his voice sufficiently to be heard are said to be
dropped. The direction in such a case is usually, “Don’t drop your lines.” The term is also used to
mean unintentional omission of lines.
Pick up cues: A direction for the actor to begin speaking immediately on cue without allowing
any lapse of time. Beginning actors tend to be slow in picking up cues with the result that they
often fail to maintain a tempo fast enough to hold the interest of the audience.
Pointing: Giving special emphasis to a word or phrase. An actor may also be directed to “point”
a movement or a piece of business.
Tag line: The last line of a scene or act. It usually needs to be “pointed”.
Telescoping: Overlapping speeches so that one actor speaks before another has finished. It is
a technique for accelerating the pace and building a climax.
Top:
To “build” a line higher than the one that preceded it.
© 2002 by Karen Baker, Spirit Productions
Primitive man used
storytelling and ritual as
worship and prayer.
Dance evolved out of
ritual and is closely
associated with the roots
of drama.
Masks (believed by
ancients to hold spirits)
were a strong part of
rituals of all cultures and
have become an
international symbol of
theatre.
In ancient Greece, drama
was celebrated by
tragedies performed at the
festival of Dionysus.
Dionysus was the Greek
god of vine and fertility .
A tragedy is a play in
which the protagonist is
overcome.
The hero in Greek Tragedy
is called the protagonist.
The chorus was a group of
performers in Greek
tragedy who told the story.
The person in Greek
Tragedy who opposes the
hero is the antagonist.
Playwright Aristophanes
was the Father of Greek
Comedy.
Aristophanes’ play about a
utopia in the sky was
called The Birds.
The most common
subjects of Greek Comedy
were political and social
satire.
Sophocles, Aeschylus, and
Euripides wrote Greek
tragedies.
Sophocles wrote
OEDIPUS REX.
The weakness or error in
judgment which brings
about the hero’s downfall
in Greek Tragedy is called
hamartia.
Hubris is an act of
excessive pride.
Theatre disappeared
during the dark ages, but
reappeared in church
services.
Traveling groups acted out
short biblical scenes called
tropes.
Double-decked moving
stages or sets used in
Medieval plays were
called pageant wagons.
In Medieval Theatre:
Miracle plays
portrayed the lives of the
saints.
Morality plays
taught right from wrong.
Mystery plays
plays re-enacted Bible
stories.
Allegory plays told a story
symbolic of a greater truth.
The most famous
surviving morality play is
Everyman.
In Japan, No drama is
introduced, combining
words, dance and music to
tell classic Japanese tales.
The Renaissance brought
out a rebirth in all the arts,
especially the theatre.
It began in Italy and
spread creativity in the arts
through Europe and
England.
In Italy, a popular
improvised acting style
developed called
commedia dell’ arte.
The plot outline or
structure for these plays
was called a scenario.
Clowns (usually male
servants) in these
improvised plays were
called zanni.
Special humorous bits of
stage business were called
lazzi.
Actors in these troups
played type-cast roles
called stock characters.
Italian theatre introduced
elaborate staging elements
and opera.
Cervantes, Lope de Vega,
and Calderon wrote plays
in Spain.
In France, Moliere wrote
and starred in popular
comedies that poked fun at
politics and society.
Many Moliere plays were
written in rhymed verse.
Moliere collapsed onstage
and died during a
performance of The
Imaginary Invalid, a play
about a hypochondriac.
The reign of Queen
Elizabeth I influenced
England’s rise to greatness
in many areas. (Known as
the Elizabethan Period/still
part of the Renaissance.)
Ben Jonson was the first
master of the English
comedy.
Christopher Marlowe
introduced blank verse
into Elizabethan Drama.
William Shakespeare is
considered to be the
greatest Elizabethan
Dramatist.
Most of Shakespeare’s
plays were introduced at
the Globe Theatre.
After Elizabeth I, Puritans
banned theatre in the mid1600’s for 18 years.
introduced the witty
“comedy of manners.”
Women played roles on
stage for the first time.
Introduced raked stages,
from which the terms up
and down stage evolved.
ensemble of actors,
directors, and writers
formed the Group.
Their legacy lives on today
in the directing and actor
training programs of the
US.
In the 1600’s Bunraku and
Kabuki performances
become popular in Japan.
Moscow Art Theater and
The Group Theater based
their acting technique on
emotional recall or sense
memory.
In the late 1800’s Henrik
Ibsen of Norway
introduced realism in
dialogue and character.
The early 20th century is
labeled the Modern Period.
Ibsen is called the Father
of Realism and the Father
of Modern Drama.
Many great playwrights
emerged who wrote plays
of substance for the new
style of acting and
directing.
Ibsen’s play about a wife
asserting her independence
is called A Doll‘s House.
Realism spread to Russia
and the Moscow Art
Theatre where Konstantin
Stanislavski directed.
Stanislavski developed the
“Method” for training
actors still in use today.
Anton Chekov wrote many
plays for the Moscow Art
Theatre.
The Moscow Art Theatre
became the finest in the
world for realistic
productions.
Charles II came to power,
restored the monarchy and
encouraged the arts again.
The Moscow Art Theatre’s
influence came to America
via The Group Theater in
the 1930’s.
Restoration period theatre
A young idealistic
Eugene O’Neill is
America’s only Nobel
Prize winning playwright.
O‘Neill‘s mother was
addicted to morphine.
Eugene O’Neill’s
autobiographical play was
A Long Day’s Journey
into Night.
Thornton Wilder broke
convention with plays
which broke “the fourth
wall” eliminated scenery,
etc.
Thornton Wilder’s comedy
filled with anachronisms
was The Skin of Our
Teeth.
Thornton Wilder’s play
about a small New
England village was called
Our Town.
Tennessee Williams wrote
a large number of plays set
in the Deep South.
Lillian Hellman became
the first widely popular
American female
playwright.
Tennessee Williams’
autobiographical play was
called The Glass
Menagerie.
Her play The Children’s
Hour, about the power of a
lie, was very controversial.
Arthur Miller’s “tragedy
of the common man” was
Death of a Salesman.
The 1950’s and 1960’s
saw a creative explosion in
the American theatre.
Miller’s “witch hunt”
play,The Crucible,
indicted the McCarthy
HUAC Hearings of the
1950’s.
The Negro Ensemble
Company became a
driving force in the NY
theatre scene.
Arthur Miller was married
to the actress Marilyn
Monroe.
Regional theatres brought
quality productions to
cities outside of New
York, and expanded
venues for playwrights and
actors of both genders and
of all races:
Alley/Houston;
Steppenwolf/Chicago;
Guthrie/Minneapolis;
Arena/Washington DC;
Dallas Theater Center;
Mark Taper/LA; Actors’
Theatre of Louisville;
Denver Center Theater;
American Place Theater;
Circle Repertory Company
The later 20th Century
came to be called
Contemporary Theatre, to
distinguish it from the
Modern period of the
previous decades.
© 2002 by Karen Baker,
Spirit Productions
Italian Renaissance:
The word Renaissance means “a rebirth” or a renewed interest in the arts and sciences.
The Renaissance began in the fifteenth century in Italy. Theater was part of this
rebirth. During the Renaissance, elaborately staged productions entertained the royal
courts and the upper class. At the same time, forms of popular theater entertained the
middle and lower classes.
The formal theater moved indoors and designers developed better methods of lighting the
stage. They also created realistic, three-dimensional scenery. The Italian stage was set
within an arch. This arch, called the proscenium, served as a “picture frame” through
which the audience viewed the beautiful scenery. Technical elements such as scenery and
costumes became more elaborate. Music, song, and dance became important parts of the
theater. The elaborate productions evolved into opera.
During this time, a type of theater known as Commedia dell’arte became popular with
the middle and lower classes. Commedia dell’arte (“comedy of the profession”) was
professional improvised comedy. Wandering troupes of actors and actresses performed
the Commedia throughout the countryside. They did not use scripts, but improvised their
lines as they went along. These troupes played out their comic scenarios, plot outlines
posted backstage before each performance. A manager who usually was the company’s
author led each troupe. The plots were almost always comic intrigue involving fathers
who put obstacles in the way of their children’s romances. Servants were very important
characters. often successfully completing the matchmaking. There were no fully
composed play scripts. Instead, the scenarios were detailed plot outlines that included
lazzi and certain memorized lines. The lazzi were special humorous bits of stage business,
usually set apart from the main action. A well-known lazzi was one in which the stage
action continued while a comic actor laboriously caught a fly. Actors memorized set
speeches, such as declarations of love, hate, and madness that they fit within the scenes.
The troupes also learned stock jokes, proverbs, songs. and exit speeches.
Stock Characters:
The Commedia troupes used the same types of characters, called stock characters, in
each play. All the characters of the commedia dell’arte were stock types representing two
social classes: the upper class and the servant class. The stock characters were identified
by their costumes and their masks.
The zanni were clever male servants, excellent at ad-libbing and acrobatics. There were
basically two kinds of zanni. The clever prankster, agile in mind and body; and the
dullard, blundering in thought and action. Of the first type, Arlecchino (French name,
Harlequin) was probably the most popular. Harlequin is best known today for his
costume decorated with a diamond design, like a patchwork quilt.
Pantalone was the foolish old man whose costume included baggy trousers. Our word
pants comes from his name and costume. Capitano was a mustached, boastful, but
cowardly Spaniard who claimed bravery but quaked at his own shadow.
Another name used for a servant was Pulchinello. This malicious character with his
hooked nose and high-peaked hat was the ancestor of Punch of the Punch and Judy
shows. Still another of the male servants was Pedrolino, who later became known as
Pierrot, the moonstruck eternal lover - melancholy and gentle, but always too romantic
and too sad. Later, a sincerely devoted sweetheart, Pierrette, was paired with him, and
they became the eternal lovers. One other variation of the zanni must be mentioned-Pagliacci, the nun who must make others laugh while his own heart breaks.
There were usually two young male lovers, the innamorate, and their female
counterparts, the innamorata. All four were beautifully dressed and spoke in refined
language. The lovers did not wear masks.
The only other character to perform unmasked was the fontesca, a serving maid. She
appears in many plays as Columbina, a clever and high-spirited flirt.
Elsewhere in Europe:
From Italy, the Renaissance spread to the other countries of Europe. The French theater
imitated the Italian opera. At the same time, popular troupes similar to the Commedia
performed in Paris and the countryside. Moliere became the most important
playwright of the French Renaissance.
In Spain, troupes performed religious dramas similar to those of the Middle Ages. The
people also enjoyed popular adventure plays. Spain produced two major Renaissance
playwrights, Lope de Vega and Calderon. Both wrote religious plays and adventure
plays. De Vega was a soldier, explorer, sailor, and priest. Over 700 plays are attributed to
him.
The Renaissance came later to England during the Elizabethan Age. It was during the
reign of Queen Elizabeth I that Christopher Marlowe wrote important tragedies and
Ben Jonson wrote popular comedies. However, their fame was overshadowed by the
greatest English playwright of all time, William Shakespeare. Shakespeare wrote and
produced about 36 comedies, tragedies, and histories, leaving a rich legacy in the theatre.
The word comedy is derived from a Greek word, komos, meaning “festival or revelry.”
Comedies are usually light, written with clever dialogue, and have amusing characters
who are involved in funny situations that they solve by their wit, their charm, and
sometimes by sheer good fortune.
Comedies are usually “societal,” meaning that ail the characters come together at the end
of the play. Even the villains rejoin the group.
In comedy, the protagonist overcomes opposing forces. The protagonist is most often a
“less than average person” in some way: maybe a blunderer, a dreamer, or a rebel. But
they are usually of good heart, so we laugh with, not at, them.
Comedy is built around character, situations, or dialogue.
A strange character bumbling along through life (like Forest Gump or Austin Powers)
provokes laughter.
Involved predicaments that seem insurmountable or improbable (as in Three’s Company)
provide a “situation.” Today’s sit-coms get their name from this type of humor. Mistaken
identities, rash promises, or days where everything seems to go wrong make us relate to
and root for the character. (“How will Lucy deal with all that candy coming down the
conveyor belt?”)
