A great overview of theatre styles citing origins, pictures, key characteristics and aims of style. Lot of work but worth it. Don't claim it as your own or you're dead meat!!
> Resources: DepEd SHS curriculum guide and Vibal CPAR
> This helping material comes with a short activity. Hope this helps!
- National Commission for Culture and the Arts
- Cultural Center of the Philippines
- National Historical Commission of the Philippines
- National Museum of the Philippines
- National Library of the Philippines
- Kumisyon sa Wikang Filipino
- National Archives of the Philippines
A great overview of theatre styles citing origins, pictures, key characteristics and aims of style. Lot of work but worth it. Don't claim it as your own or you're dead meat!!
> Resources: DepEd SHS curriculum guide and Vibal CPAR
> This helping material comes with a short activity. Hope this helps!
- National Commission for Culture and the Arts
- Cultural Center of the Philippines
- National Historical Commission of the Philippines
- National Museum of the Philippines
- National Library of the Philippines
- Kumisyon sa Wikang Filipino
- National Archives of the Philippines
The Stage:
Theatre spaces
and scenic design
Overview
Theatre Spaces
Review of Historical Theatre Spaces
Current: Proscenium, End Stage, Thrust Stage, Arena Stage, Black Box
Theatre Spaces
Theatre architecture influences the kinds of plays that are produced and reflects the culture that produced them.
Producers, directors and scenic designers today make choices about the space in order to enhance their production of a play.
Theatre at Epidaurus (Ancient Greece)
Gathering place for citizens and political discussion
Medieval Pageant Wagon
Mobile
Bringing theatre (and religion) to the people
Stage in Shakespeare’s time (1500s-early 1600s)
Open-Air Theatres
Groundlings stood
Few set pieces:
Verbal decor
Theatre in France, 18th C.
A place to see and be seen!
Contemporary Theatre Spaces
Proscenium Stage
Thrust Stage
Arena Theatre (Theatre in the Round)
Black Box Theatre (Flexible)
Proscenium Theatre (Arch)
So Why Choose a Proscenium?
Proscenium would be good if you want to distance the audience from what is happening. To create a “picture frame” around the piece. It creates a very detached view of the proceedings.
End Stage
Just like proscenium stage, but without proscenium arch
Fairchild Theatre
Thrust Stage
Audience on three sides
So Why Choose THRUST?
It thrusts the action into the audience to involve them but still maintains a small bit of the proscenium feel. There is still some separation between the performance and the audience members.
It can allow the audience to interact with themselves, which can enhance the effect of certain events.
Pasant Theatre (seats 600)
Arena Stage
Audience surrounds action
Arena
So Why Choose Arena?
ARENA is great when you want the audience to be fully immersed in the proceedings. You want them to feel everything and really relate with the characters. It eliminates the “4th wall” concept.
Black Box Theatre: Flexible
Studio 60
So why use Flexible Spaces?
Allows you to alter the performance space to suit any thematic need you want.
This allows you the most thematic variety in a season of shows
Theatre Spaces at MSU
In Auditorium Building:
Fairchild Theatre
Studio 60
Arena Theatre (Twelfth Night)
Summer Circle Courtyard
At Wharton Center:
Pasant Theatre (Dr. Fox & Frankenstein)
Cobb Great Hall
Cobb Great Hall (seats 2420)
Summer Circle Courtyard
Stage Directions
Upstage
Downstage
Center Stage
Stage Left
Stage Right
Up Left
Up Right
Down Right
Left Center
Right Center
Fun Fact! Raked Stage
Sometimes built on top of existing flat stages.
This is where the terms upstage and downstage came from.
Also comes from 16th Century Italian theatre
A stage that has an incline leading away from the audience so that actors further away from the audience are easier to see.
This creates a situation where an actor upstage is literally above an actor downstage.
Scenic Design ...
Course Reader Reading #3 What is Design .docxmarilucorr
Course Reader: Reading #3
What is Design?
Excerpts from:
Adolph Appia, Lee Simon (from: “The Ideas of Adolphe Appia”),
Robert Edmund Jones, Leonard Pronko,
and Gaston Bachelard
Intro to Theater: What is Design? Page #1
Intro to Theater: What is Design? Page #1
r;;e: The American
s: 145-155.
