CH 10

LCT's production of WITNESS.

Global Theatre Today

"Theatre is a business, as well as an art..."

OPEN theatre- Theatre audiences and practitioners have opted for an "open" theatre- open for a wide range of cultures and individuals than any other time in history. This open theatre hopes to "mirror"  the hopes and concerns of all human nature- women, as well as men, gays and straights, Asian, African Americans, Native Americans, etc..

A Diverse Theatre-

Women, who have been traditionally underrepresented throughout history, now comprise a major force in the Theatre. Since the 1980s, seven female playwrights have won the Pulitzer and 4 have been honored with MacArthur "Genius" awards. Women directors, once a rarity, now represent at least 1/3 of the nations total field, and a number are Artistic Directors of Theatres as well.

Racial diversity shows similar development. Since the 1960s, many Black writers have broken through the Theatre's color barrier (beginning with Lorraine Hansberry's famous " A Raisin in the Sun") , and that exploded in the 1980s with the emergence of August Wilson's plays (and his ten play cycle) and other writers, directors and actors have followed.
We've also seen the emergence of Latino theatre (often distinguished by it's language and ethnic roots) , as well as Asian American theatre (it's big leap forward was David Henry Hwang's "M. Butterfly", which received a Tony and a Pulitzer) and Native Amercian theatre is also flourishing, particularly in the Western US.

"A Theatre of Difference"
Sexual preference has emerged as a defining issue in today's theatre as well. As recently as the late 1950s, the representation of homosexuality was illegal in England, and widely suppressed in America, but dramatic changes occurred in the 1960s (spurred on by Matt Crowley's comedy "The Boys in the Band") to where gay themed plays have now clearly entered the mainstream (not only in theatre, but film and TV as well).


Nontraditional Casting-

Colorblind casting (casting someone in a role regardless of their ethnicity) and gender bending (casting males/females in different gender roles) was once thought of as a daring practice, but is now somewhat commonplace. Though some directors still bristle at the idea of casting someone outside of their "traditional" role, many realize that audiences today are savvy enough to be able to suspend their disbelief beyond such things.

WHERE IT'S HAPPENING (in America)

Different types of theatre include-
BROADWAY- the top of the heap (located in a few blocks of Times Square, in NYC)  for commercial theatre in America, though not ALWAYS the best. Example-http://www.youtube.com/watch?v=NL4aFn1DxGE
Many times that is reserved for...
REGIONAL THEATRES- professional theatres that are NOT based in New York City, but located in many large cities and smaller towns throughout the US. Every state in the union has at least ONE professional, regional theatre. This is often where the most artistic, daring theatre takes place.
Example- http://www.youtube.com/watch?v=np3rZ5Uv__8
OUTDOOR DRAMA/ HISTORICAL DRAMA- Primarily seasonal theatres that (mainly) use outdoor stages and tell a tale of some historical significance to their region (example- the Stephen Foster Story in Western, KY and "Techumsah!" in central Ohio.) These theatres are usually great training grounds for young actors, as they generally are very intense, short rehearsal processes followed by a 14-16 week run. Alas, they are somewhat going the way of the dinosaur... Example- http://www.youtube.com/watch?v=M249oOza4Dg
SHAKESPEARE FESTIVALS- Also (generally) seasonal theatres, some of which are indoor-some outdoors. These theatres focus PREDOMINANTLY on the work of the Bard, but mix in other materials occasionally (such as musicals, or a swashbuckling adventure like "3 Musketeers"). 48 of the 50 states in the US have at least one official Shakes Fest. Example- http://www.youtube.com/watch?v=bQcB8sV0ADI
COMMUNITY THEATRE- In many ways the backbone of American theatre. Predominantly volunteer organizations that create for the love of the art and (for many) give future theatre professionals their first taste of what a life in the theatre is like. http://www.youtube.com/watch?v=Q39KtgAntHU     http://www.youtube.com/watch?v=Q39KtgAntHU
COLLEGE/UNIVERSITY THEATRE- Nearly every major, mid-sized or small college/university has SOME type of theatre training program. This is the primary training arm for theatre professionals in the US. Example http://www.youtube.com/watch?v=pDIpG4Tovjs


QUESTION- Have you been to any of the above types of theatres in the US (*With the exception of college/ University) ? If so, describe the experience - if NOT, which one would you LIKE to see and why? TWO PARAGRAPHS PLEASE!!!

