3. WHAT IS THEATER?
• a play or other activity or presentation
considered in terms of its dramatic
quality.
• the activity or profession of acting in,
producing, directing, or writing plays.
• an outdoor area for housing dramatic
performances or stage entertainments,
or for showing movies.
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5. ACTOR
• He is an artist present on stage space, whose
mission is to act and speak in a fictional universe
that he builds or contributes to build (Ubersfeld,
2004).
• There must be at least one and they should not
necessarily be people because puppets or puppets
can also be used.
• As Ricard Salvat puts it:"The actor is, of all the
elements of the theatrical payroll, which is essential.
At the moment of going without some components
of the theater complex, always ending up reducing
the actor"(Salvat 1983, page 29).
• The actor or actors are the ones who give life to the
characters, through their actions, words and
clothing.
• It is they who recite dialogues imprinting vocal
tones, diction, emotions and energy that reinforce
the credibility of the performance and influence the
involvement of the spectators in history.
• Seen in another way, the actor's body appears as a
living, integrated, capable of embodying the
character with all the physical and physical demands
that fiction requires (Trancon, 2006, 148).
6. TEXT
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• It is the writing that proposes the story to be developed and consists of a
structure similar to that of the story (beginning, knot and outcome), which in
the specific case of theater is known as Approach, Knot or Climax and outcome.
• Dramatic works are always written in first-person dialogues and use
parentheses when you want to specify the action that is taken while
pronouncing the fragment (this is known as the acotational language). When the
piece is going to be taken to the stage or to the cinema, it is called"script".
• This writing is not divided into chapters (as would normally be done in a novel
or other type of prose) but in acts, which in turn can be divided into even
smaller fragments known as pictures.
• The text is the spirit and the genesis of the theater; Without him it is not
possible to speak of theater. Its degree of necessity is such that it is possible
to"attend to common sense and verify that we do not know any play without
text, so we start from the hypothesis that theater is"text more
representation"(Trancón, 2006, Page 152)."
7. AUDIENCE
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• Anyone who sees a play or attends a show is
considered a spectator. Apparently the audience
does not interfere in the development of the play,
however, the purpose of this is to entertain the
audience. The spectators are the raison d'etre of the
theater.
• Throughout a play, a relationship is built between
the audience and the actors; And thanks to them,
not only the creation-communication cycle is
completed, but also immediate feedback is received
from the actors, since there is no passive audience,
but all are critical observers (Trancón, 2006, p. 83)
who develop a positive perception or Negative of the
visual art they contemplated.
9. COMPLEMENTARY ELEMENTS OF STAGE
PLAY
1
CLOTHING
It is the attire worn by the actors. Through
them and without the need to spell words, the
public can identify the gender, age,
occupation, social status and characteristics
of the characters, as well as the era in which
the story unfolds.
4
LIGHTING
As with scenography, lighting encompasses objects such as
the action of handling lights. That is, the lighting is the set of
lights used during the artistic representation, as well as the
creation and execution of the same to help convey emotions,
highlight and hide actors, and give more assertiveness to the
scenery, makeup and costumes.
2
MAKEUP
It is used to fix distortions caused by lighting (such as loss
of color or excessive facial brightness).
In addition, the application of cosmetic products serves to
consolidate the character through its external
characterization, highlighting or disguising factions of the
actors or adding effects to the characters: rejuvenate, aging,
moles, scars or simulate wounds, among others.
5
SOUND
Composed of music and all auditory effect to improve the
acoustic aspects of the play to the actors and the audience.
For example, microphones so that the dialogues of the actors
can be heard by the audience, reinforce the transmission of an
emotion or an action such as the sound of the rain or the
sudden brake of a car.
3
SCENOGRAPHY
It corresponds to the set of decorations used to enact the
dramatic representation. This means that it is the space in
which the actors interact, decorated in such a way that shows
the geographic, temporal, historical and social space in which
the story unfolds.
Most elements are static and to produce a more impactful
effect, they rely on lighting. A simple example may be the
proposed"daytime"and"nighttime"scenarios.
The utensils or tools used by the actors during the
performance are called Prop objects.
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6
DIRECTOR
He is the creative artist in charge of the coordination of all the
elements that intervene in the performance, from the scenography to
the interpretation. He is responsible for the material organization of
the show (Ubersfeld, 2004, p.39).
The director's figure is practically new in relation to the whole
historical trajectory of the theater: the work of the director scarcely
existed before 1900 as a separate artistic function and before the
theater of 1750, very seldom (Balme, 2008).
This is proved by the fact that in the Greek theater, the Roman
theater, the medieval and the Renaissance this figure did not exist in
the strict sense of the word. This person is not present on the stage,
unlike the actors.
10. MANTSA
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