Harry N. Abrams
~
Chapter 3
Adolph Appia
ACTOR, SPACE, LIGHT,
PAINTING
T HE ART OF STAGE PRODUCTION is the art of projecting into Space what the original author was only able to project in
Time. The temporal element is implicit within any text, with or
without music . . . The first factor in staging is the interpreter: the
actor himself. The actor carries the action. Without him there can
be no action and hence no drama ... The body is alive, mobile and
plastic; it exists in three dimensions. Space and the objects used
by the body must most carefully take this fact into account. The
overall arrangement of the setting comes just after the actor in
importance; it is through it that the actor makes contact with and
assumes reality within the scenic space.
Thus we already have two essential elements: the actor and
the spatial arrangement of the setting, which must conform to his
plastic form and his three-dimensionality.
What else is there?
Light!
Light, just like the actor, must become active; and in order to
grant to it the status of a medium of dramatic expression it must
be placed in the service of ... the actor who is above it in the
production hierarchy, and in the service of the dramatic and plastic
expression of the actor.
... Light has an almost miraculous flexibility . . . it can cre
ate shadows, make them living, and spread the harmony of their
vibrations in space just as music does. In light we possess a most
powerful means of expression through space, if this space is placed
in the service of the actor.
29
Intro to Theater: What is Design? Page #2
Intro to Theater: What is Design? Page #2
ACTOR, SPACE, LIGHT, PAINTING
So here we have our nonnal established hierarchy: ,
the actor presenting the drama;
space in three dimensions, in the service of the actor's plastic fonn;
liBht giving life to each.
But as you have inferred, there is a but what about painting? What do we
understand about painting in terms of scenic art?
A collection of painted backcloths and flats arranged vertically on the stage,
more or less parallel to one another, and extending upstage. These are covered
with painted light, painted shadow, painted fonns, objects and architecture; all of
it, of course, on a flat surface since that is the nature of painting ...
Our staging practice has reversed the hierarchical order: on the pretext of
providing us with elements which are difficult or impossible to realize in solid
form, it has developed painted decor to an absurd degree, and disgracefully
subordinated the living body of the actor to it. Thus light illuminates the b.
How to Make a Field invisible in Odoo 17Celine George
It is possible to hide or invisible some fields in odoo. Commonly using “invisible” attribute in the field definition to invisible the fields. This slide will show how to make a field invisible in odoo 17.
2024.06.01 Introducing a competency framework for languag learning materials ...Sandy Millin
http://sandymillin.wordpress.com/iateflwebinar2024
Published classroom materials form the basis of syllabuses, drive teacher professional development, and have a potentially huge influence on learners, teachers and education systems. All teachers also create their own materials, whether a few sentences on a blackboard, a highly-structured fully-realised online course, or anything in between. Despite this, the knowledge and skills needed to create effective language learning materials are rarely part of teacher training, and are mostly learnt by trial and error.
Knowledge and skills frameworks, generally called competency frameworks, for ELT teachers, trainers and managers have existed for a few years now. However, until I created one for my MA dissertation, there wasn’t one drawing together what we need to know and do to be able to effectively produce language learning materials.
This webinar will introduce you to my framework, highlighting the key competencies I identified from my research. It will also show how anybody involved in language teaching (any language, not just English!), teacher training, managing schools or developing language learning materials can benefit from using the framework.
Unit 8 - Information and Communication Technology (Paper I).pdfThiyagu K
This slides describes the basic concepts of ICT, basics of Email, Emerging Technology and Digital Initiatives in Education. This presentations aligns with the UGC Paper I syllabus.
The French Revolution, which began in 1789, was a period of radical social and political upheaval in France. It marked the decline of absolute monarchies, the rise of secular and democratic republics, and the eventual rise of Napoleon Bonaparte. This revolutionary period is crucial in understanding the transition from feudalism to modernity in Europe.
For more information, visit-www.vavaclasses.com
Macroeconomics- Movie Location
This will be used as part of your Personal Professional Portfolio once graded.
Objective:
Prepare a presentation or a paper using research, basic comparative analysis, data organization and application of economic information. You will make an informed assessment of an economic climate outside of the United States to accomplish an entertainment industry objective.
![Theater ,[object Object],Corbis/Roger Wood Theater at Epidaurus This theater in Epidaurus, Greece, was designed by Polyclitus the Younger around 350 bc. A late classical structure, it featured stone benches instead of the wood benches found in earlier theater construction. Microsoft ® Encarta ® Reference Library 2004. © 1993-2003 Microsoft Corporation. All rights reserved.](data:image/gif;base64,R0lGODlhAQABAIAAAAAAAP///yH5BAEAAAAALAAAAAABAAEAAAIBRAA7)