CH 11

The Critic-
A play does not end its life onstage- in many ways this is just the beginning. It's final resting place is in the minds and memories of the audience.

The formalization of post-play thinking and conversation, whether in a published article or a school assignment, is called dramatic criticism. The book defines this as an "informed, articulate and communicative response to what is seen in the Theatre".

What makes a play successful and gives a production significance and impact? These five perspectives can be helpful in focusing a response to any theatrical event.

1- A Play's Relation to Society: Does the play address public issues, and does it bring the audience in touch with their own thoughts and feelings ON those issues.

2- A Play's Relation to the Individual: Do we see a reflection of our self in the material? Does it confront our own personal hopes, dreams, concerns, etc? Can it lead us to a discovery of ourselves?

3- A Play's Relation to Art: The Theatrical response is a composite of many individual reactions. It is subjective and personal. Yet all good Theatre stimulates this desire to develop aesthetic notions of "what the form should be".

4- A Play's Relation to Theatre: Each production, in some way, should make us reconsider the values and possibilities of Theatre itself. In what ways did the play accept, or reject, traditional Theatrical convention? Did it use the theatrical format to its’ best advantage?

5- A Play as Entertainment: Great theatre is "never less than pleasing". It is the immediacy of the art form that allows us to experience such strong emotions, and ultimately to share a communal experience with the other members of the audience (most of whom will be strangers to us).


A word on student criticism:


"One does not expect of beginning Theatre students a thoroughly comprehensive background in the subject". Yet, as we have discussed in class, everyone has an opinion and that opinion is valid. YOU know what you like, what appeals to you aesthetically and what doesn't. Explore that and articulate it clearly. That is all that can be asked of any critic.

 

DISCUSSION-  Discuss one element in all of your live theatre viewings from this semester that stood out to you (in either a positive or negative way!)  Example- a really strong performance, a really bad scenic or lighting design, an unruly crowd, etc…

Ch 6- The Director!

Me, directing a scene from our 2009 production of MIDDLE AGED WHITE GUYS at Talon Winery.

* Controls the artistic direction and VISION of the production. The director is the person responsible for how the show looks, sounds and feels. This is a very complex position, that often times is misunderstood. An old instructor of mine used to say "If a show is GREAT, the actors get the credit...but if the show is BAD, the director gets the blame." As someone who has directed over 50 shows, I can tell you that truer words were never spoken!

 

HISTORY OF THE DIRECTOR-

 

The history of the position known as the director is an interesting one. The position, as we know it now, has only been around for some 150 years (which in the scheme of Theatre history is NOT very long) There has always been someone who provided some of the functions we now equate with the director, but the position didn't come into it's own until sometime in the mid 19th century.

 

The text divides the history into three phases:

 

1) Teacher Director phase- from the beginnings of Greek Theatre, there was always a TEACHER who would instruct and guide the actors. This person was referred to as the didaskalos (meaning teacher).

 

2) Realistic Director phase- As the theatre began to move in a more realistic fashion, and strive for a sense of verisimilitude (meaning "very similar to life), the position of the director began to flesh itself out. One man, George II (also known as the Duke of Saxe Meiningen) would become the father of modern directing and help establish the director as a separate and important entity(circa 1874 ). The Duke of Saxe-Meiningen toured Europe with his troupe of actors. The tour showed theatre artists the value and artistic opportunity a director could have. For six years prior to the tour, the Duke of Saxe-Meiningen implemented basic directing principles which continue to be used, if modified, today. His principles included intensive rehearsals, the demand for disciplined and ensemble acting (NO stars), historically accurate sets and costumes, the directorial need for vision and total control over all aspects of the production, and the value of minute detail. Many of the Duke's methods are still in place to this day.