Sometimes a writer’s choice of words or turn of phrase is enough to make us laugh.
(“Take my wife. Please.” or “You might be a redneck if you‘ve ever been too drunk to
fish.”)
Most good comedies tap into all three of these elements.
Drama and tragedy appeal to the emotions, but comedy appeals to the intellect. You have
to be smart or aware to “get” the joke. Get means understand. We understand with our
mind.
Throughout the history of the theater, the greatest and most enduring comedies have
taken situations and characters from life. They therefore contain certain timeless human
truths. Moliere, Shakespeare, and Shaw are considered three of the world’s greet writers
of comedy. Their comedies have had lasting appeal because they are based on universal
human experience.
Moliere’s Life
Moliere was born Jean-Baptiste Poquelin in 1622 in France. Most of MoIiere’s family did
not approve of actors. They believed them to be a low social class. His father, who was
the upholsterer for the king of France, wanted him to study to become a lawyer, but
Moliere’s grandfather encouraged the youth’s interest in the theater. Moliere finally gave
up his law studies and became an actor. To avoid offending his father and to protect his
family from embarrassment, he changed his name to Moliere.
Moliere formed an acting company with members of the Bejart family. The Bejarts were
noted actors of the time. It was then that Moliere met Madeline Bejart, who was already a
famous actress. Moliere and Madeline remained friends for the rest of their lives, and
Moliere later married Madeline’s daughter, Armande. Moliere named the company
Theater Illustre and soon became its leader.
The company began to perform in Paris, renting indoor tennis courts for their
performances. They had a difficult time attracting audiences, and the company soon went
bankrupt. Moliere was thrown into debtor’s prison until his friends and family paid the
debts. Afterward, Moliere and the members of the company decided to leave Paris and
tour towns in the countryside. During this time Moliere was able to refine his acting and
play-writing skills. Fifteen years later, the company returned to perform in Paris. This
time they were well received and soon became one of the most popular theater groups in
France.
Moliere became the most famous comedy actor of his time, and the company soon
became one of the king’s favorite groups of entertainers. This created jealousy among
other actors and playwrights. They started many rumors and tried to discredit MoIiere
and his company. In spite of their attempts, Moliere’s plays continued to be popular with
members of the king’s court as well as with the common people.
He wrote some of his plays in rhymed verse and others in prose. His plays made fun of
doctors, lawyers, and church officials. Moliere’s humor often got him in trouble, but his
plays are still funny today. MoIiere ridiculed many human traits that people still have. He
also made fun of how people behaved in everyday life. Moliere’s most popular plays
include The Imaginary Invalid, Tartuffe, The Miser, The Doctor in Spite of Himself, The
Misanthrope, The School for Wives, and The School for Husbands.
Moliere and his wife continued to perform in their troupe until the time of his death. He
collapsed onstage and died a few hours after performing the main role in The Imaginary
Invalid.
Instructions: In a small group, read this sample scenario. Then as a group, make a list
of the actions and events that occur. Make the list in short, clear, fragment form. We
will go over these in class.
Flaminio Scala’s collection of scenarios offered to readers and actors the plots,
required cast, and scene-by-scene indications of exposition, action, and dialogue for
improvised performances.
"The Two Fake Gypsies"
Summary:
There was in Rome a Venetian merchant named Pantalone de’ Basognosa, who had two
legitimate children, one called Orazio, the other Isabella. She was loved by a young man
named Flavio, son of a Bolognese doctor named Graziano, and she as ardently loved him.
It happened that Flavio was sent by his father on important business to Lyons in France
and was captured at sea and enslaved by Turkish corsairs. When this news reached the
loving Isabella, she determined to go with a servant to seek him throughout the world. To
buy her lover’s freedom she took jewels and money from her father. and when the money
ran out. to save life and honour, she and the servant disguised themselves as gypsies.
After long wandering, they returned at last to Rome, where her father recognized them.
After many occurrences she found her lover and cured her brother, who had gone mad
because of her flight, and she married her lover as she had desired.
Characters of the comedy:
Pantalone
A Venetian Merchant
Orazio
his son
Franceschina
his servant
Dr. Graziano
Flaminia and Flavio his children
Isabella
in gypsy garb, then recognized as Pantalone's daughter
Pedrolino
her servant, in gypsy garb
Captain Spavento
Arlecchino
his servant
Properties for the comedy:
3 women's dresses
Gypsy costume for Pedrolino
Many lighted lanterns
Clothes for a madman
Scene~ Rome
First Act
FLAVIO tells Captain Spavento how ten years ago he was sent to France by his father
Graziano and on the way was enslaved by Turks, and how two years ago he was freed
from a Maltese Galley and on returning home couldn’t find his beloved or his most
confidential servant, and that since then he has had no joy. The captain consoles him with
friendly words and they leave together.
Flaminia, Graziano's daughter tells Franceichina that she loves Pantalone’s son Orazio
even though he's mad. Franceschina weeps, remembering her husband Pedrolino and her
mistress Isabella. lost many years ago. Flaminia asks her to help Orazio, and goes inside.
Franceichina says she’s in love with a captain, believing her husband to be dead. Enters
now the
CAPTAIN, who makes his usual boasts. Franceschina tells him her love. He mocks her.
Franceschina taunts him, saying that she’ll make him love her willy nilly. They dispute.
Enter now
PANTALONE, who asks what the quarrel’s about. Franceschina says that the Captain
tried to force her honour. They berate the Captain and chase him away. Franceachina
goes into her master Pantalone’s house. Graziano tells Pantalone that his son Flavio has
been melancholy since returning home....
(and so it continues. Note from this example that the scenario is broken into beats of
action, or units. Each time a new character enters the beat changes.)
Greek theater began over 2,500 years ago. It began in the religious festivals that honored
Dionysus, the Greek god of wine and the harvest. The festivals grew in popularity and
importance until, at its peak, the great theater festival in Athens lasted six days. Over
15,000 people attended the festival each year.
The earliest plays were stories told by a chorus of men and boys. According to legend,
one day a man named Thespis stepped out of the chorus and spoke alone. The chorus
then responded to his speeches. Thespis was the first actor. Today we call actors
Thespians in his honor. Later, the number of actors increased to three, in addition to the
chorus. Each actor in the Greek theater played more than one role. To portray different
roles, the actor wore different masks. The masks of comedy and tragedy have become
symbols of the theater.
Greek authors entered their plays in contests for the festival. The winning playwright won
a prize of money and an ivy wreath to wear as a symbol of victory. Greek theater had
many important playwrights. Aeschylus, Sophocles, and Euripides wrote tragedies
(dramas in which the main character suffers a disastrous end). Aristophanes and
Menander wrote comedies (light, humorous dramas with a happy ending). A special type
of play called the satyr play made fun of the Greek legends. We get our word satire
from this. Some of the most famous Greek plays were Oedipus, Antigone, Electra,
Medea, The Birds, and The Frogs.
The great Greek philosopher and teacher, Aristotle, wrote The Poetics. In this book he
discussed the theater of his time. Aristotle discussed important topics of the theater
including plot (what happens), theme (the idea or message), character, music, diction
(speech), and spectacle (what was seen). Aristotle became the first literary critic.
The Greeks built their theaters on hillsides. They used the natural slope of the hill for
seating the audience. A large circular area called the orchestra was located at the foot of
the hill. It was here that the members of the chorus moved as theychanted their lines.
Behind the orchestra was a raised platform on which the actors performed. A small
building named the skene was built in back of the acting platform. The skene was where
the actors changed masks. The Greeks used the front wall of the skene to represent the
location of the play. Our word scene comes from skene.The Greek theater also had
special machinery including platforms on wheels and a device to lower an actor from the
top of the skene house onto the stage. They used this device to show a god coming down
to earth. The Greeks also used scenery to help give locations for the action of the play.
The Greek era is one of the most important times in theater history.
*Stage was a flat circular area
*No scenery used
*No violence seen on stage
*Actors wore large masks-changed to be several characters
*Performances held in the day (no lights!!!)
*Performances held in bad weather
*Chorus used to tell the story, actors more important later
*Plots focused on the gods and their control over humans
*Greek myths and legends basis for stories and characters
*Over 30,000 audience members attended at once
*Costumes included shoes to make actors taller
*Masks amplified actors' voices
Classic Greek Stories:
Oedipus Rex-Oedipus discovers he has killed his father & married his mother
Medea-kills her own children
The Trojan Women-play protests war
Thespis was the first to win play contests.
Started with yearly festivals to honor Dionysus, god of fertility & wine
(Notes compiled by Louann Chapman, Arlington ISD)
The theater was at its peak during the ancient Greek era. Theater continued
during the Roman Empire, but was never as important as it had been earlier. We refer to
the era after the fail of the Roman Empire as the Medieval Ages, the Middle Ages, or
sometimes the Dark Ages. The church became the major force in the lives of the people
at this time. At first the leaders of the church outlawed theater. They believed that it was
vulgar and evil. Only a few groups of strolling players continued to perform.
After many years, the theater was reborn as part of the church services. At first,
the priests enacted a short scene within the mass. The earliest of these scenes was the
story of Jesus’ resurrection from the tomb at Easter. Later, other masses also had short
scenes included. The name given to a short biblical scene was trope.
The tropes were very popular. The priests soon realized they were a valuable
way to tell the stories of the Bible. In time, the tropes became more elaborate, and the
priests began to present more than one trope at a time. Soon the priests were presenting
several tropes together to help celebrate certain festivals. The tropes that were shown
together became known as cycles. The clergy built a small stage for each cycle inside the
church. Each cycle told a complete story, and the congregation moved from one stage to
the next to see each cycle.
Many of the clergy believed that staging the tropes was important but was taking
too much of their time. Eventually, Pope Innocent II ordered that the tropes be moved
outdoors. Members of the craft guilds (which trained and organized workers in each
major occupation) replaced the clergy in the preparation of the tropes.
This new arrangement worked well. The clergy was able to devote more time to
other church work. The members of the guilds were able to give their time working on
the cycles as a means of helping the church. At times, workmen built small sets on a large
platform on the steps to the church. They then presented a cycle in front of each set. The
audience gathered in front of the platform to watch the entire series of cycles.
In other towns, cycles were presented on several carts, called pageant wagons.
These carts resembled floats in today’s parades. The audience gathered at several
locations. Each pageant wagon stopped at each location. They presented their trope and
then moved to the next location and presented it again. Then the wagon following them
presented the next trope in the cycle. All of the wagons stopped at each place until they
had presented all the cycles at all of the locations.
Theater had regained importance by the end of the Middle Ages. At the end of
the era, writers began producing secular or non-religious plays again.
William Shakespeare is the most important playwright the world has ever known. Theaters
throughout the world perform his plays more often than any other playwright’s, living or dead.
Shakespeare was born (1564) in the small village of Stratford-upon-Avon. Stratford is about 75
miles northwest of London. Shakespeare’s father was a glove maker. His father also served as
alderman and mayor of Stratford. Young William likely attended the grammar school in
Stratford. Only the sons of prominent families could attend the schools of the time. William
would have been eligible to attend, due to his father’s elected office.
The details of Shakespeare’s childhood remain a mystery. At the age of 18, William married
Anne Hathaway. They had a daughter named Susanna. Two years later, Anne gave birth to twins,
a boy, Hamnet, and a girl, Judith. Shakespeare left Stratford soon after the birth of the twins. No
one knows what Shakespeare did from the time he left Stratford until he became known in
London seven years later. Historians refer to this time as the “lost years.”
The first record of Shakespeare in London appears in 1592. By 1594 he was a member of a
theatrical troupe, The Lord Chamberlain’s men. Shakespeare wrote at least 37 plays and several
poems from 1590 until 1608. According to legend, Shakespeare worked as an actor as well as a
playwright for the company.
