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Blocking Fathers, Illicit Marriages: Continuity and Change from Sophocles to Menander
Blocking Fathers, Illicit Marriages: Continuity and Change from Sophocles to Menander It is a truth universally acknowledged that the plays of Menander owe a great debt to Classical Athenian drama: connections between plays such as Aristophanes’ Cocalus and Menander were noted in didascalia, and similarly the thematic and structural similarities between New Comedy and the works of Euripides were already recognized in Hellenistic scholarship (Arnott 1972; Csapo 2000; Hunter 2011). Sophocles, on the other hand, is rarely included in this discussion of dramatic influence, more often regarded solely for his role as the pinnacle of tragic poets. It is the purpose of this paper to reanalyze possible connections between the corpus of Sophocles and that of Menander by examining both the Antigone and the Dyscolus as plays employing one of the most familiar stock characters of ancient comedy: the “blocking” father figure. This father figure—whose earliest incarnation arguably belongs to Old Comedy, such as Strepsiades from Clouds—is perhaps best known for his characterization in the plays of Greek New Comedy and their later, Latin iterations. Generally an old and intransigent father, the “blocking” figure is generically defined by his interference in the life of his young offspring; in New Comedy, this interference takes the form of intervention in the budding romance of two young lovers, whose inconvenient marriage will inevitably bring about the typical finale. This character, at first glance, may appear to be a creature created solely for light-hearted drama. Creon of the Antigone, however, whose stubborn and belligerent character has been carefully surveyed for his role within the tragedy itself (see Roisman 1996), additionally shares many features with the father of Menander’s only intact play, Knemon of the Dyscolus. -
2019-2020 Theatre I Curriculum Map I
2019-2020 Theatre I Curriculum Map I. Course Outline Unit Current Timeframe Assessments/Activities Big Idea Essential Questions Core Resources Arkansas SS Framework Alignment Greek and Roman CR.1.TH.1 1st 9 Weeks Greeks and Roman Theatre History Theatre History How does history impact theatre? The Stage and School Theatre History P.4.THI.2 Test Character Development How do you create characters? Basic Drama Projects Character P.4.THI.3 Antigone Test Improv How does empathy affect The Drama Classroom Companion Development P.4.THI.5 Napoleon Dynamite Character Analysis characterization? Antigone P.5.THI.2 Life Size Character Poster How do characters affect plot? Napoleon Dynamite P.6.THI.2 Character Observation Journal Greek Theatre Mask Medieval Theatre CR.1.TH.1 2nd 9 Weeks Medieval Theatre History Test Theatre History How does history impact theatre? The Stage and School History CR.2.THI.1 Solo Acting Monologue Character Development How do you create characters? Basic Drama Projects Character Creation CR.2.THI.2 Theme Assessment Improv How does empathy affect The Drama Classroom Companion Solo Acting CR.1.THI.3 Modern Morality Play Acting Theories characterization? Veggies Tales used as modern CR.1.THI.4 Character Analysis Monologues How do characters affect plot? (examples of mystery, miracle, and CR.3.THI.1 Character Design Morgue Memorization How do you establish believable morality plays) P.5.THI.1 Audition characters? Everyman P.5.THI.2 Self Reflection How does memorization affect Monologues P.5.THI.4 characterization? P.5.THI.5 -
Musical Theatre Performance
REQUIREMENTS FOR THE BACHELOR OF FINE ARTS IN MUSICAL THEATRE WEITZENHOFFER FAMILY COLLEGE OF FINE ARTS THE UNIVERSITY OF OKLAHOMA CREDIT HOURS AND GRADE AVERAGES REQUIRED Musical Theatre For Students Entering the Total Credit Hours . 120-130 Performance Oklahoma State System Minimum Overall Grade Point Average . 2.50 for Higher Education Minimum Grade Point Average in OU Work . 