 

3) Stylized Director Phase-On the heels of the realism movement came a backlash (around the early part of the 20th century) and a group of theatre practitioners who were more interested in creating "Theatrical brilliance" than in any sense of verisimilitude. They helped to solidify the director's position as a visionary, in total artistic control.

 

A theorist named Edward Gordon Craig wrote in a now famous essay that the director should be "likened unto the Captain of the ship".

 

DIRECTORIAL FUNCTIONS"

 

The text divides the functions of the Director into two separate phases, each with separate duties.

 

1) Preparatory phase (things done BEFORE rehearsal begins). These include:

 

a- play selection

 

b- concept

 

c- designer selection / design phase (The text separates these- I feel they go hand in hand)

 

d- casting (The old adage says that casting is "90% of directing! Incidentally, film director Woody Allen says that 90% of directing is "showing up")

 

2) Implementation phase: (From rehearsal to the stage.) These include:

 

a- staging (blocking, choreography, etc)

 

b- actor coaching

 

c- Pacing ( a surefire way to know if a director has not done their job is to pay attention to the overall pacing of the show. Is it too slow, does it seem to drag or are things firing by so fast you can barely catch the meaning? This is a crucial and very difficult aspect of the job.

 

d- coordinating (In essence, tying together all the loose ends)

 

e- production- Strangely enough, the director has no real "job" during this time. His/Her job is actually finished AFTER final dress rehearsal. The show is then in the hands of the stage manager, and the director is free to move on to another project.

 

QUESTION - Which aspect of the directors job do you feel would be the most challenging or difficult to accomplish?

Ch 5

A shot from the final tech rehearsal of BCTC's production of "A FEW GOOD MEN".

There are four "primary" staging alternatives in modern theatre

They are:

 

1) Prosecenium- Most common format- the auddience sits on one side facing the stage, and the proscenium "arch" frames the action (also sometimes know as the "picture frame stage".

 

2) Thrust- A more "actor-centered" space- audience is on three sides (also called 3/4 staging) . In most cases , there are "no bad seats" in the house.

 

3) Arena- also known as "theatre in the round" , as the audience surrounds the action on all four sides. Most traditional scenery must be dispensed with.

 

4) Black Box- a very flexible space, where the seating is mobile and can be configured in a variety of format. Most often, these are smaller, more intimate spaces.

 

AREAS OF DESIGN-

 

SCENERY

 

Generally, the first area of design we think of (and usually the most expensive), yet it is a relatively new area of design. The first great period of scenic design didn't come until theatre moved into indoor, artificially illuminated spaces. This allowed designers to create more realistic illusions and extravagant visual effects.

 

Two broad categories of "sets"-

 

1) Realistic - generally known as the "box set"- it looks like whatever it is supposed to represent.

 

2) Metaphoric / abstract- tends to be more conceptual / less literal. These are sometimes refer ed to as "unit sets", in that they are usually a series of different leveled platforms that can be used to simulate a variety of locations.

SCENIC MATERIALS;

 

3 Traditional Media (materials) of scenic design are:

 

1) wood

 

2) paint

 

3) canvas

 

With these, we build the three "building blocks" of scenic design:

 

1) FLATS- wooden frames covered in canvas or some hard surface (like Masonite) which are used to indicate walls, windows and doorways.

 

2) PLATFORMS- Serves the all important function of creating levels for the actors to work on.

 

3) DRAPERY- Used to neutralize the space ( hide the backstage area, mask the lighting and electrical equipment, and sometimes they are used to create entrances and exits.

 

LIGHTING:

 

Lighting, while a crucial area of design, is an even newer area than scenic design. For it wasn't until the advent of gaslight (mid 19th century) that we began to see this area of design come into it's own. What gaslight allowed was the ability to control the "intensity" of the light (how dim or bright it was). This opened up whole new worlds in theatrical design, which were taken even further with the advent of the electric light.