In 1599 Shakespeare and his associates built the Globe Theater. They built the Globe on the south
bank of the Thames (pronounced “Tims”) River, just opposite the center of London. The Globe
was an open-air theater. The company performed in the Globe in the summers. During the
winters, they also performed in The Blackfriars, an indoor theater.
Shakespeare’s plays became popular, and his company often performed for Queen Elizabeth I and
her court. They later performed for King James I. The King issued a patent to Shakespeare’s
company, and the name was then changed to The King’s Company.
Shakespeare gradually retired from the theater. He built a home in Stratford, which he named
New Place. He died in April, 1616, and was buried in the crypt of the Holy Trinity Church in
Stratford.
Shakespeare wrote comedies, tragedies, and histories. No other playwright has matched his fame
or influence. He is noted for his wonderful use of language; his plays contain beautiful poetry as
well as prose. His plays also contain many jokes, puns, and other language tricks. Many of
Shakespeare’s lines are still quoted today. His plays are also famous for their important
characters. Shakespeare was very observant of human nature. His characters are remarkable
human beings. Numerous stage, film, and video productions of his works bring the genius of
Shakespeare to new audiences in each generation.
William Shakespeare and his partners built the Globe Theater in 1599 in a London suburb named
Southwark. Southwark was on the south bank of the Thames River, just across the river from the
center of the city. This was a major entertainment area of the time.
The Globe was a three-storied building. It had a small hut on top of the roof. The owners of the
theater raised a flag from a flag pole on top of the hut on the days of performances. London citizens could look across the river and see which of the theaters would have a production that day.
The Globe enclosed an open courtyard. The theater patrons named this courtyard the pit. People
who paid the lowest ticket price stood in this area; they were referred to as the groundlings.
Almost surrounding the pit were three seating galleries. Audience members who paid for more
expensive tickets could sit in these galleries. In addition to being able to sit while watching the
play, the audience members in the gallery were protected from the sun and rain by a thatched
roof.
A large platform, called the main stage, protruded from one end of the pit. Most of the action of
the play occurred here. The theater owners cut a trap-door into the main stage floor. The trap door
could be opened to allow scenes in which ghosts and demons would appear or disappear; it could
also become a grave, as in a famous scene from Hamlet.
A roof, supported by two large columns, covered the stage area. This roof protected the actors
and their costumes from the rain. Paintings of the Sun, Moon, and stars covered the underside of
the roof. The roof area above the stage became known as the heavens because of this decoration.
In some plays, technicians lowered actors portraying angels or spirits from the heavens onto the
main stage as if the actors were descending from heaven.
In back of the main stage was a small room. A curtain hung between this room and the main
stage. The name of this room was the inner-below. They opened this to reveal scenes to the
audience. The inner-below was the location of interior scenes in the plays.
Above and to the rear of the main stage was a balcony that was used when actors needed to
overlook some action on the main stage below. In back of this balcony was another small
curtained room, called the inner-above, that was used in much the same manner as the innerbelow. The theater also had two small balconies, one on each side of the main stage.
In Shakespeare’s time the audience did not expect the plays to be realistic. Scenery was not used;
one or two items or pieces of furniture would suggest the location of the scene. If the audience
saw a throne on the stage, they knew the location was in a palace or castle. If they saw a couple of
tree branches on the stage, they knew the scene was in a forest. Since the crew did not need to
move the scenery, the plays contained many short scenes and a variety of locations. Though the
theaters of the time did not use scenery or special lighting, they did use colorful costumes,
musical accompaniment, and special sound effects.
The word Elizabethan comes from Queen Elizabeth, daughter of Henry VIII and Queen
of England from 1558-1603---under her reign, the arts flourished. Also, under the reign
of her successor James I (1603—1625); this is called the Jacobean period. The theater
and all arts and sciences underwent a renaissance or rebirth.
The Theater Itself:
1. 1st permanent playhouse established in 1576 by James Burbage (was called The
Theater)
2. Other famous theaters of the period were The Curtain, The Rose, The Fortune, and the
most famous of all, The Globe.
3. General shape---an octagon externally/ a circle internally
4. 3-sided stage, 3 or 4 feet above the ground; jutted out into the audience with spectators
standing on 3 sides of the stage.
5. The groundlings stood around the stage; had to pay very little for admission; no
roofing.
6. The upper classes sat in the galleries which had some roofing in case of rain. 3 tiers of
galleries circled the sides
7. All roles played by men or young boys; no women
8. Very little or no scenery; the spectators was aware of the setting through the dialogue
of the actors who would tell the audience what the setting was.
9. Elaborate costumes and props used; frequently, Shakespeare and other playwrights
would use Elizabethan costumes and customs and events in plays there took place in
earlier times or not even in England; not much attention to detail
10. Plays held during daytime because no stage lighting; used candles on stage to give the
impression of a night scene
11. Plays advertised by processions of actors (a parade) blowing trumpets and beating
drums
12. People would hiss, boo, and throw food if the play were not interesting.
13. The enclosure was part of the stage behind the main stage; used for interior scenes,
such as the inside of a shop or a room
14. Trap doors, which could be drawn up to stage level, were used for special effects,
such as smoke or fireworks or the sudden appearance or disappearance of an actor or a
ghost
15.The balcony was above the level of the main stage. This could be a mountaintop or a
battlement or just a balcony or a window... anything that needed to be above or higher
than the main stage.
16. Behind the balcony were tiring rooms (dressing rooms, storage rooms for props and
costumes), and between these two rooms was the musicians’ room. (Sometimes the
musicians were part of the main action on the stage.) They always blew their trumpets to
announce the start of the play.
17. At the very top level, just under the roof of the tower, were pulleys and concealed
machinery; props could be sent down from above, such as a magical appearance of a
goddess or a great bird.
Acting Groups
1. There were many acting companies owned by wealthy men. These companies
consisted of the following:
A. senior actors---experienced members; they often held stock in the company and shared
its profits or its losses
B. Hired men---paid a weekly wage; did not hold shares; did the work back stage and
played minor roles, often several in the same play
C. Boy actors---played children and female roles
2. Actors had to be articulate and expressive and loud enough to be heard over the
hubbub of the groundlings; their voices had to have variety as they often played more
than one part in a play; they had to be agile and good stuntinen and know how to duel and
fight
3. The playwrights were encouraged as new plays were needed. Many times the
monarchs and the royalty would financially support a playwright as he cranked out new
work.
4. The bubonic plague became of epidemic proportion in 1592 and for reasons of health,
all public places were closed; thus the London theaters closed down for a while. Then the
acting companies started travelling throughout the countryside.
5. After the plague, many of the old theaters never reopened so new theaters rushed in ,
the most famous of which was The Globe.
A. Shakespeare partly owned this theater.
B. Its emblem was that of Hercules holding the world on his shoulder with the inscription
“All the World’s a Stage”
C. A white flag atop the tower alerted the people that the Globe would have a
performance that day; 3 blasts of the trumpet announced the play was to begin.
6. In addition to the bubonic plague causing closure of the theater (actually the plague
occurred twice), the rise of Puritanism also at one time closed down the theaters when the
Lord Mayor of London issued an order to halt production of all plays (regarded as sinful
activities by the Puritans)
Shakespeare:
1. born April 23, 1564--died April 23, 1616 (on 52nd birthday)
2. Born and lived his boyhood in Stratford-on-Avon near London
3. Married Anne Hathaway--had 3 children (Susannah and twins Hamnet and Judith) --Hamnet died the year he wrote Romeo and Juliet
4. Lived in London most of his life (legend says that he fled from Stratford after being
caught poaching on a private estate)
5. Was a highly successful actor on the London stage--was a part-owner of an acting
company---was a leading poet---was a prolific playwright (wrote over 36 plays--comedies, tragedies, and histories)
6. Interesting tombstone epitaph:
“Good friend, for Jesus’ sake, forbear
To dig the dust enclosed here;
Blest be the man that spares these bones
And curst be he who moves my bones.”


Research online or in books to find a picture of the Globe Theatre as it stood in
Shakespeare's time. Print, sketch, or copy the picture and paste in the area below.
Label each of the following areas on your picture.
A. side balcony
B. galleries
C. main stage
D. heavens
E. balcony
F. inner above
G. proscenium
H. inner below
I. pit
J. trap door
K. hut
L. wings
Define /describe the following:
Style:
Representational:
Presentational:
Avant- Garde:
Romanticism:
Realism:
Naturalism:
Symbolism:
Expressionism:
Epic Theater:
Constructivism:
Theatre of the Absurd:
Theatre of Involvement:
Theatricalism:
Total Theatre:
Activity: The class will choose a simple children's story (3 Little Pigs, etc.) and form
small groups. Note: Each group will be performing the same story--in a different
style!!! They will then improv it in the style assigned to their group by the teacher.
Use the library or internet to define, describe and give examples of the following:
I. Low comedyA. Farcescreen scenesasideB. Burlesque-
C. Parody-
caricature-
spoof/ take off-
III. High Comedy-
A. Comedy of Manners-
B. SatireII. Other Types of Plays
A. Fantasy-
B. Romantic comedy-
C. Sentimental Comedy-
D. Melodrama- (not funny)
E. Play of ideas/Social Drama- (not funny)
F. Psychological Drama-
G. The 'Whodunnit"
H.
Allegory
I. Monodrama
Using books in my room, the library, or the internet, define or describe these items,
which we will discuss in class:
Four narrative essentials of a play:
Aristotle
The poetics
Aristotle's 6 key elements of a play:
atmosphere
catastrophe
characters
climax
crisis
denouement
dialogue
exposition
falling action
initial incident
mood
plot
preliminary situation/antecedent action
protagonist
proscenium arch
rising action
situation
soliloquy
theme
Basic Information
 Improvisation is impromptu acting, done with little or no preparation.
 These exercises are done to make you learn about acting concepts.
 These are exercises, not games.
 Use them as a sports team would use a scrimmage; apply yourself and learn.
 Practice badly and you will perform badly.
 Practice well and you will perform well.
Some tips to make you successful
 Work with your partner/s with good spirit.
 Pull your weight; let others participate equally.
 Try to understand the skill you are practicing, and focus on that.
 Concentrate in the world of the character. Listen and respond.
 Don’t try to perform. Try to tune out the audience.
Important concepts
 Side-coaching: Directors side-coach actors, just as coaches shout instructions from the bench. It is
not a bad thing; it is coaching to help you, guide you, fine tune what you are doing. Do what a
basketball player does; hear the advice, try to use it, but keep on playing!
 Fourth Wall: Pretend there is an imaginary wall between you and the audience. Don’t look at them
or laugh with them. Remain in character.
 Never break character: Keep going in character all the way through. Never stop the flow of the
scene. Keep in character with your voice, face, and body.
Guidelines
 When you are called to perform, turn in your worksheet or card to the teacher.
 Go to the playing area and quickly set up, if necessary.
 Wait for the teacher to call “Action“.
 Perform the scene.
 Integrate any side coaching smoothly as you perform.
 If the teacher calls “Hold”, freeze and wait for instructions.
 Continue performing until the conclusion or until the teacher calls “Cut.”
Drama is Conflict
Most improvs will fit into one of these basic concepts:
 Man vs. Man
 Man vs. Self
 Man vs. Nature
 Man vs. Society
Elements of a Scene:
 WHO/Characters
 WHERE/Setting
 WHAT is happening/Plot
 WHY/Motivation
 WANT/Objective
Compose a poem describing your character using the following format. Write (or type)
the poem in a colorful way. Decorate around the borders of the poem with images from
your character’s imaginary world.
Grade based upon: creativity, neatness, and detail.