2.50 B737 Summer 2014 through A grade of C or better is required in all courses taken within the College of Fine Arts. Bachelor of Fine Arts Spring 2015 Bachelor’s degrees require a minimum of 40 hours of upper-division (3000-4000) coursework. in Musical Theatre OU encourages students to complete at least 32-35 hours of applicable coursework each year to have the opportunity to graduate in four years. Audition is required for admission to the degree program. General Education Requirements (34-44 hours) Hours Major Requirements (86 hours) Core I: Symbolic and Oral Communication Musical Theatre Performance (14 hours) Musical Theatre Support (14 hours) ENGL 1113, Principles of English Composition 3 MTHR 2122, Auditions 2 MTHR 3143, History of American 3 ENGL 1213, Principles of English Composition, or 3 MTHR 3142, Song Study I 2 Musical Theatre (Core IV) EXPO 1213, Expository Writing MTHR 3152, Song Study II 2 MTHR 4183, Capstone Experience 3 MTHR 3162, Repertoire 2 (Core V) Foreign Language—this requirement is not mandatory if the 0-10 MTHR 3172, Roles 2 Musical Theatre Electives (six of these 8 student successfully completed 2 years of the same foreign MTHR 3182, Musical Scenes I 2 eight hours must be upper-division) language in high school. -
FOUR YEAR PLAN | THEATRE: MUSICAL THEATRE This Is a Sample 4-Year Plan
FOUR YEAR PLAN | THEATRE: MUSICAL THEATRE This is a sample 4-year plan. Students are required to meet with their Academic Advisor each semester. YEAR ONE FALL SEMESTER SPRING SEMESTER Course # Course Name Units Course # Course Name Units THEA 107 Acting I 3 THEA/KINE 133C Musical Theatre Dance I 1 THEA 200C Intro to Theatre 3 SOCI 100C/ANTH 102C/ PSYC Intro to Sociology/Cultural Anthropology/ 3 THEA 134 Musical Literacy for Theatre 2 103C General Psychology CORE 100C Cornerstone 1 NT 101C New Testament Survey 3 THEA 110/106/116 Beginning Costume/Set/Scenic Construction 1 THEA 244 Beginning Musical Theatre Audition 3 ENGL 120C Persuasive Writing 3 THEA 135 Beginning Theatre Movement 2 MUSI 101 OR 102 Basic Voice 1 THEO 101C/103C Foundations of Christian Life/Intro to Theology 3 MUSI 100 Recital Attendance 0 THEA 108A Theatrical Production I 1 THEA 108B Theatrical Production I 1 THEA 132A Theatrical Performance I (if cast) 1-2 THEA 132B Theatrical Performance I (if cast) 1-2 TOTAL 16-18 TOTAL 15-17 YEAR TWO FALL SEMESTER SPRING SEMESTER Course # Course Name Units Course # Course Name Units THEA 320 Lighting Design (must be taken this semester) 3 THEA 309 Costume Design 3 THEA 202C History of Theatre I 3 THEA 207 Acting II 3 OT 201C Old Testament Survey 3 THEA 204C History of Theatre II 3 THEA 239 Makeup Design 3 THEA 344 Intermediate Musical Theatre Audition 3 THEA/KINE 433 Musical Theatre Dance II 1 THEA 208 B Theatrical Production II 1 THEA 220 Musical Theatre Vocal Technique 3 THEA 232 B Theatrical Performance II (if cast) THEA 208 A Theatrical Production II 1 1-2 + Elective THEA 232A Theatrical Performance II 1-2 Dance Class at OCC or Private Dance elective option 1 TOTAL 17-18 TOTAL 16-18 YEAR THREE FALL SEMESTER SPRING SEMESTER Course # Course Name Units Course # Course Name Units THEA 315 Scenic Design (must be taken this semester) 3 THEO 300 Developing a Christian Worldview 3 THEA 360 Dramatic Literature: Script Analysis or Elective 3 ENGL 220 Research Writing 3 POLS 155/HIST 156C U.S. -
The Creative Choreography for Nang Yai (Thai Traditional Shadow Puppet Theatre) Ramakien, Wat Ban Don, Rayong Province
Fine Arts International Journal, Srinakharinwirot University Vol.14 issue 2 July - December 2010 The Creative Choreography for Nang Yai (Thai traditional shadow puppet theatre) Ramakien, Wat Ban Don, Rayong Province Sun Tawalwongsri Abstract This paper aims at studying Nang Yai performances and how to create modernized choreography techniques for Nang Yai by using Wat Ban Don dance troupes. As Nang Yai always depicts Ramakien stories from the Indian Ramayana epic, this piece will also be about a Ramayana story, performed with innovative techniques—choreography, narrative, manipulation, and dance movement. The creation of this show also emphasizes on exploring and finding methods of broader techniques, styles, and materials that can be used in the production of Nang Yai for its development and survival in modern times. Keywords: NangYai, Thai traditional shadow puppet theatre, Choreography, Performing arts Introduction narration and dialogues, dance and performing art Nang Yai or Thai traditional shadow in the maneuver of the puppets along with musical puppet theatre, the oldest theatrical art in Thailand, art—the live music accompanying the shows. is an ancient form of storytelling and entertainment Shadow performance with puppets made using opaque, often articulated figures in front of from animal hide is a form of world an illuminated backdrop to create the illusion of entertainment that can be traced back to ancient moving images. Such performance is a combination times, and is believed to be approximately 2,000 of dance and puppetry, including songs and chants, years old, having been evolved through much reflections, poems about local events or current adjustment and change over time. -
