art-subject-for-elementary-1st-grade-theater (1).pptx

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1. THEATER PRODUCTION ENG 224 1ST GRADE

2. TOPIC OUTLINE The Theatrical Process Audience and Criticism Theater Space and Design Playwriting and Dramaturgy Scene Design Theater Acting Directing and Producing a Stage Play

3. THEATRICAL PROCESS

4. Holistic, theatre-centered improvisational exercises Test students' readiness, willingness, and ability to engage in theatre-making Drama Test (Audience)

5. Introduce structure and process of story-making and playwriting Cover plot, character, and style Explain role and responsibility of storyteller and playwright Storyteller and Playwright

6. Translate play from words to action on stage Practice discipline and commitment Maintain harmony, involvement, and interest Keep production in order and on schedule Director, Stage Manger, and Performer

7. Integrate acting, stage management, lighting, and sound effects Create a unified, coherent, and fluent experience Make last-minute cuts and changes Technical Rehearsal

8. Preview show with internal audience (classmates) Learn to work with audience's response Evaluate cast and crew readiness Dress Rehearsal

9. Execute learned and practiced material Perform in front of live public audience Final Performance

10. Maintain accurate records of work and process Evaluate individual and group performance throughout theatre-making process Final Evaluation

11. AUDIENCE and CRITICISM

12. I. The Audience is an Essential Part of Theatrical Performance

13. Audience perception completes the creative process Audiences form their own interpretations of staged events and their significance Artists aim to evoke a desired audience response

14. II. Watching a Performance

15. Attending a play offers a distinct experience from watching a film, and for a more engaging experience, the audience should be attentive, concentrate, and actively engage their imagination , considering the use of theatrical conventions, the director's guidance, and the impact of the auditorium's size and configuration on audience response.

16. III. Who is the Audience

17. Theatre audiences vary widely, with some theaters targeting specific groups and others aiming for broad appeal. Attracting new audiences can be challenging and may alienate existing patrons. Some theaters receive funding to encourage attendance from racial or minority groups, while others cater exclusively to minorities.

18. Certain theaters challenge the audience with unfamiliar forms of theater. Outreach and educational programs have had some success in attracting young audiences and those who don't typically attend theater.

19. IV. The Audience and Critical Perspective

20. To enjoy theatre, a critical perspective is needed. A simple three-step process to articulate our response to a theatrical event: Experience the event Analyze the experience Communicate the response to others

21. Professional critics need: Wide variety of theatrical experience Understanding of production practices and processes Critics usually have a specific audience and purpose in mind, such as the general public or specialized groups (academics, artists, etc.).

22. Effective criticism considers excellence and shortcomings. Some critics may provide unbalanced discussions, mere descriptions without judgments, or be condescending, leading to antipathy.

23. IV. The Basic Problems of Criticism

24. The critic is concerned with three basic problems: Understanding, Effectiveness, Ultimate worth Paths to answer understanding: Study playwright, script, production team's goals; Attend the production without preconceived notions; Write about plays with little knowledge

25. To assess effectiveness: Focus on play's intention or director's interpretation Considerations for ultimate worth: Individual perspective, values, and contextual factors Define personal criteria for a satisfying production

26. Questions for critical response: -What was attempted? How fully accomplished? How valuable was the experience?

27. Additional major questions: Play details (author, information); Performance details (location, time, future shows); Involved individuals (producer, director, actors, designers); Apparent goals of script/production; Realization of goals (directing, acting, design); Recommendation for others to see it and reasons why.

28. IV. Qualities Needed by the Clinic

29. A critic should aim to be sensitive to feelings, images, and ideas, well-informed about theatre from all periods and types, open to exploring plays and their production processes, tolerant of innovation, self-aware of prejudices and values, articulate in expressing judgments and their foundations, and courteous in their approach.

30. THEATER SPACE & DESIGN

31. 1. Design a functioning Auditorium according to the type of performance and the number of the audience

32. Theater's "house" is where the audience sits during performances. It can include areas like the lobby, coat check, ticket counters, and restrooms.

33. Auditorium space requirements based on seating design and capacity: 200 seats: 270m² (2,900 ft2) 150 seats: 190m² (2,000 ft2) 75 seats: 125m² (1,350 ft2)

34. 2. Keep the Standard Distance for a Comfortable Audience Seating

35. Theaters have two aisle arrangements for safety during darkened performances: Multiple-aisle Arrangement and Continental Seating Plan Both arrangements use rows of small lights along the aisle edges to improve visibility during performances.