Line 1
Line 2
Line 3
Line 4
Line 5
Line 6
Line 7
Line 8
Line 9
Line 10
Line 11
first name
four traits that describe character
relative (brother, sister, daughter) of
lover of (list three things or people)
who feels (list three things)
who needs (list three things)
who fears (list three things)
who gives (list three things)
who would like to see (list three things)
resident of
last name
The following is an example of a name poem:
The Knight
brave, chivalrous, humble, respected
father of a young and talented squire
lover of battles, boasting, and honorable pursuits
who feels pride In his accomplishments,
the need to share with others,
and loyalty to his king.
who needs acceptance,
victory in battle,
and a life filled with risk and danger.
who fears growing too old to be a soldier,
defeat,
and falling out of grace with his king.
who gives entertainment at banquets,
generously to the needy,
and his life for his country and king.
who wants to see the whole world turn to Christianity,
all people act with honor,
and his son succeed In the military.
resident of many foreign and exciting European cities
a distinguished pilgrim
© 2002 by Karen Baker, Spirit Productions
Find this article and read it. Below, take notes as your read. Be prepared for discussion
and quiz. http://schooltheatre.org/education/learning/dramaturgy-101
1. Illuminating the World of the Play
2. What exactly is a dramaturge?
3. Meeting with the director…
4. Initial readings…
5. Glossary
6. Researching the playwright’s background…
7. Researching the background of the play…
8. Studying the play’s production history…
9. Other materials that reflect the world of the play…
10. Organizing your research for presentation…
11. Attending rehearsals…
12. List some classroom and rehearsal ideas:
Now that you have chosen an event and a selection, you are ready to “cut” to a required
length. Cutting is the process of carving a perfect chunk from the masterwork.
The FIRST step in the process is to read the ENTIRE selection. Then you can perform
this surgery with educational skill.
While you read the whole thing:
1. Do not be too concerned with the length of anything in the beginning. It is better to
have too much material as you start to work on a piece.
2. Consider whether one “scene” can be lifted from the whole. If there is one section
that especially interests you, mark it by using a place marker or sticky note OR
photocopy it and mark with a highlighter.
3. Consider whether two “scenes” can be joined to create one longer cutting. If there
are two or three places that especially interest you, mark them all.
4. Consider cutting extraneous characters without hurting the flow of action. Think of
your cutting as a Michelangelo angel inside a block of marble. Your job is to
remove every single scrap that doesn’t belong to the angel, so that it can stand
alone. As an interpreter you want to carefully remove any bit of story, or extra
characters or description that gets in the way of the story you are telling. When
you remove everything that doesn’t relate, only the angel should be left.
5. Consider whether there is material from another source which seems tied to this
one in some way. If so, get a copy of it. Even if you don’t think you need it, this
weeks’ prose may be next weeks POI.
6. Consider whether you will need a “companion” piece for variety or length. This
frequently happens in poetry – and, of course, POI.
7. Will your cutting still make sense when you take your “choices” away from the
whole of the material? Will a short transition of explanation enable you to fill in
the gaps so that it makes sense?
8. One helpful technique is to decide the last line of your cutting and then cut
everything that doesn’t lead to that last line.
When you have made the decisions about what parts you think you are going to use, you
are ready to begin…
THE CUTTING COPY:
1. ALWAYS cut from a photocopy or something other than the original source.
2. ALWAYS keep a clean copy of the whole piece for reference later.
3. Make an extra copy for your coach to work from if that should become necessary.
4. Write authors, book titles, piece titles, where found etc. on the copies.
5. Cutting with pencil is better than with some kind of permanent marker. You might
need to put material back. Therefore, on your copy lightly mark all possible cuts
in pencil.
6. Don’t be afraid to cut short in length. This way you don’t have to hurry in
performance or worry about going overtime.
RULES OF THUMB:
1. Cut minor characters.
2. Cut tag lines such as “he said” wherever possible.
3. Cut out repetitions.
4. Parenthetical expressions can usually go.
5. Try to keep the number of characters (including narrator) down to 3 or 4, or less.
This, of course, depends on your ability to “do” characters and the importance of
those characters.
6. Minor points or uninteresting side issues/subplots can be easily cut. (Or they may
turn out to be the cutting).
7. When cutting poetry, be very careful of rhyme, meter, and such. In poetry, cut by
stanza if at all possible.
8. Remember, you can use transitions to bridge gaps.
9. Of course, you must be careful that what is left after you’ve finished cutting is
more than an outline; leave some meat on the bones of the ideas.
AFTER THE FIRST CUT:
1. Read aloud at a reasonable rate and time the reading. [ALOUD TAKES
LONGER.]
2. Be certain that neither the author’s purpose/central idea nor his style has been
distorted by your cutting. Be equally certain that the essence of the characters and
their intent is not distorted.
3. Remember: It is important that the audience feel that it is receiving a complete
unified experience, not a series of fragments.
4. Does the cutting have a beginning, middle, and end?
5. Does the cutting make sense by itself?
6. Are there “jumps” and “skips”? Fill them in, if possible, or figure out acceptable
transitions.
7. If it is a Duo, is the scene balanced between performers?
AFTER THE FIRST TIMED READ-THROUGH:
If you are still overtime, cut some more even if it hurts. A good rule of thumb requires
that each piece be cut one minute under the maximum time. This includes intro and
transitions because the tendency in interpretation is that you get slower as analysis gets
deeper. So…begin again. When you can’t cut anymore, get help. Ask a coach to cut on it
for awhile (expect this process to take at least 2 or 3 days).
The UIL one-act official contest rehearsal can be a very scary and stressful experience. It
can be made less stressful through careful preparations by taking control of the time you
have. Let’s start by breaking the rehearsal into:
1. Pre-rehearsal prep
2. Actual rehearsal
1. Pre- Rehearsal Prep
Your first step as the Director
Call ahead for the specs of the performance space
Proscenium, Thrust/Apron dimensions
Ask about electrical outlets and wing space
My stage is bigger/smaller than our contest site
Chalk out/tape off contest stage shape & size
If possible, move your curtains to new stage size
Adjust entrances/exits and staging concerns
Light Board is different than mine!
Call ahead for make and model of light board.
Download owner’s manual, bring with you to contest.
Build mock up for light guy- board with magic markers and pennies.
Practice recording light cues with a stop watch running
Use cue sheets provided on the UIL website
Practice makes perfect.
Practice your tech rehearsal at home on your stage
Practice set-up and strike everyday, it’s that important
Everyone has a job and it never changes
Set Design Template
Plastic with ground level set pieces cut out
Home Depot- Contractor Sheeting
Things to bring with you
Flash lights and batteries
Labeled color coded prop boxes with push lights inside
White duck tape/glow tape
Extra extension cords (painted black)
Extra black fabric
Roll of gaff tape
Travel Kit with EVERYTHING, you might need.
Stop watches for every crew person and yourself
Travel with your own sound.
Extra copies of your CD or IPOD for music backup
Bottled Water
2. Procedure for Rehearsal
Before your time starts
Everyone has something in their hands
Order of importance, who do you need to be on stage first?
Only the stage manager speaks before set up, SILENCE.
0:00-15:00 minutes of your rehearsal
Center point- curtain line- house lights out (bring a flashlight)
Lights – look at the areas one at a time.
Start programming
Get an update every 5 minutes.
Sit where judge sits! Check judge sight lines- it’s a contest!
Template- Set the set
Plastic and spike tape
Half your group holds plastic and half moves set pieces
Set sound levels- from judge table
All actors walk entrances/exits/crossovers
15:00-30:00 minutes of your rehearsal
LIGHTS done!
DEFAULT FOR LIGHT CUE IS 80% 2 sec
Bump thru cues with actors moving in the space
Run beginning and end of scenes with awkward spacing
Start spike with precut tape.
30:00-45:00 minutes of your rehearsal
Run beginning and end of your show, twice
Vocal projection practice, sit at the judges table.
Solicit and solve problems
45:00-60:00 minutes of your rehearsal
Strike all props and set pieces to storage area
Replace messed up spike tape
Rules we live by that make things simple:
Learn the Names of the site crew- write them down
Scrupulously polite to site crew, all of them.
No talking allowed during tech, unless it’s me or to me
Head sets
My technicians use them during the rehearsal & show
My second director uses them to set sound/lighting levels
Actors- everyone has functional shoes for rehearsal.
Practice winning and losing before your first contest.
What to bring:
Black locker boxes with light installed in top with wheels, labeled
Emergency Travel bag
Mini Unit Sets
Band Bag or Personal Box with Stuff
Dolly
Beckett, Samuel
Waiting for Godot
Powerful, symbolic portrayal of
the human condition.
Brecht, Bertolt
Mother Courage and Her
Children
A product of the Nazi era,
Mother Courage is a feminine
"Everyman" in a play on the
futility of war.
Chekhov, Anton
The Cherry Orchard
The orchard evokes different
meanings for the impoverished
aristocrat and the merchant who
buys it.
Ibsen, Henrik
A Doll's House
A woman leaves her family to
pursue personal freedom.
Marlowe, Christopher
Doctor Faustus
First dramatization of the
medieval legend of a man who
sold his soul to the devil.
Miller, Arthur
Death of a Salesman
The tragedy of a typical
American who, at age 63, is
faced with what he cannot face:
defeat and disillusionment.
O'Neill, Eugene
Long Day's Journey Into Night
A tragedy set in 1912 in the
summer home of an isolated,
theatrical family.
Sarte, Jean Paul
No Exit
A modern morality play in which
three persons are condemned to
hell because of crimes against
humanity.
Shakespeare, William
Romeo and Juliet, Hamlet,
Macbeth, Twelfth Night, others.
Shaw, Bernard
Man and Superman, Saint
Joan, Pygmalion, others.
Sophocles
Oedipus Rex
Classical tragedy of Oedipus who
unwittingly killed his father,
married his mother and brought
the plague to Thebes.
Wilde, Oscar
The Importance of Being
Earnest
Comedy exposing quirks and
foibles of Victorian society.
Wilder, Thornton
Our Town
The dead of a New Hamshire
village of the early 1900s
appreciate life more than the
living.
Williams, Tennessee
A Streetcar Named Desire
Blanche Dubois' fantasies of
refinement and grandeur are
brutally destroyed by her brotherin-law.
Wilson, August
The Piano Lesson
Drama set in 1936 Pittsburgh
chronicles black experience in
America.
Even if you’re not going to read them, at least be familiar with their titles, playwrights and plots.