Scenes from a Crowded Classroom: Teaching Theatrical Blocking in English Language Arts Leah Zuidema
Language Arts Journal of Michigan Volume 29 Article 9 Issue 2 Location, Location, Location 4-2014 Scenes from a Crowded Classroom: Teaching Theatrical Blocking in English Language Arts Leah Zuidema Follow this and additional works at: https://scholarworks.gvsu.edu/lajm Recommended Citation Zuidema, Leah (2014) "Scenes from a Crowded Classroom: Teaching Theatrical Blocking in English Language Arts," Language Arts Journal of Michigan: Vol. 29: Iss. 2, Article 9. Available at: https://doi.org/10.9707/2168-149X.2013 This Article is brought to you for free and open access by ScholarWorks@GVSU. It has been accepted for inclusion in Language Arts Journal of Michigan by an authorized editor of ScholarWorks@GVSU. For more information, please contact [email protected]. PRACTICE Scenes from a Crowded Classroom: Teaching Theatrical Blocking in English Language Arts LEAH A. ZUIDEMA ne of the greatest challenges that could help them in visualizing the taken place in somewhat crowded class- of teaching plays in English action of the play. This is problematic, rooms, typically with about 35 students Olanguage arts courses is the as the cognitive work of visualization per section and little room to move fact that scripts are intended for the is a stepping stone to comprehension: about. The lesson sequence continues stage, not the page. While the plots, practiced readers use visualization to to evolve each year with small changes themes, and dialogue of the best scripts help them understand, make connec- and additions, often inspired by stu- are ripe for intensive literary study, care- tions with, and interpret literary texts dents’ suggestions about “what else” we ful attention to dramatic elements— (Wilhelm, 2008). -
Types & Forms of Theatres
THEATRE PROJECTS 1 Credit: Scott Frances Scott Credit: Types & Forms of Theatres THEATRE PROJECTS 2 Contents Types and forms of theatres 3 Spaces for drama 4 Small drama theatres 4 Arena 4 Thrust 5 Endstage 5 Flexible theatres 6 Environmental theatre 6 Promenade theatre 6 Black box theatre 7 Studio theatre 7 Courtyard theatre 8 Large drama theatres 9 Proscenium theatre 9 Thrust and open stage 10 Spaces for acoustic music (unamplified) 11 Recital hall 11 Concert halls 12 Shoebox concert hall 12 Vineyard concert hall, surround hall 13 Spaces for opera and dance 14 Opera house 14 Dance theatre 15 Spaces for multiple uses 16 Multipurpose theatre 16 Multiform theatre 17 Spaces for entertainment 18 Multi-use commercial theatre 18 Showroom 19 Spaces for media interaction 20 Spaces for meeting and worship 21 Conference center 21 House of worship 21 Spaces for teaching 22 Single-purpose spaces 22 Instructional spaces 22 Stage technology 22 THEATRE PROJECTS 3 Credit: Anton Grassl on behalf of Wilson Architects At the very core of human nature is an instinct to musicals, ballet, modern dance, spoken word, circus, gather together with one another and share our or any activity where an artist communicates with an experiences and perspectives—to tell and hear stories. audience. How could any one kind of building work for And ever since the first humans huddled around a all these different types of performance? fire to share these stories, there has been theatre. As people evolved, so did the stories they told and There is no ideal theatre size. The scale of a theatre the settings where they told them. -
A GLOSSARY of THEATRE TERMS © Peter D