 

FIVE CONTROLLABLE QUALITIES OF LIGHT:

 

These are the "tools" that allow lighting designers to do their work. These are the five elements of light that we are able to control, thus the ability to create a lighting design.

 

1) Intensity

 

2) Color- we do this by using thin sheets of plastic called "gels" which are placed over the front of the lighting instrument, thus changing the hue of the light.

 

3) Shape- certain instruments have "shutters" on the sides which allow us to change the actual shape of the shaft of light.

 

4) Direction- We can aim the light in any area we choose.

 

5) Movement- certain instruments (like the Follow spot) are meant to be "mobile", or used in motion.

 

The three primary functions of lighting design:

 

1) VISIBILITY- FIRST AND FOREMOST. The most important aspect of lighting design. For if it can't be "seen", then what good is it?

 

2) PLAUSIBILITY- Making sense of the surroundings. If the show takes place outdoors, on a pier, in the late evening, then the lighting design needs to simulate that environment.

 

3) COMPOSITION- The lighting design often times "ties together" all the other elements of design, thus making them come to life.

 

COSTUMES:

 

Modern costuming came into it's own in the late 18th / early 19th century, when the desire for realism took hold in the world of Theatre. Before that, most costumes were little more than "dressing up".

 

4 primary functions of costuming:

 

1) Ceremonial "magic" - In keeping with the ancient traditions from which Theatre sprang.

 

2) Illuminate the "world of the play" / establish time and place

 

3) Express individuality of character/ "status" (Is this a King or a servant?)

 

4) "Wear-ability"- needs to be functional for the actor. Just because it looks pretty, it may not be right for the actor or the demands of the scene.

 

* You will not be responsible for MAKEUP design.

 

 

QUESTION- Which area of design do you feel is most essential to your personal enjoyment of a play?

Ch 3



Katy Lyster from BCTC's Fall 2012 production of SCRAMBLED.

 The first known actor was a Greek named THESPIS, form which we get the term THESPIAN.




* Cohen refers to acting as the most "bewildering profession known to man".

The reasons for this are many, but the text mentions:

a) Fear - fear of failure, of forgetting lines, of losing emotional control, of losing your looks, of losing your audience, etc. This is commonly known as STAGE FRIGHT, and it can beset an actor at any time in their career!

b) Uncertainty- Where is the next job and / or paycheck coming from? Actors must deal with a great deal of rejection, and there is little (if any) job security to speak of. This is true even at the highest level. (How many times have you seen an actor in a TV show or film and NEVER seen them work again?)



Two notions of acting:



-EXTERNAL: outward,physical and technical form of acting. Involves what is called MIMESIS, which simply put is creating the physical side of the character (voice, movement, etc)

- INTERNAL: The actor creates the character from the inside, concentrating on the emotional and intellectual side of the character. Also known as "EMBODIMENT"



In order to create a true, full character, the actor must JOIN these two processes, thus creating a believable and life-like character.



* Virtuosity- Refers to a "superb set of skills".To achieve greatness in acting, one must exhibit this.



* MAGIC- Presence, charisma, charm...whatever you call it, the actor MUST have this to have a truly successful career. The unfortunate thing here is that all the training in the world will NOT give you this! You can train to create a superb set of skills, but you either have stage presence or you don't! (However, one's confidence does have a great deal to do with this)



THE ACTOR'S INSTRUMENT



Physical instrument:

Voice

Body (movement)



These are your primary tools as an actor and you must care for and maintain them as you would any other form of instrument.



Psychological Instrument:

Imagination - A must for any creative artist. This must work on a variety of levels. You have to make the art real to the audience, but in order to do this, it must be real to YOU. If YOU don't believe in what you're doing HOW will an audience? (* this is one reason why children are sometimes the greatest actors of all- they haven't yet "lost" their creative imagination!)



Discipline- Possibly the greatest tool at an actor's disposal. You must be disciplined to work in a creative ensemble as part of a team, and the professional actor must lead a vigorous and demanding life, thus they must prepare themselves for a tough, demanding journey. Many are the "great actors" who have no discipline, thus they never enjoy strong careers. It takes hard work and sacrifice to be a professional actor, and it is not for the weak!