THE AMERICANS:
Kushner: Angles in America: A Gay Fantasia
O'NEILL: Ah, Wilderness!; Long Day's Journey Into Night; The Iceman Cometh; The Emporer Jones;
Desire Under the Elms
RICE: Street Scene; The Adding Machine
KAUFMAN AND HART: You Can't Take It With You; The Man Who Came to Dinner
ODETS: Waiting for Lefty; Awake and Sing; Golden Boy
SHERWOOD: The Petrified Forest
HELLMAN: The Children's Hour; The Little Foxes
STEINBECK: Of Mice and Men
WILDER: Our Town; The Skin of Our Teeth; The Matchmaker
WILLIAMS: The Glass Menagerie; Summer and Smoke; A Streetcar Named Desire; Cat On a Hot Tin
Roof
MILLER: Death of a Salesman; The Crucible: A View from the Bridge; The Price
SIMON: Barefoot in the Park; Lost in Yonkers; The Odd Couple; The Sunshine Boys
ALBEE: The Zoo Story; The Death of Bessie Smith; The American Dream; Who's Afraid of Virginia
Woolf?; A Delicate Balance
BARAKA (JONES): Dutchman
HANSBURY: A Raisin in the Sun; The Sign in Sidney Brustein's Window
LANFORD WILSON: Hot I Baltimore; Balm in Gilead; The Rimers of Eldritch; The Fifth of July
SHEPHERD: True West; Curse of the Strarving Class; Buried Child
RABE: Streamers; Sticks and Bones; The Basic Training of Pavel Hummel
MAMET: Sexual Perversity in Chicago; American Buffalo; Glengarry Glenn Ross; Speed-the-Plow
HENLEY: Crimes of the Heart; The Miss Firecracker Contest
AUGUST WILSON: Fences; Ma Rainey's Black Bottom; The Piano Lesson; Two Train's Running
KRAMER: The Normal Heart
WASSERSTEIN: The Heidi Chronicles; The Sisters Rosenweig
THE BRITISH Styles
ANONYMOUS: Everyman; The Second Shepherd's Play
BEN JOHNSON: Volpone; The Alchemist
MARLOWE: Edward II; Dr. Faustus
SHAKESPEARE: Hamlet; Julius Caesar; Othello; Macbeth; King Lear; Romeo and Juliet; Twelfth Night;
As You Like It; A Midsummer Night's Dream; The Tempest; Much Ado About Nothing; Richard II; Henry
IV Parts 1 and 2; Henry V; Richard III
BEHN: The Rover
WYCHERLEY: The Country Wife
SHERIDAN: The Rivals; The School for Scandal
GOLDSMITH: She Stoops to Conquer
WILDE: The Importance of Being Earnest; Lady Windermere's Fan
SHAW: Pygmalion; Major Barbara; Man and Superman; Arms and the Man; Saint Joan; Caesar and
Cleopatra; Mrs. Warren's Profession; Heartbreak Hotel
SYNGE: Playboy of the Western World
COWARD: Hay Fever; Private Lives; Blithe Spirit
BECKETT: Waiting for Godot; Endgame; Happy Days; Krapp's Last Tape
OSBORNE: Look Back in Anger; The Entertainer
PINTER: The Caretaker; The Homecoming; The Dumbwaiter; The Birthday Party; The Lover; The
Collection
STOPPARD: Rosencrantz and Guildenstern Are Dead; Travesties; The Real Thing; Jumpers
GOGOL: The Inspector General
TURGENOV: A Month in the Country
CHEKHOV: The Sea Gull; Uncle Vanya; The Three Sisters; The Cherry Orchard; The Marriage Proposal;
The Boor
IBSEN: Hedda Gabler; A Doll's House; Ghosts; The Master Builder; An Enemy of the People (adapted by
Arthur Miller)
STRINDBERG: Miss Julie; The Father; A Dream Play; The Ghost Sonata
THE GREEKS AND ROMANS:
AESCHYLUS: The Oresteia Trilogy; Prometheus Bound
SOPHOCLES: Oedipus Rex; Oedipus at Colonus; Antigone; Electra
EURIPIDES: Medea; The Trojan Women; The Bacchae; Hyppolytus
ARISTOPHANES: The Clouds; The Frogs; Lysistrata
PLAUTUS: The Twin Manaechmi (very similar to Shakespeare's "A Comedy of Errors"); Amphitryon
SENECA: Medea
GOETHE: Faust I and II
GERMAN
WEDEKIND: Spring's Awakening; The Lulu Plays
STERNHEIM: The Snob
BRECHT: The Threepenny Opera; Mother Courage; Galileo; The Caucasian Chalk Circle; The Good
Person of Setzuan; Man is Man
WEISS: Marat/Sade
Jarry: Ubu Rex (roi), and the whole trilogy.
THE FRENCH:
MOLIERE: Tartuffe; The Miser; The School for Wives; The Misanthrope; The Doctor in Spite of Himself
BEAUMARCHAIS: The Barber of Seville; The Marriage of Figaro
DUMAS, FILS: Camille
ZOLA: Therese Raquin
GIRADOUX: The Madwoman of Chaillot; Amphitryon 38; The Enchanted; Tiger at the Gates; Electra
SARTRE: The Flies; No Exit (existentialism, anyone?)
IONESCO: The Bald Soprano; The Chairs; The Lesson; Rhinoceros
GENET: The Maids; The Blacks; The Balcony
PLUS: The Complete works of Shakes.
absurd
The notion that the world is meaningless, derived from an essay, "The Myth of
Sisyphus," by Albert Camus, which suggests that man has an unquenchable desire to
understand but that the world is eternally unknowable. The resulting conflict puts man
in an "absurd" position, like Sisyphus, who, according to Greek myth, was condemned
for eternity to push a rock up a mountain, only to have it always fall back down before
it reached the top. The philosophical term gave the name to a principal postwar
dramatic genre: theatre of the absurd.
act
(verb) To perform in a play. (noun) A division of a play. Acts in modern plays are
bounded by an intermission or by the beginning or end of the play on each side. Fulllength modern plays are customarily divided into two acts, sometimes three. Roman,
Elizabethan, and neoclassic plays were usually printed in five acts, but the actual
productions were not necessarily divided by intermissions, only stage clearings.
ad lib
A line improvised by an actor during a performance, usually because the actor has
forgotten his or her line or because something unscripted has occurred onstage.
Sometimes an author directs the actors to ad lib, as in crowd scenes during which
individual words cannot be distinguished by the audience.
aesthetic
distance
The theoretical separation between the created artifice of a play and the "real life" the
play appears to represent.
agon
"Action," in Greek; the root word for "agony." Agon refers to the major struggles and
interactions of Greek tragedies.
alienation
effect
A technique, developed by German playwright Bertolt Brecht (1898-1956), by which
the actor deliberately presents rather than represents his or her character and
"illustrates" the character without trying to embody the role fully, as naturalistic acting
technique demands. This technique may be accomplished by "stepping out of
character" - as to sing a song or to address the audience directly - and by developing a
highly objective and didactic mode of expression. The actor is alienated from the role
(estranged and distanced are perhaps better terms - all translations of the German
word Verfremdung) in order to make the audience more directly aware of current
political issues. This technique is highly influential today, particularly in Europe.
amphitheatre
In Rome, a large elliptical outdoor theatre, originally used for gladiatorial contests.
Today the term is often used to designate a large outdoor theatre of any type.
anagnorisis
"Recognition," in Greek. Aristotle claimed that every fine tragedy has a recognition
scene, in which the protagonist discovers either some fact unknown to her or him or
some moral flaw in her or his character. Scholars disagree as to which of these precise
meanings Aristotle had in mind. See also hamartia.
antagonist
In certain Greek tragedies, the opponent of the protagonist.
Apollonian
That which is beautiful, wise, and serene, in the theories of Friedrich Nietzsche, who
believed drama sprang from the junction of Apollonian and Dionysian forces in Greek
culture.
apron
The part of the stage located in front of the proscenium; the forwardmost portion of the
stage. The apron was used extensively in the English Restoration period, from whence
the term comes. Today, it is usually called the forestage.
aragoto
The flamboyant and exaggerated masculine style of acting employed in certain kabuki
roles.
arena stage
A stage surrounded by the audience; also known as "theatre-in-the-round." Arena is a
latin term meaning "sand," and it originally referred to the dirt circle in the midst of an
amphitheatre.
aside
A short line in a play delivered directly to the audience; by dramatic convention, the
other characters onstage are presumed not to hear it. Popular in the works of William
Shakespeare (1564-1616) and of the Restoration period, the aside has made a
comeback in recent years and is used to good effect, in conjunction with the longer
direct address, by contemporary American playwrights such as Lanford Wilson (born
1937) and Neil Simon (born 1927).
audition
The process whereby an actor seeks a role by presenting to a director or casting
director a prepared reading or by "reading cold" from the text of the play being
presented.
avant-garde
In military terms, the "advance-battalion" of an army that goes beyond the front lines
to break new ground; in theatre terms, those theatre artists who abandon conventional
models and create works that are in the forefront of new theatrical movements and
styles.
backstage
The offstage area hidden from the audience that is used for scenery storage, for actors
preparing to make entrances, and for stage technicians running the show. "Backstage
plays," such as The Torchbearers and Noises Off, "turn the set around" and exploit the
furious backstage activity that takes place during a play production.
biomechanics
An experimental acting system, characterized by expressive physicalization and bold
gesticulation, developed by Russian play director Vsevolod Meyerhold (1874-1940) in
the 1920s.
black-box
theatre
A rectangular room with no fixed seating or stage area; this theatre design allows for a
variety of configurations in staging plays.
black musical
See black theatre.
black theatre
In America, theatre that is generally by, with, and about African Americans.
blocking
The specific staging of a play's movements, ordinarily by the director. "Blocking" refers
to the precise indications of where actors are to move, moment by moment, during the
performance. Often this is worked out ("blocked out") on graph paper by the director
beforehand.
book
In a musical, the dialogue text, apart from the music and song lyrics.
border
A piece of flat scenery, often black velour but sometimes a flat, which is placed
horizontally above the set, usually to mask the lighting instruments. Borders are often
used with side wings, in a scenery system known as "wing and border."
box set
A stage set consisting of hard scenic pieces representing the walls and ceiling of a
room, with one wall left out for the audience to peer into. This set design was
developed in the nineteenth century and remains in use today in realistic plays.
Broadway
The major commercial theatre district in New York, bordered by Broadway, 8th Avenue,
42nd Street, and 52nd Street.
bunraku
A Japanese puppet theatre, founded in the seventeenth century and still performed
today.
burlesque
Literally, a parody or mockery, from an Italian amusement form. Today the term
implies broad, coarse humor in farce, particularly in parodies and vaudeville-type
presentations.
business
The minute physical behavior of the actor, such as fiddling with a tie, sipping a drink,
drumming the fingers, lighting a cigarette, and so forth. Sometimes this is controlled to
a high degree by the actor and/or the director for precise dramatic effect; at other
times the business is improvised to convey a naturalistic verisimilitude.
callback
After the initial audition, the director or casting director will "call back" for additional sometimes many - readings those actors who seem most promising. Rules of the
actors' unions require that actors be paid for callbacks exceeding a certain minimum
number.
caricature
A character portrayed very broadly and in a stereotypical fashion, ordinarily
objectionable in realistic dramas. See also character.
catharsis
In Aristotle's Poetics, the "purging" or "cleansing" of terror and pity, which the
audience develops during the climax of a tragedy.
character
A "person" in a play, as performed by an actor. Hamlet, Oedipus, Juliet, and Willy
Loman are characters. Characters may or may not be based on real people.
chiton
The full-length gown worn by Greek tragic actors.
chorus
(1) In classic Greek plays, an ensemble of characters representing the general public of
the play, such as the women of Argos or the elders of Thebes. Originally, the chorus
numbered fifty; Aeschylus is said to have reduced it to twelve and Sophocles to have
increased it to fifteen. More recent playwrights, including Shakespeare and Jean
Anouilh (1910-1987), have occasionally employed a single actor (or small group of
actors) as "Chorus," to provide narration between the scenes. (2) In musicals, an
ensemble of characters who sing and/or dance together (in contrast to soloists, who
sing and/or dance independently).
chou
In xiqu, clown characters and the actors who play them.
classical drama Technically, plays from classical Greece or Rome. Now used frequently (if incorrectly)
to refer to masterpieces of the early and late Renaissance (Elizabethan, Jacobean,
French neoclassical, and so on).
climax
The point of highest tension in a play, when the conflicts of the play are at their fullest
expression.
comedy
Popularly, a funny play; classically, a play that ends happily; metaphorically, a play
with some humor that celebrates the eternal ironies of human existence ("divine
comedy").
comic relief
In a tragedy, a short comic scene that releases some of the built-up tension of the play
- giving the audience a momentary "relief" before the tension mounts higher. The
"porter scene" in Shakespeare's Macbeth is an often-cited example; following the
murder of Duncan, a porter jocularly addresses the audience as to the effect of drinking
on sexual behavior. In the best tragedies, comic relief also provides an ironic
counterpoint to the tragic action.
commedia
dell'arte
A form of largely improvised, masked street theatre that began in northern Italy in the
late sixteenth century and still can be seen today. The principal characters - Arlecchino,
Pantalone, Columbine, Dottore, and Scapino among them - appear over and over in
thousands of commedia stories.
company
A group of theatre artists gathered together to create a play production or a series of
such productions.
convention
A theatrical custom that the audience accepts without thinking, such as "when the
curtain comes down, the play is over." Each period and culture develops its own
dramatic conventions, which playwrights may either accept or violate.
cue
The last word of one speech that then becomes the "cue" for the following speech.