A GLOSSARY OF THEATRE TERMS © Peter D. Lathan 1996-1999 http://www.schoolshows.demon.co.uk/resources/technical/gloss1.htm Above the title In advertisements, when the performer's name appears before the title of the show or play. Reserved for the big stars! Amplifier Sound term. A piece of equipment which ampilifies or increases the sound captured by a microphone or replayed from record, CD or tape. Each loudspeaker needs a separate amplifier. Apron In a traditional theatre, the part of the stage which projects in front of the curtain. In many theatres this can be extended, sometimes by building out over the pit (qv). Assistant Director Assists the Director (qv) by taking notes on all moves and other decisions and keeping them together in one copy of the script (the Prompt Copy (qv)). In some companies this is done by the Stage Manager (qv), because there is no assistant. Assistant Stage Manager (ASM) Another name for stage crew (usually, in the professional theatre, also an understudy for one of the minor roles who is, in turn, also understudying a major role). The lowest rung on the professional theatre ladder. Auditorium The part of the theatre in which the audience sits. Also known as the House. Backing Flat A flat (qv) which stands behind a window or door in the set (qv). Banjo Not the musical instrument! A rail along which a curtain runs. Bar An aluminium pipe suspended over the stage on which lanterns are hung. Also the place where you will find actors after the show - the stage crew will still be working! Barn Door An arrangement of four metal leaves placed in front of the lenses of certain kinds of spotlight to control the shape of the light beam. -
Technical Theatre Practicum
TECHNICAL THEATRE PRACTICUM THEAT 186A VERSION 1 COLLEGE OF THE CANYONS 186 A: TECHNICAL THEATRE PRACTICUM TEXTBOOK Draft 1: Tuesday, February 26, 2019 Christopher R Boltz Post Office Box 6372 Lancaster CA 93539-6372 [email protected] 1 | Technical Theatre Practicum - B O L T Z Acknowledgements College of the Canyons would like to extend appreciation to the following people and organizations for allowing this textbook to be created: California Community Colleges Chancellor’s Office Chancellor Dianne G. Van Hook Santa Clarita Community College District College of the Canyons Distance Learning Office In providing content for this textbook, the following professionals and sources were invaluable: Writer and Compiler: Christopher R Boltz Trudi Radtke for formatting, editing, and aesthetics. Unless otherwise noted, the content in this textbook is licensed under CC BY 4.0 2 | Technical Theatre Practicum - B O L T Z Table of Contents 186 A: TECHNICAL THEATRE PRACTICUM TEXTBOOK ------------------------------------------------------------------ 1 CHAPTER 1: JOBS IN TECHNICAL THEATRE ------------------------------------------------------------------------------------ 5 Introduction ----------------------------------------------------------------------------------------------------------------- 5 Industry Sectors ------------------------------------------------------------------------------------------------------------ 5 Jobs --------------------------------------------------------------------------------------------------------------------------- -
An Introduction to Technical Theatre Tal Sanders Pacific University, [email protected]
Pacific University CommonKnowledge Pacific University Press Pacific University Libraries 2018 An Introduction to Technical Theatre Tal Sanders Pacific University, [email protected] Follow this and additional works at: https://commons.pacificu.edu/pup Part of the Theatre and Performance Studies Commons Recommended Citation Sanders, Tal, "An Introduction to Technical Theatre" (2018). Pacific University Press. 2. https://commons.pacificu.edu/pup/2 This Book is brought to you for free and open access by the Pacific University Libraries at CommonKnowledge. It has been accepted for inclusion in Pacific University Press by an authorized administrator of CommonKnowledge. For more information, please contact [email protected]. An Introduction to Technical Theatre Description An Introduction to Technical Theatre draws on the author’s experience in both the theatre and the classroom over the last 30 years. Intended as a resource for both secondary and post-secondary theatre courses, this text provides a comprehensive overview of technical theatre, including terminology and general practices. Introduction to Technical