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Chapter 3
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- 2. AUDIENCE MEMBER’S ACTIVE PARTICIPATION •The audience member must choose what to watch. • Live theatre takes more concentration than film or tv. • The audience member is involved in two-way communication with the actors. • The willing suspension of disbelief. “I do believe in fairies! I do! I do!”
- 3. THEATER ETIQUETTE • It'sNOT OK for audience members to talk quietly during a theatrical performance. • The actors do not expect the interruption. • No cell phones or flash photography of any kind.
- 4. INDIVIDUAL EXPERIENCE • Whereyou are seated in the theatre can make a difference in how you experience the performance. • The meaning of a play or a moment in the play can become something quite different for each audience member. • Observation: Recognition of what happened. • Interpretation: Your response to that observation. “What did that action mean?”
- 5. SEEING A SHOWTWICE? • If the audience is more or less responsive than the first time, your experience is likely to be different. • You probably wont have as strong of an emotional connection with the material because you already know what is going to happen. • You have increased aesthetic distance the second time. • Seeing a production more than once is likely to raise your own awareness of your skills and limitations in analysis. • A performance has its own unique life each time it occurs.
- 6. ANALYZING ACTING • Didthe actors' physical bearing seem consistent with the words being spoken? (Clint Eastwood in Grand Torino) • Is the actor setting an appropriate tempo for the character? • Did the actors seem to be listening and reacting to one another?
- 7. ACTING TOOLS • Althougha character's words may define or set the tone for emotionality, nonverbal behavior usually underscores, enhances, or even contradicts the spoken dialogue. • William Gillette spoke of "the illusion of the first time,“ • Subtext. “little window or TV above their head”
- 8. WHAT IS “STYLE” •manner of expression and methods of onstage behavior as they affect composition and performance.
- 9. STYLES • Style isdictated by the production team it can be: • Representational • Presentational • Imposing a new performance style on an old play might make the material more accessible to a modern audience.
- 10. REPRESENTATIONAL • Crafted realisticallyfor look and function. • Practicals such as sinks, lamps, phones, etc. all work. • Built for believability.
- 14. PRESENTATIONAL • Not meantto resemble everyday life. • Authentic appearance is not important. • May be stylized, abstracted, or suggestive. • Should still be interesting and functional.
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- 21. SUGGESTIVE • Leave someblanks for the audience to fill in. • Give them suggestions but not the whole picture.
- 25. ANALYZING COSTUMES • Isthe costume appropriate to the character wearing it? • Is the costume's relationship to the costumes of other characters in the play appropriate?
- 26. CRITICISM • A pieceof writing that includes analysis and evaluation of a theatrical production. • Broadway producers frequently close a show if opening night reviews are poor. • Otherwise they run as long as they are making money.
- 27. WRITING ABOUT APERFORMANCE • Soon after seeing the show, write down your sensory impressions. • Do not get so caught up in note taking that you forget to be an audience member. • Be as objective as possible in providing evidence. • Be an audience member first and a student second. • Watching the DVD does not count.
- 28. WRITING ABOUT APERFORMANCE • Context of performance: Where are you? What did you expect? • Artistic intent: What was the production trying to achieve? Did it succeed?