Actors are frequently admonished to speak "on cue" or to "pick up their cues," both of
which mean to begin speaking precisely at the moment the other actor finishes.
cycle plays
In medieval England, a series of mystery plays that, performed in sequence, relate the
story of religion, from the Creation of the universe to Adam and Eve to the Crucifixion
to Doomsday. The York Cycle includes forty-eight such plays.
cyclorama
In a proscenium theatre, a large piece of curved scenery that wraps around the rear of
the stage and is illuminated to resemble the sky or to serve as an abstract neutral
background. It is usually made of fabric stretched between curved pipes but is
sometimes a permanent structure made of concrete and plaster.
Dada
A provocative and playful European art movement following World War I characterized by seemingly random, unstructured, and "anti-aesthetic" creativity - that
was briefly but deeply influential in poetry, painting, and theatre.
dan
In xiqu, the female roles and the actors who play them.
denouement
The final scene or scenes in a play devoted to tying up the loose ends after the climax
(although the word originally meant "the untying").
deus ex
machina
In Greek tragedies, the resolution of the plot by the device of a god ("deus") arriving
onstage by means of a crane ("machina") and solving all the characters' problems.
Today, this term encompasses any such contrived play ending, such as the discovery of
a will. This theatrical element was considered clumsy by Aristotle and virtually all
succeeding critics; it is occasionally used ironically in the modern theatre, as by Bertolt
Brecht in The Threepenny Opera.
dialogue
The speeches - delivered to each other - of the characters in a play. Contrast with
monologue.
diction
One of the six important features of a drama, according to Aristotle, who meant by the
term the intelligence and appropriateness of the play's speeches. Today, this term
refers primarily to the actor's need for articulate speech and clear pronunciation.
didactic drama
Drama dedicated to teaching lessons or provoking intellectual debate beyond the
confines of the play; the dramatic form espoused by Bertolt Brecht. See also alienation
effect.
dimmer
In lighting, the electrical device (technically known as a potentiometer) that regulates
the current passing through the bulb filaments and, thereby, the amount of light
emitted from the lighting instruments.
dim out
To fade the lights gradually to blackness.
Dionysia
Or "Great Dionysia" or "City Dionysia"; the week-long Athenian springtime festival in
honor of Dionysus, which was, after 534 B.C., the major play-producing festival of the
Greek year.
Dionysian
Passionate revelry, uninhibited pleasure-seeking; the opposite of Apollonian, according
to Friedrich Nietzsche, who considered drama a merger of these two primary impulses
in the Greek character.
Dionysus
The Greek god of drama as well as the god of drinking and fertility. Dionysus was
known as Bacchus in Rome.
direct address
A character's speech delivered directly to the audience, common in Greek Old Comedy
(see parabasis), in Shakespeare's work (see soliloquy), in epic theatre, and in some
otherwise realistic modern plays (such as Neil Simon's Broadway Bound).
discovery
A character who appears onstage without making an entrance, as when a curtain
opens. Ferdinand and Miranda are "discovered" playing chess in Shakespeare's The
Tempest when Prospero pulls away a curtain that had been hiding them from view.
dithyramb
A Greek religious rite in which a chorus of fifty men, dressed in goatskins, chanted and
danced; the precursor, according to Aristotle, of Greek tragedy.
documentary
drama
Drama that presents historical facts in a nonfictionalized, or only slightly fictionalized,
manner.
domestic
tragedy
A tragedy about ordinary people at home.
double
(1) An actor who plays more than one role is said to "double" in the second and
following roles. Ordinarily the actor will seek, through a costume change, to disguise
the fact of the doubling; occasionally, however, a production with a theatricalist staging
may make it clear that the actor doubles in many roles. (2) To Antonin Artaud, the life
that drama reflects, as discussed in his book The Theatre and Its Double. See also
theatre of cruelty.
downstage
That part of the stage closest to the audience. The term dates back to the eighteenth
century, when the stage was raked so that the front part was literally below the back
(or upstage) portion.
drama
The art of the theatre; plays, playmaking, and the whole body of literature of and for
the stage.
dramatic
Plays, scenes, and events that are high in conflict and believability and that would
command attention if staged in the theatre.
dramatic irony
The situation when the audience knows something the characters don't, as in
Shakespeare's Macbeth, when King Duncan remarks on his inability to judge character
- while warmly greeting the man (Macbeth) we already know plans to assassinate him.
dramaturge
A specialist in dramatic construction and the body of dramatic literature; a scientist of
the art of drama. Dramaturges are fre-quently engaged by professional and academic
theatres to assist in choosing and analyzing plays, develop production concepts,
research topics pertinent to historic period or play production style, and write program
essays. The dramaturge has been a mainstay of the German theatre since the
eighteenth century and is becoming increasingly popular in the English-speaking world.
Sometimes identified by the German spelling "Dramaturg."
dramaturgy
The science of drama; the art of play construction; sometimes used to refer to play
structure itself.
dress rehearsal A rehearsal, perhaps one of several, in full costume; usually also with full scenery,
properties, lighting, sound, and technical effects. This is ordinarily the last rehearsal(s)
prior to the first actual performance before an audience.
drop
A flat piece of scenery hung from the fly gallery, which can "drop" into place by a flying
system.
empathy
Audience members' identification with dramatic characters and their consequent shared
feelings with the plights and fortunes of those characters. Empathy is one of the
principal effects of good drama.
ensemble
Literally, the group of actors (and sometimes directors and designers) who put a play
together; metaphorically, the rapport and shared sense of purpose that bind such a
group into a unified artistic entity.
environmental
theatre
Plays produced not on a conventional stage but in an area where the actors and the
audience are intermixed in the same "environment" and where there is no precise line
distinguishing stage space from audience space.
epic theatre
As popularized by Bertolt Brecht, a style of theatre in which the play presents a series
of semi-isolated episodes, intermixed with songs and other forms of direct address, all
leading to a general moral conclusion or set of integrated moral questions. Brecht's
Mother Cour-age is a celebrated example. See also alienation effect.
epilogue
In Greek tragedy, a short concluding scene of certain plays, generally involving a
substantial shift of tone or a deus ex machina. Today, the epilogue is a concluding
scene set substantially beyond the time frame of the rest of the play, in which
characters, now somewhat older, reflect on the preceding events.
existential
drama
A play based on the philosophical notions of existentialism, particularly as developed by
Jean-Paul Sartre (1905-1980). Existentialism, basically, preaches that "you are your
acts, and nothing else" and that people must be held fully accountable for their own
behavior. No Exit contains Sartre's most concise expression of this idea.
exodos
In Greek tragedy, the departure ode of the chorus at the end of the play.
exposition
In play construction, the conveyance, through dialogue, of story events that have
occurred before the play begins.
expressionism
An artistic style that greatly exaggerates perceived reality in order to express inner
truths directly. Popular mainly in Germany between the world wars, expressionism in
the theatre is notable for its gutsy dialogue, piercing sounds, bright lighting and
coloring, bold scenery, and shocking, vivid imagery.
farce
Highly comic, lighthearted, gleefully contrived drama, usually involving stock situations
(such as mistaken identity or discovered lovers' trysts), punctuated with broad physical
stunts and pratfalls.
flat
A wooden frame covered in fabric or a hard surface and then painted, often to
resemble a wall or portion of a wall. The flat is a traditional staple of stage scenery,
particularly in the realistic theatre, since it is exceptionally lightweight, can be
combined with other flats in various ways, and can be repainted and reused many
times over several years.
fly
(verb) To raise a piece of scenery (or an actor) out of sight by a system of ropes
and/or wires. This theatre practice dates back at least to ancient Greek times (see also
deus ex machina).
fly gallery
The operating area for flying scenery, where fly ropes are tied off (on a pinrail) or
where ropes in a counterweight system are clamped in a fixed position.
follow-spot
A swivel-mounted lighting instrument that can be pointed in any direction by an
operator.
footlights
In a proscenium theatre, a row of lights across the front of the stage, used to light the
actors' faces from below and to add light and color to the setting. Footlights were used
universally in previous centuries but are employed only on special occasions today.
forestage
A modern term for apron, the small portion of the stage located in front of the
proscenium.
found object
In scene or costume design (and art in general), an item that is found rather than
created and subsequently incorporated into the finished design.
full house
Audience seating filled to capacity. See also house.
genre
French for "kind"; a term used in dramatic theory to signify a distinctive class or
category of play, such as tragedy, comedy, farce, and so on.
geza
The stage right, semi-enclosed musicians' box in kabuki theatre. This term also refers
to the music that is played in this box.
gidayu
The traditional style of chanting in kabuki and bunraku theatre. This term also refers to
the singer-chanter himself.
greenroom
A room near the stage where actors may sit comfortably before and after the show or
during scenes in which they do not appear. This room is traditionally painted green; the
custom arose in England, where the color was thought to be soothing.
ground plan
A schematic drawing of the stage setting, as seen from above, indicating the location of
stage-scenery pieces and furniture on (and sometimes above) the floor. A vital working
document for directors in rehearsal, as well as for technicians in the installation of
scenery.
hamartia
In Aristotle's Poetics, the "tragic flaw" of the protagonist. Scholars differ as to whether
Aristotle was referring primarily to a character's ignorance of certain facts or to a
character's moral defect.
hanamichi
In the kabuki theatre, a long narrow runway leading from the stage to a door at the
back of the auditorium that is used for highly theatrical entrances and exits right
through the audience.
Hellenistic
theatre
Ancient Greek theatre during the fourth and third centuries B.C. The surviving stone
theatres of Athens and Epidaurus date from the Hellenistic period, which began well
after the great fifth-century tragedies and comedies were written. The Hellenistic
period did produce an important form of comedy (New Comedy), however, and
Alexandrian scholars during this period collected, edited, and preserved the
masterpieces of the golden age.
high comedy
A comedy of verbal wit and visual elegance, usually peopled with upper-class
characters. The Restoration comedies of William Congreve (1670-1729) and the
Victorian comedies of Oscar Wilde (1854-1900) are often cited as examples.
hikimaku
The traditional striped curtain of the kabuki theatre.
himation
The gownlike basic costume of the Greek tragic actor.
house
The audience portion of the theatre building.
hubris
In Greek, an excess of pride; the most common character defect (one interpretation of
the Greek hamartia) of the protagonist in Greek tragedy. "Pride goeth before a fall" is
an Elizabethan expression of this foundation of tragedy.
improvisation
Dialogue and/or stage business invented by the actor, often during the performance
itself. Some plays are wholly improvised, even to the extent that the audience may
suggest situations that the actors must then create. More often, improvisation is used
to "fill in the gaps" between more traditionally memorized and rehearsed scenes.
inciting action
In play construction, the single action that initiates the major conflict of the play.
ingenue
The young, pretty, and innocent girl role in certain plays; also used to denote an
actress capable of playing such roles.
interlude
A scene or staged event in a play not specifically tied to the plot; in medieval England,
a short moral play, usually comic, that could be presented at a court banquet amid
other activities.
intermission
In England, "interval"; a pause in the action, marked by a fall of the curtain or a fadeout of the stage lights, during which the audience may leave their seats for a short
time, usually ten or fifteen minutes. Intermissions divide the play into separate acts.
jing
In xiqu, the "painted-face" roles, often of gods, nobles, or villains.
jingju
"Capital theatre" in Chinese; the Beijing (or Peking) Opera, the most famous form of
xiqu.
k¯oken
Black-garbed and veiled actors' assistants who perform various functions onstage in
kabuki theatre.
kabuki
One of the national theatres of Japan. Dating from the seventeenth century, the kabuki
features magnificent flowing costumes; highly stylized scenery, acting, and makeup;
and elaborately styled choreography.
kakegoe
Traditional shouts that kabuki enthusiasts in the audience cry out to their favorite
actors during the play.
kathakali
A traditional dance-drama of India.
lazzo
A physical joke, refined into traditional business and inserted into a play, in the
commedia dell'arte. "Eating the fly" is a famous lazzo.