36. 14-16 chairs per row, aisles at both ends. Limited to 7 or 8 seats if aisle access is from one end only. Multiple-aisle arrangement

37. Multiple-Aisle Arrangement

38. Accommodates more seating in the same space, requiring an average of 7.5 sq. ft. (2.3 sq. meters) per person, including seating area and aisle-ways. Continental seating plan

39. Continental Seating Plan

40. 3. The Stage is Important: Choose Wisely

41. The stage is a designated space for performances and the focal point for the audience. Types of stages include:

42. Thrust theatre: surrounded by audience on three sides with a background on the fourth. End Stage: extended wall to wall with audience on the front side.

43. Arena Theatre: central stage surrounded by audience on all sides, often raised for better sightlines. Flexible theatre or Black Box: adaptable space with movable stage and seating.

44. Proscenium Stage or End Stage: most common type with a large opening (proscenium arch) separating the audience from the scene, and an apron in front.

45. Profile Theatres: audience placed on risers to the sides, actors perform in profile. Sports Arenas: large rectangular floor plan, used for concerts with a temporary end-stage setup.

46. 4. Keep the Scenery Low for Better visibility

47. The Theater in the round or Arena Stage Theater places the stage in the center of the audience, providing intimacy and involvement but limiting visual spectacle due to potential obstruction of views by tall scenery.

48. 5. For Greater Intimacy with the Audience, go with the Thrust Stage

49. A thrust stage extends into the audience on three sides, offering greater intimacy between audience and performers, and allows viewing from multiple sides while maintaining a backstage area connection.

50. 6. Keep your theater flexible

51. Flexible stage theaters do not have a fixed stage-house relationship, can take on various theater forms, and often have no physical distinction between stage and auditorium, allowing the audience to either stand among the performers or sit on the main floor.

52. 7. Sound quality is as important as visibility

53. In theater performances, poor sound quality will ruin even the better plays. Often overlooked, sound requires careful consideration during auditorium design.

54. Considering external sound insulation to prevent distractions from traffic, trains, or construction noise. Internal sound insulation is vital, especially in multiple screen setups, to avoid sound leakage between adjoining auditoriums.

55. Control of services and equipment noise , like air conditioning and lifts, is necessary. Acoustic design should be considered throughout the theater's planning stages to ensure optimal sound quality from feasibility to final commissioning.

56. Sound Reflectors in Basic Theater Design

57. PLAYWRITING & DRAMATURGY

58. PLAYWRITING

59. Playwriting is an exciting and accessible form of scriptwriting in the performing arts. Anyone can write a play, gather friends as actors, and present original theatre to an audience.

60. To create great plays that enthrall audiences, explore playwriting in more detail. Understand where ideas for plays come from and the lingo used by writers. Learn how to create fully dimensional characters and write engaging dialogue.

61. Know how to start your play, develop the storyline, and reach a compelling climax. Craft a satisfying conclusion to ensure the success of your play.

62. A . Speaking Like a Playwright

63. Protagonist : The main character with a mission. Antagonist : The character or thing opposing the protagonist's goals. Conflict : The opposing objectives of the protagonist and antagonist. Common playwriting terms:

64. Arc, spine, or through-line: The storyline that keeps the audience engaged. Stakes : What characters stand to gain or lose based on success or failure. Inciting incident: The event that launches the protagonist and triggers the plot. Common playwriting terms:

65. Backstory: Past events that provide context to the current situation. Exposition: The backstory revealed through motivated dialogue. Actions: What characters say or do to achieve their objectives. Common playwriting terms:

66. Rising action: The protagonist's journey of ups and downs towards the main conflict. Climax: The final confrontation between the protagonist and antagonist. Resolution: The aftermath of the climax, showing how things settle. Common playwriting terms:

67. B. Putting Lifelike Characters on Stage

68. To create believable characters in your play, aim to develop them as close to real people as possible by incorporating details and specificity, as understanding your characters on a profound level will enable you to predict their actions in various situations.

69. Gender: Men and women react differently to life's events. Parents: Parents, including absent ones, profoundly influence their children. Siblings: Relationships in adulthood can be shaped by experiences with siblings.

70. Schooling: Education (or lack of it) impacts a person's daily life. Work: People often define themselves by their work and earnings. Relationships: Married or committed individuals behave differently than singles.

71. Religion: Religion can powerfully influence people's choices and behaviors. Race/ethnicity: Different backgrounds lead to diverse choices in similar situations. Politics: Political beliefs strongly affect a person's decisions.

72. C. Making Character Dialogue Sound Natural

73. Dialogue is the primary and crucial component in playwriting, serving to advance the action of the play while revealing character aspirations, motivations, and intentions.

74. To craft effective dialogue, follow the "rule of three" for important information, recreate realistic speech patterns with flaws, avoid clichés, use character names sparingly, avoid echoing lines, and refrain from lengthy speechifying.