Theatre’s accessible format is ideal for students at all levels, including those studying technical theatre as an elective part of their education. The ext t’s modular format is also intended to assist teachers approach the subject at their own pace and structure, a necessity for those who may regularly rearrange their syllabi around productions and space scheduling. Disciplines Theatre and Performance Studies Publisher Tualatin Books ISBN 9781945398872 This book is available at CommonKnowledge: https://commons.pacificu.edu/pup/2 An Introduction to Technical Theatre Published by Tualatin Books, an imprint of Pacific University Press 2043 College Way Forest Grove, Oregon 97116 © 2018 by Tal Sanders This book is distributed under the terms of a Creative Commons Attribution-NonCommercial License, which permits non-commercial use, distribution, and reproduction in any medium, provided the original author and publisher are credited. -
Stage Manager & Assistant Stage Manager Handbook
SM & ASM HANDBOOK Victoria Theatre Guild and Dramatic School at Langham Court Theatre STAGE MANAGER & ASSISTANT STAGE MANAGER HANDBOOK December 12, 2008 Proposed changes and updates to the Producer Handbook can be submitted in writing or by email to the General Manager. The General Manager and Active Production Chair will enter all approved changes. VTG SM HANDBOOK: December 12, 2008 1 SM & ASM HANDBOOK Stage Manager & Assistant SM Handbook CONTENTS 1. INTRODUCTION 2. AUDITIONS a) Pre-Audition b) Auditions and Callbacks c) Post Auditions / Pre First Rehearsal 3. REHEARSALS a) Read Through / First Rehearsal b) Subsequent Rehearsals c) Moving to the Mainstage 4. TECH WEEK AND WEEKEND 5. PERFORMANCES a) The Run b) Closing and Strike 6. SM TOOLS & TEMPLATES 1. Scene Breakdown Chart 2. Rehearsal Schedule 3. Use of Theatre during Rehearsals in the Rehearsal Hall – Guidelines for Stage Management 4. The Prompt Book VTG SM HB: December 12, 2008 2 SM & ASM HANDBOOK 5. Production Technical Requirements 6. Rehearsals in the Rehearsal Hall – Information sheet for Cast & Crew 7. Rehearsal Attendance Sheet 8. Stage Management Kit 9. Sample Blocking Notes 10. Rehearsal Report 11. Sample SM Production bulletins 12. Use of Theatre during Rehearsals on Mainstage – SM Guidelines 13. Rehearsals on the Mainstage – Information sheet for Cast & Crew 14. Sample Preset & Scene Change Schedule 15. Performance Attendance Sheet 16. Stage Crew Guidelines and Information Sheet 17. Sample Prompt Book Cues 18. Use of Theatre during Performances – SM Guidelines 19. Sample Production Information Sheet for FOH & Bar 20. Sample SM Preshow Checklist 21. Sample SM Intermission Checklist 22. SM Post Show Checklist 23. -
Production Handbookfinaldraft
PRODUCTION HANDBOOK SCHOOL OF THEATRE AND DANCE KENT STATE UNIVERSITY 2010-2011 TABLE OF CONTENTS INTRODUCTION 1 Mission of The School of Theatre and Dance 1 PROFESSIONAL BEHAVIOR 1 A Code of Ethics for Theatre Professionals 1 PRODUCTION FACULTY AND STAFF 3 Contact Information 3 ORGANIZATION OF THE SCHOOL OF THEATRE AND DANCE 5 The Faculty and Staff Production Organization 5 Faculty and Staff Production Positions 5 Producing Director/School Director (Administrative Staff) 5 Managing Director (Professional Staff) 5 Production Manager (Professional Staff) 5 Director 5 Artistic Director (Dance Concert) 6 Choreographer (Dance Concert) 6 Choreographer (Theatre Production) 6 Vocal Coach 6 Fight or Movement Coach 6 Resident (Faculty) Designers 7 Resident (Faculty) Set Designer 7 Resident (Faculty) Costume Designer 7 Scene Shop Supervisor 8 Costume Shop Supervisor 8 Lighting and Sound Supervisor 8 Marketing Coordinator (College of the Arts Administrative Staff) 9 School Administrative Assistant (Classified Staff) 9 SCHOOL OF THEATRE AND DANCE PRODUCTION POLICIES AND PROCEDURES 10 Participation Policies 10 Auditions 11 Casting Policies 11 Conflicts 11 Computer Lab Policies 12 Key Policies 12 Theatre and Rehearsal Space Policies 12 Rehearsal Policies 13 Theatre and Dance Space Policies 13 Matinee and Touring Production Policies 15 Purchasing Policies and Procedures 15 School Charge Accounts 15 Production Spread Sheet 15 Petty Cash 16 Expense Reimbursements 16 School of Theatre and Dance Box Office Policies 16 i School of Theatre and Dance Complimentary