Lenaea
The winter dramatic festival in ancient Athens. Because there were fewer foreigners in
town in the winter, comedies that might embarrass the Athenians were often
performed at this festival rather than at the springtime Dionysia.
liturgical
drama
Dramatic material that was written into the official Catholic Church liturgy and staged
as part of regular church services in the medieval period, mainly in the tenth through
twelfth centuries.
low comedy
Comic actions based on broad physical humor, scatology, crude punning, and the
argumentative behavior of ignorant and lower-class characters. Despite the pejorative
connotation of its name, low comedy can be inspired, as in the "mechanicals" scenes of
Shakespeare's A Midsummer Night's Dream. Good plays, such as this one, can mix low
comedy with high comedy in a highly sophisticated pattern.
mask
(noun) A covering of the face, used conventionally by actors in many periods, including
Greek, Roman, and commedia dell'arte. The mask was also used in other sorts of plays
for certain occasions, such as the masked balls in Shakespeare's Romeo and Juliet and
Much Ado about Nothing. The mask is a symbol of the theatre, particularly the two
classic masks of Comedy and Tragedy. (verb) To hide backstage storage or activity by
placing in front of it neutrally colored flats or drapery (which then become "masking
pieces").
masque
A minor dramatic form combining dance, music, a short allegorical text, and elegant
scenery and costuming; often presented at court, as in the royal masques written by
Ben Jonson (1572-1637), with scenery designed by Inigo Jones (1573-1652), during
the Stuart era (early seventeenth century).
melodrama
Originally a term for musical theatre, by the nineteenth century this became the
designation of a suspenseful, plot-oriented drama featuring all-good heroes, all-bad
villains, simplistic dialogue, soaring moral conclusions, and bravura acting.
metaphor
A literary term designating a figure of speech that implies a comparison or identity of
one thing with something else. It permits concise communication of a complex idea by
use of associative imagery, as with Shakespeare's "morn in russet mantle clad."
metatheatre
Literally, "beyond theatre"; plays or theatrical acts that are self-consciously theatrical,
that refer back to the art of the theatre and call attention to their own theatricality.
Developed by many authors, including Shakespeare (in plays-within-plays in Hamlet
and A Midsummer Night's Dream) and particularly the twentieth-century Italian
playwright Luigi Pirandello (Six Characters in Search of an Author, Tonight We
Improvise), thus leading to the term "Pirandellian" (meaning "metatheatrical"). See
also play-within-the-play.
mie
A "moment" in kabuki theatre in which the actor (usually an aragoto character)
suddenly freezes in a tense and symbolic pose.
mime
A stylized art of acting without words. Probably derived from the commedia dell'arte,
mime was revived in France during the mid-twentieth century and is now popular again
in the theatre and in street performances in Europe and the United States. Mime
performers traditionally employ whiteface makeup to stylize and exaggerate their
features and expressions.
modern classic
A term used to designate a play of the past hundred years that has nonetheless passed
the test of time and seems as if it will last into the century or centuries beyond, such as
the major works of Anton Chekhov, George Bernard Shaw, and Samuel Beckett.
Contrast with classical drama.
monologue
A long unbroken speech in a play, often delivered directly to the audience (when it is
more technically called a soliloquy).
morality play
An allegorical medieval play form, in which the characters represent abstractions (Good
Deeds, Death, and so on) and the overall impact of the play is moral instruction. The
most famous of these plays in English is the anonymous Everyman (fifteenth century).
motivation
That which can be construed to have determined a person's (or character's) behavior.
Since Konstantin Stanislavsky (1863-1938), actors have been encouraged to study the
possible motivations of their characters' actions. See also objective.
musical
A generic name for a play with a large number of songs, particularly when there is also
dancing and/or a chorus.
musical
comedy
A popular form of twentieth-century theatre, with singing and dancing, designed
primarily for entertainment.
mystery play
The most common term referring to medieval plays developed from liturgical drama
that treated biblical stories and themes. (They were also known as pageant plays in
England, as passion plays when dealing with the Crucifixion of Jesus, and as Corpus
Christi plays when performed in conjunction with that particular festival.) Unlike
liturgical dramas, which were in Latin, mystery plays were written in the vernacular
(English, French, German, Italian, Spanish, and Russian versions exist) and were
staged outside the church.
n¯o
The classical dance-drama of Japan. Performed on a bare wooden stage of fixed
construction and dimension and accompanied by traditional music, n¯o is the
aristocratic forebear of the more popular kabuki and remains generally unchanged
since its fourteenth-century beginnings.
naturalism
An extreme form of realism, which advanced the notion that the natural and social
environment, more than individual will power, controlled human behavior. Its
proponents, active in the late nineteenth and early twentieth centuries, sought to
dispense with all theatrical convention in the search for complete verisimilitude: a slice
of life, as the naturalists would say.
neoclassicism
Literally, "new classicism," or a renewed interest in the literary and artistic theories of
ancient Greece and Rome and an attempt to reformulate them for the current day. A
dominant force in seventeenth-century France, neoclassicism promoted restrained
passion, balance, artistic consistency, and formalism in all art forms; it reached its
dramatic pinnacle in the tragedies of Jean Racine (1639-1699).
New Comedy
Greek comic dramas - almost all of which are now lost - of the late fourth to the second
centuries B.C. Considerably more realistic than the Old Comedy of Aristophanes, New
Comedy employed stock characters and domestic scenes; it strongly influenced Roman
author Plautus and, through him, Renaissance comedy.
objective
The basic "goal" of a character. Also called "intention" or "victory." Since Konstantin
Stanislavsky, the actor has been urged to discover his or her character's objectives
and, by way of "living the life of that character," to pursue that character's objective
during the course of the play.
off-Broadway
The New York professional theatre located outside the Broadway district; principally in
Greenwich Village and around the upper East and West Sides. Developed in the 1950s,
when it was considered highly experimental, the off-Broadway theatre is now more of a
scaled-down version of the Broadway theatre, featuring musicals and commercial
revivals as much as (or more than) original works.
off-offBroadway
A term designating certain theatre activity in New York City, usually nonprofessional
(although with professional artists involved) and usually experimental and avant-garde
in nature. Off-off-Broadway developed in the 1970s as a supplement to the
commercialism of both Broadway and, increasingly, off-Broadway.
onnagata
"Women-type" roles in kabuki, which, like all the roles, are played by men.
open the house A direction to admit the audience. See also house.
orchestra
(1) In the ancient Greek or Roman theatre, the circular (in Rome, semicircular) groundlevel acting area in front of the stagehouse, or skene. It was used primarily by the
chorus. (2) In modern theatre buildings, the main ground-level section of the audience,
which usually slopes upward at the rear. Distinct from the mezzanine and balconies and
ordinarily containing the more expensive seats.
parabasis
A "coming-forward" of a character in Greek Old Comedy who then gives a direct
address to the audience in the middle of the play. In Aristophanes' plays, the parabasis
is often given in the author's name and may have been spoken by Aristophanes
himself. The parabasis was often unrelated to the plot and dealt with the author's
immediate political or social concerns.
parados
The ode sung by the chorus entering the orchestra in a Greek tragedy; the space
between the stagehouse (skene) and audience seating area (theatron) through which
the chorus entered the orchestra.
parody
Dramatic material that makes fun of a dramatic genre or mode or of specific literary
works; a form of theatre that is often highly entertaining but rarely has lasting value.
pathos
"Passion," in Greek; also "suffering." The word refers to the depths of feeling evoked by
tragedy; it is at the root of our words "sympathy" and "empathy," which also describe
the effect of drama on audience emotions.
peripeteia
In the Anglicized form, "peripety"; the reversal of the protagonist's fortunes that,
according to Aristotle, is part of the climax of a tragedy.
pièce bien faite See well-made play.
play-within-the- A play that is "presented" by characters who are already in a play; like "The Murder of
play
Gonzago," which is presented by "players" in Hamlet. Many plays are in part about
actors and plays and contain such plays-within-plays; these include Anton Chekhov's
The Seagull, Jean Anouilh's The Rehearsal, and Shakespeare's A Midsummer Night's
Dream and The Taming of the Shrew.
plot
The events of the play, expressed as a series of linked dramatic actions; more
generally, and in common terms, the story of the play. The plot is the most important
aspect of play construction, according to Aristotle.
postmodern
A wide-ranging term describing certain post-World War II artistic works, characterized
by nonlinearity, self-referentiality if not self-parody, and multiple/simultaneous sensory
impressions.
practical
In stage terminology, a property that works onstage the way it does in life. For
example, a "practical" stove, in a stage setting, is one on which the characters can
actually cook. A "nonpractical" stove, by contrast, is something that only looks like a
stove (and may in fact be a stove without insides).
problem play
A realistic play that deals, often narrowly, with a specific social problem. George
Bernard Shaw's Mrs. Warren's Profession, for example, is virtually a dramatic tract on
prostitution. The term was most popular around the beginning of the twentieth
century; today it is mostly descriptive of certain movies for television.
producer
(1) In America, the person responsible for assembling the ingredients of a play
production: financing, staff, theatre, publicity, and management. Not ordinarily
involved in the day-to-day artistic direction of the production, the American producer
nonetheless controls the artistic process through her or his authority over personnel
selection and budgeting. (2) Until recently, in the English theatre, the theatre artist
Americans refer to as the director.
prologue
In Greek tragedy, a speech or brief scene preceding the entrance of the chorus and the
main action of the play, usually spoken by a god or gods. Subsequently, the term has
referred to a speech or brief scene that introduces the play, as by an actor in certain
Elizabethan plays (often called the chorus) and in the Restoration. The prologue is
rarely used in the modern theatre.
properties
Or "props"; the furniture and hand-held objects (hand props) used in play productions.
These are often real items (chairs, telephones, books, etc.) that can be purchased,
rented, borrowed, or brought up from theatre storage; they may also, particularly in
period or stylized plays, be designed and built in a property shop.
proscenium
arch
The arch separating the audience area from the main stage area. The term derives
from the Roman playhouse, in which the proscenium (literally, pro skene, or "in front of
the stage") was the facing wall of the stage. Modern thrust and arena stages have no
proscenium.
proscenium
theatre
A rectangular-roomed theatre with the audience on one end and the stage on the
other, with both areas separated by a proscenium arch. The proscenium theatre was
first popular in the late seventeenth century and reached its apogee in the late
nineteenth and early twentieth centuries. Still the basic theatre architecture of
America's Broadway and of major European theatre companies.
protagonist
In Greek tragedy, and subsequently in any drama, the principal character, often
opposed by an antagonist.
raked stage
A sloped stage, angled so that the rear (upstage) area is higher than the forward
(downstage) area. A raked stage was standard theatre architecture in the seventeenth
century and is often used today in scene design but rarely in a theatre's permanent
architecture.
realism
The general principle that the stage should portray, in a reasonable facsimile, ordinary
people in ordinary circumstances and that actors should behave, as much as possible,
as real people do in life. Although realism's roots go back to Euripides, it developed as
a deliberate contrast to the florid romanticism that swept the European theatre in the
mid-nineteenth century. See also naturalism, which is an extreme version of realism.
recognition
See anagnorisis.
rehearsal
The gathering of actors and director to put a play into production; the period in which
the director stages the play and the actors develop and repeat their dialogue and
actions; etymologically, a "reharrowing," or repeated digging into. In French, the
comparable term is répétition.
repertory
The plays a theatre company produces. A company's current repertory consists of
those plays available for production at any time.