75. Let the theme of the play be conveyed through events rather than explicit dialogue, and avoid phonetically spelling out accents and dialects, relying on skilled actors for authenticity.

76. D. How to Start the Play You’re Writing

77. The opening of your play is crucial to capture the audience's attention. Start the play as far into the story as possible, just before the inciting incident. Upset the status quo early on with an inciting incident that launches the protagonist on a mission to set things right.

78. Give the protagonist a critical and urgent mission that is clear to the audience. Create a strong antagonist to provide formidable obstacles and increase suspense. Gradually weave the backstory into the dialogue as needed to provide relevant context from events before the play's start.

79. E. Scriptwriting: How to End Your Play

80. As a playwright, delivering a satisfying ending to your play is crucial, and it doesn't necessarily have to be a happy one, but it should feel truthful, plausible, and perhaps even inevitable in retrospect.

81. To achieve this, make the obstacles increasingly difficult for the protagonist, create a cause and effect structure that leads to the climax, which is the final showdown between the protagonist and antagonist. Ensure the conclusion is earned and justified by preceding events, avoiding cheat endings with contrived solutions.

82. In the resolution, tie up any loose ends and provide a glimpse of the world after the climactic events, giving the audience a complete understanding of the story's outcome.

83. DRAMATURGY

84. Dramaturgy involves exploring the play's world, both its text and its connection to our reality. A dramaturg is a dedicated member of the creative team who supports the play's development.

85. The dramaturg asks key questions, initiates discussions, conducts research, and provides context. The role of a dramaturg is unique to each project and requires a customized approach. Understanding the play and the artist's goals is essential for an effective dramaturgical process.

86. What might a Dramaturg do for you?

87. A dramaturg can identify exciting elements, address confusion, and analyze the play's current structure using scene charts, timelines, and character arcs. PLAYWRIGHT

88. A dramaturg offers insight into song style, voicing, dramatic needs, and overall build. MUSICAL THEATER WRITER

89. A dramaturg ensures consistent storytelling logic and engages in discussions about representation. DEVISER OF A POLITICAL DANCE PIECE

90. A dramaturg provides research materials and context for historical plays. DIRECTOR

91. For experimental pieces, they collaborate to establish foundational rules and deconstruct theatrical devices. PRODUCER

92. Having a designated dramaturg supports the project's overall cohesion and helps in fully realizing the artistic vision.

93. SCENE DESIGN

94. Scene design (also known as scenography, stage design, set design, or production design) Scenic design involves creating theatrical and film/television scenery. Scenic designers are trained professionals with B.F.A. or M.F.A. degrees in theater arts. They aim to design sets that support the production's overall artistic goals.

95. The Functions of Scenic Design

96. 1. Scenic design defines the performance space, distinguishing between onstage and offstage areas using various elements like flats, drapes, platforms, and floor treatments.

97. 2. It creates a floor plan that facilitates movement, composition, character interaction, and stage business.

98. 3. Scenic design visually characterizes the acting space, with the approach depending on the production concept, either representing locales realistically with specific architectural details, furniture, and decorations or following a different artistic vision.

99. THEATER ACTING

100. Elements of Acting

101. Help the audience read the characters emotions. Look at the actor's eyes and what they are telling you. This is a clue to the emotions they are expressing to the audience. FACIAL EXPRESSION

102. How the actor is standing and the body language used can show the audience the characters feelings or thoughts. BODY LANGUAGE/STANCE

103. Each actor was hired to play a role based on the ideal body shape needed to portray that particular character. This can involve gaining/losing weight or becoming very fit. BODY SHAPE

104. How an actor uses their voice can give us the audience a quick insight into their character background and culture. It is very common for an actor to have a voice coach to assist them in mastering this accent. VOICE / ACCENT

105. 3 Basic Ingredients of the Actor 1. native ability (talent) 2. training (including general education) 3. practice

106. Training and Means

107. Actors must learn to control their voice and body to effectively express themselves to the audience. They need to understand, practice, and discipline their craft.

108. Imagination and observation are crucial, involving emotional and sense memory, and substitution. Developing powers of concentration is essential, remaining aware of the current stage situation, the play's context, and the character's actions and emotions.