Restoration
In England, the period following the restoration of the monarchy in 1660. In the
theatre, the period is particularly noted for witty and salacious comedies, through to
William Congreve's brilliant The Way of the World in 1700.
revival
The remounting of a play production after its initial closing, usually by the same theatre
company and/or employing many or most of the same artists. The term is not normally
used to describe fresh restagings, by other artists, of older plays.
rising action
In dramatic structure, the escalating conflict; events and actions that follow the inciting
action.
ritual
A traditional cultural practice, usually religious, involving precise movements, music,
spoken text, and/or gestures, that serves to communicate with deities. Ritual is often
incorporated into plays, either as conventions of the theatre or as specific dramatized
actions.
romanticism
A nineteenth-century European movement away from neoclassic formalism and toward
outsized passions, exotic and grotesque stories, florid writing, and all-encompassing
worldviews. Supplanted in the late century by realism, romanticism survives today
primarily in grand opera and nineteenth-century-based musicals.
rotating
repertory
The scheduling of a series of plays in nightly rotation. This is customary in most
European theatres and in many American Shakespeare festivals; it is otherwise rare in
America. See also repertory.
samisen
The three-stringed banjolike instrument used in kabuki and bunraku.
satire
A play or other literary work that ridicules social follies, beliefs, religions, or human
vices, almost always in a lighthearted vein. Satire is not usually a lasting theatre form,
as summed up by dramatist George S. Kaufman's classic definition: "Satire is what
closes on Saturday night."
satyr
A mythological Greek creature, half man and half goat, who attended Dionysus and
represented male sexuality and drunken revelry; goatskin-clad followers of Dionysus
who served as the chorus of the satyr play.
satyr play
The fourth play in a Greek tetralogy. Satyr plays were short bawdy farces that parodied
the events of the trilogies that preceded them.
scansion
The study of verse for patterns of accented and unaccented syllables; also known as
"metrics."
scene
(1) The period of stage time representing a single space over a continuous period of
time, now usually marked either by the rise or fall of a curtain or by the raising or
lowering of lights but in the past often marked simply by a stage clearing; often the
subdivision of an act. (2) The locale where the events of the play are presumed to take
place, as represented by scenery (as in "the scene is the Parson's living room"). (3) Of
scenery, as "scene design."
scenery
The physical constructions that provide the specific acting environment for a play and
that often indicate, by representation, the locale where a scene is set; the physical
setting for a scene or play.
scenography
Scene design, particularly as it fits into the moving pattern of a play or series of plays.
Scene design is four-dimensional, comprising three physical dimensions plus time.
scrim
A theatrical fabric woven so finely that when lit from the front it appears opaque and
when lit from behind it becomes transparent. A scrim is often used for surprise effects
or to create a mysterious mood.
script
A play's text as used in and prior to play production, usually in manuscript or typescript
rather than in a published version.
semiotics
The study of signs, as they may be perceived in literary works, including plays.
Semiotics is a contemporary tool of dramaturgical analysis that offers the possibility of
identifying all the ingredients of drama (staging as well as language) and determining
the precise conjunctions between them.
setting
Or "set," the fixed (stable) stage scenery.
sheng
In xiqu, the male roles and the actors who play them.
shite
The principal character (the "doer") in n¯o.
skene
The Greek stagehouse (and root word of our scene). The skene evolved from a small
changing room behind the orchestra to a larger structure with a raised stage and a
back wall during the Greek period.
slapstick
Literally, a prop bat made up of two hinged sticks that slap sharply together when the
bat is used to hit someone; a staple gag of the commedia dell'arte. More generally,
slapstick is any sort of very broad physical stage humor.
slice-of-life
Pure naturalism: stage action that merely represents an ordinary and arbitrary "slice"
of the daily activity of the people portrayed.
soliloquy
A monologue delivered by a single actor with no one else onstage, sometimes played
as the character "thinking aloud" and sometimes as a seeming dialogue with the
(silent) audience.
stage business
See business.
stage
directions
Scene descriptions, blocking instructions, and general directorial comments written,
usually by the playwright, in the script.
stage left
Left, from the actor's point of view.
stage right
Right, from the actor's point of view.
stock character A character recognizable mainly for his or her conformity to a standard ("stock")
dramatic stereotype: the wily servant, the braggart soldier, the innocent virgin, and so
on. Most date from at least Roman times.
stock situation
One of a number of basic plot situations, such as the lover hiding in the closet, twins
mistaken for each other, and so on, which, like stock characters, have been used in the
theatre since Plautus and before.
style
The specific manner in which a play is shaped, as determined by its genre, its historical
period, the sort of impact the director wishes to convey to the audience, and the skill of
the artists involved. The term generally refers to these aspects inasmuch as they differ
from naturalism, although it could be said that naturalism is a style.
stylize
To deliberately shape a play (or a setting, a costume, or so on) in a specifically nonnaturalistic manner.
subplot
A secondary plot in a play, usually related to the main plot by play's end. The
Gloucester plot in King Lear and the Laertes plot in Hamlet are examples.
subtext
According to Konstantin Stanislavsky, the deeper and usually unexpressed "real"
meanings of a character's spoken lines. Of particular importance in the acting of
realistic plays, such as those of Anton Chekhov, where the action is often as much
between the lines as in them.
surrealism
An art movement of the early twentieth century, in which the artist sought to go
beyond realism into superrealism (of which surrealism is a contraction).
symbolism
The first major antirealistic movement in the arts and in the theatre. Symbolism, which
emphasizes the symbolic nature of theatrical presentation and the abstract possibilities
of drama, flourished as a significant movement from the late nineteenth century to the
early twentieth century, when it broke into various submovements: expressionism,
surrealism, theatricalism, and so on.
tableau
A "frozen moment" onstage, with the actors immobile, usually employed at the end of
a scene, as the curtain falls or the lights dim.
tetralogy
Four plays performed together in sequence. In ancient Greek theatre, this was the
basic pattern for the tragic playwrights, who presented a trilogy of tragedies, followed
by a satyr play.
text
A playscript; sometimes used to indicate the spoken words of the play only, as apart
from the stage directions and other material in the script.
theatre-in-theround
See arena stage.
theatre of
alienation
See alienation effect, epic theatre.
theatre of
cruelty
A notion of theatre developed by the French theorist Antonin Artaud (1896-1948).
Artaud's goal was to employ language more for its sound than for its meaning and to
create a shocking stream of sensations rather than a coherent plot and cast of
characters. Although Artaud's practical achievement was slight, his theories have
proven extraordinarily influential.
theatre of the
absurd
See absurd.
theatricalist
A style of contemporary theatre that boldly exploits the theatre itself and calls attention
to the theatrical contexts of the play being performed. This term is often used to
describe plays about the theatre that employ a play-within-the-play.
theatron
From the Greek for "seeing place"; the original Greek theatre.
thespian
Actor; after Thespis, the first Greek actor.
thrust stage
A stage that projects into the seating area and is surrounded by the audience on three
sides.
tragedy
From the Greek for "goat song"; originally meant a serious play. The tragedy was
refined by Greek playwrights (Thespis, sixth century B.C., being the first) and
subsequently the philosopher Aristotle (384-322 B.C.) into the most celebrated of
dramatic genres: a play that treats, at the most uncompromising level, human
suffering. The reason for the name is unclear; a goat may have been the prize, and/or
the chorus may have worn goatskins.
tragic flaw
See hamartia.
tragicomedy
A play that begins as a tragedy but includes comic elements and ends happily.
Tragicomedy was a popular genre in the eighteenth century but is rarely employed, at
least under that name, in the modern theatre.
traveler
A curtain that, instead of flying out (see fly), moves horizontally and is usually opened
by dividing from the center outward.
trilogy
Three plays performed in sequence; the basic pattern of ancient Greek tragedies, of
which one - Aeschylus' The Oresteia (Agamemnon, The Libation Bearers, and The
Eumenides) - is still extant.
trope
A written text, usually in dialogue form, incorporated into the Christian church service.
In the tenth century A.D. these became the first liturgical dramas.
troupe
A group of actors who perform together, often on tour. See also company.
unities
The unity of place, unity of time, unity of action, and unity of tone were the four
"unities" that neoclassic critics of the seventeenth century claimed to derive from
Aristotle; plays said to "observe the unities" were required to take place in one locale,
to have a duration of no more than one day (in an extreme interpretation, in no more
time than the duration of the play itself), and to concern themselves with no more than
one single action. Aristotle made no such demands on playwrights, however, and very
few authors have ever succeeded in satisfying these restrictive conventions.
unit set
A set that, by the moving on or off of a few simple pieces and perhaps with a change of
lights, can represent all the scenes from a play. The unit set is a fluid and economical
stag-ing device, particularly useful for Shakespeare productions.
upstage
(noun) In a proscenium theatre, that part of the stage farthest from the audience; the
rear of the stage, so called because it was in fact raised ("up") in the days of the raked
stage. (verb) To stand upstage of another actor. Upstaging is often considered rude,
inasmuch as it forces the downstage actor to face upstage (and away from the
audience) in order to look at the actor to whom she or he is supposed to be speaking.
Figuratively, the term may be used to describe any sort of acting behavior that calls
unwarranted attention to the "upstaging" actor and away from the "upstaged" one.
vaudeville
A stage variety show, with singing, dancing, comedy skits, and animal acts; highly
popular in America from the late 1880s to the 1930s, when it lost out to movies, radio,
and subsequently television.
verisimilitude
The appearance of actual reality (as in a stage setting).
wagoto
In kabuki, "gentle-style" acting performed by certain male romantic characters.
waki
The secondary character in n¯o.
well-made play
Pièce bien faite in French; in the nineteenth century, a superbly plotted play,
particularly by such gifted French playwrights as Eugène Scribe (1791-1861) and
Victorien Sardou (1831-1908); today, generally used pejoratively, as to describe a play
that has a workable plot but shallow characterization and trivial ideas.
West End
The commercial theatre district of London, England.
wings
In a proscenium theatre, the vertical pieces of scenery to the left and right of the
stage, usually parallel with the footlights.
xiqu
Chinese for "tuneful theatre"; the general term for all varieties of traditional Chinese
theatre, often called "Chinese Opera."
zadacha
Russian for "task"; (though commonly translated as "objective"); according to
Konstantin Stanislavsky, the character's (fictional) tasks (or goals) that the actor must
pursue during the play.
http://highered.mcgraw-hill.com/sites/0767430077/student_view0/glossary.html
Please check below your interest level in the team for the 2012-13
school year. Your level of commitment in now way affects your
grade, but it does affect how you are coached. Consider your
interest, your time availability, the number of activities you have,
and how far you want to go in the program.
_____________ “GOING ALL THE WAY TO STATE/NATS!”
Competing at 8-10 tournaments, interested in auditioning for oneact play and/or Montage theatre, hoping desperately to compete at
the district, state, and national levels, willing to give time before
and after school to be coached to the highest level.
____________ “MIDDLE OF THE ROAD”
Competing at 5-8 tournaments, maybe interested and available for
plays or post-season competition—let’s see how I do first. I also
have work and other commitments that may take too much of my
time.
------------------ “HERE TO BE PART OF THE TEAM ONLY”
Plan to compete at only the required 4 tournaments, not interested
in post-season or multiple event participation. I understand that
some of my grade may be supplemented with scribe work to the
team rather than higher-level competition work.

Student Contract for the 2012-2013 School Year
When you accept a role in a play or a position on a production crew, you have a serious
responsibility to all the others in the show. In order to be successful, the play needs the
skills of everyone involved. Read the following responsibilities carefully, and then sign
below ONLY if you can meet them.
1 I will be on time for all rehearsals and working sessions and meet all deadlines.
2 I understand that rehearsals may be scheduled for after school, on weeknights, and on
weekends.
3 I will be able to keep up my grades and turn in assignments for other classes on time,
no matter when rehearsals are held.
4 I will not use my production responsibilities as an excuse for not doing homework or
completing assignments for other classes in a timely fashion.
5 I will let my manager (artistic director, technical director, designer, or stage manager)
know of any previously scheduled appointments that fall during rehearsal time, and I will
not schedule any new appointments that would interfere with my production
responsibilities.
6 I will read and follow all theatre safety rules.
7 I will work in a collaborative manner, being cheerful and cooperative at all times.
8 I will make sure that my parents or caretakers are aware of my responsibilities and
production schedule.
9 I understand that failing to live up to these responsibilities could lead to dismissal from
the production and/or a lower grade.
I ____________________________________________________ have read the student
contract above and agree to follow the responsibilities described therein.
Signature ______________________________________ Date _______________