109. An Acting Process

110. Use script analysis to understand the character fully, including fabricating details not explicitly stated. Define character goals and objectives for each scene or the character's entire purpose for being on stage. Analyze the Role

111. Consider both the content and relationship dimensions of the character's communication to develop and redefine their relationships with others. Understand the character's function in the play, whether as a protagonist, antagonist, foil, or major/minor character, relating to the theme and action of the play. Analyze the Role

112. Pay attention to subtext, focusing on how the character says things and their underlying emotional motivations. Consider the character's role in the overall production, taking into account their significance within the broader context of the play. Analyze the Role

113. Stage business : Detailed physical movements of performers to reveal character, aid action, or set the mood, prescribed by the script or invented for clarity. Delsarte : Focus on physical characteristics and body language for expressive acting. Movement and Gesture

114. Blocking : Arrangement and movements of performers relative to each other, furniture, and stage entrances/exits. Gesture : Expresses character emotions and intentions. Movement and Gesture

115. Cheating: Ensuring the audience can see actors' faces and bodies while maintaining natural conversation illusion. Crossing and counter-crossing: Actors moving across the stage for balance. Movement and Gesture

116. Actors are armed with a variety of exercises to improve their vocal quality (projection [ability to be heard], tone, inflections, pitch, rate) and their articulation (pronouncing words clearly and accurately). Vocal Characteristics

117. Learning lines suggests more than just memorization. It suggests learning why, for what purposes, in what circumstances lines are said. Semantics refers to the "meaning" of what is said. Learning LINES (memorization) and Line Readings

118. a sense of wholeness. Everyone working together, working together as a unit toward a common goal, like a well-oiled machine. Ensemble Playing

119. Actors learn that usually "less is more." They develop a sense of economy, using their ability to conserve energy and action to build to ever stronger actions. Conservation and Build

120. DIRECTING & PRODUCING A STAGE PLAY

121. Directing a Play

122. Is the one most responsible for the artistic elements. He has the final say on the design elements, the cast, and how the script is to be interpreted DIRECTOR

123. The director serves as a guide and interpreter for the production staff but works most closely with actors. They oversee rehearsals, communicate their vision of the script, provide feedback on performances, and offer suggestions for enhancements. DIRECTOR

124. The director acts as the ideal audience, shaping the stage pictures, movement, gesture, business, voice, and speech to effectively communicate with the audience beyond mere dialogue or action. DIRECTOR

125. There are two main perspectives on the role of the director in theater: a. The director as an interpretative artist whose goal is to faithfully translate the playwright's script into a theatrical performance.

126. b. The director as a creative artist who utilizes all elements of theater, not just the script, to create their own unique work of art.

127. a. bodily positions of the actors - the actors facing the audience is the most dominant; b. height - the tallest actor is the most dominant (sitting, kneeling lower height); c. use of specific stage areas - down and right most dominant; d. focus having actors all look at same person; SIGNIFICANT ELEMENTS

128. e. spatial relationships - if a lot of actors on one side & a single one on other side. attention on single actor: f. contrast - all actors except one facing one way, attention will be on one that is different. g. other ways of gaining attention are costuming; SIGNIFICANT ELEMENTS

129. h. lighting- contrasting colors or spotlight to emphasize, set- a doorway or piece of furniture may frame and emphasize actor; and j. the stage picture should be balanced with consideration for composition - it should be balanced in terms of line, mass, and proportion, and should create a harmonious effect. SIGNIFICANT ELEMENTS

130. Producing the Play

131. Playwright must find a producer to perform the play. Producer takes an option on the play, granting exclusive performance rights for a sum of money paid to the playwright.

132. Playwright often joins the Dramatists Guild for protection and contract negotiations before Broadway production. The contract specifies royalties, control over the play, and playwright's availability during rehearsals.

133. Production venues considered: Broadway, Off-Broadway, Off-Off Broadway, Regional Professional Theatres, and University Theatres. Many aim to avoid Broadway due to high risks.

134. Producer handles financial aspects, finds backers, creates budget, oversees publicity, selects director and designers, and influences casting decisions.

135. (All websites accessed on July 19, 2023) References Essential Theater Chapter 2: Performance, Audience, and Critic. Retrieved from: https://studylib.net/doc/7514949/chapter-2-performance-audience-and-critic Nicoleta, A. (2009). The Functions of Scenic Design. Retrieved from: https://scenography.wordpress.com/2009/06/30/the-functions-of-scenic-scenography-design-theory/ Parra, A. (2011). Play Writing for Dummies Book. Craft, Polish, and Get Your Play on Stage. Dummies a Willey Brand. Play Production Notes. https://www2.southeastern.edu/Academics/Faculty/cfrederic/PlayProduction.htm Theater Design: 7 Basic Rules for Designing a Good Theater. Retrieved from: https://www.arch20.com/theater-design-7-for-designing-a-good-theater/ The University of Hongkong HKU Space Community College (2016). The Process of Theater Making. Trumbull, E.W. (2008). Introduction to Theater: Online Course. NOVA Northern Virgina Community College.