THE ACTOR'S ROUTINE:

The actor's professional routine exists in three stages:



1) The audition- The process by which acting roles are rewarded. There are three basic types:

a) Prepared- where the actor must prepare a short piece called a "monologue" and perform it for his casting directors.

b) cold reading- the actor reads directly from the script he/she is auditioning for, alone or in pairs/groups.

c) musical/dance- where the actor prepares a short song, and learns a simple dance routine to be performed at the audition, usually in a small group.



2) The Rehearsal

* Standard is 3-5 weeks, sometimes longer/ sometimes very abbreviated, depending on the type of show and the time allotted.

* A time to memorize:

-lines

-blocking (stage movement- example/ I cross from one side of the stage to the other and sit)

-business (small, directed stage actions/ example- after I sit, I begin to clean my glasses)

* It is a time for experimentation and discovery. The actor should feel free to explore and to work in concert with the director and the other actors to create the best possible production.



3) The production- What Theatre is really all about- the endgame. The audience is the "final ingredient" for the production, and can help take the actor's performance to it's full potential.



FOR DISCUSSION-

a) What are some factors that can make an actor's life challenging and difficult?

b) If the profession is as "bewildering" as Mr Cohen suggests, WHY do so many people want to do it?

Discuss!

Ch 4- THE PLAYWRIGHT

The late August Wilson, one of the greatest playwrights of the last 100 years.

PLAYWRIGHT-

The text tells us that the playwright is " the most central, yet the most peripheral figure in the theatrical event". We START with the playwright's words- it is our "point of origin", yet most playwrights are not involved with individual productions. Thus, the playwright is essentially an independent artist, whose work is primarily done in isolation.



* The correct spelling of the word is PLAYWRIGHT. Some spell the word playwrite- this means "one who writes plays". The correct PLAYWRIGHT spelling means "one who MAKE plays".



* The core of ever play is ACTION! The structure is not a series of abstract observations, but an "ordering of observable, dramatizable events."



* The playwright works with two tools:



a) dialogue



b) physical action



* Events in a play can be either "linear" (they take place in chronological order) or "non-linear" (random ordering).



THE QUALITIES OF A FINE PLAY



These are some of the qualities that make up a good play.



* Credibility and Intrigue- Credibility has to do with internal consistency and intrigue is the quality that makes us curious to see "what happens next"



* Speakability, stageability and flow- Speakability refers to dialogue that resembles real or ordinary speech. Stageability requires that dialogue be written so that it can be spoken effectively on the stage, and flow requires a continual stream of information- a play that is continually MOVING toward some kind of ending.



* Richness- Depth, subtlety, quality, wholeness, etc...we want our plays to have depth and quality.



*Depth of characterization- Some playwrights write all their characters speaking in the "same voice". We want a variety of characters, with their own independent identities and manner of expression.



* Gravity and Pertinence- Gravity refers to the central theme being serious and of lasting significance. Pertinence refers to a plays ability to be relevant to the times.



* Compression, economy and intensity- Compression refers to the playwright's ability to condense the story, economy refers to the author's skill in consolidating characters and events, and intensity refers to the quality of making the audience feel that they are witnessing something unique and important.



*Celebration- A play should celebrate life, not merely depict it or criticize.



* Make sure and look over CONTEMPORARY AMERICAN PLAYWRIGHTS section (starting on 100) and pay close attention to Miller, Simon, Albee,L. Wilson, Shepard, A.Wilson, Mamet, Vogel and Parks.

Discussion Question-



What characteristics do YOU look for in a play as an audience member? Focus on the script more than performance aspects (acting, scenery, etc) If you haven't attended many plays, you can discuss the same thing in reference to film

Ch 2

WHAT IS A PLAY?

AGL's HOLIDAY MEMORIES, directed by Moi.

A play is defined in you text as "action, not just words in a book". That action presents itself in many forms: argument, struggle, persuasion, passion, seduction, etc...



BUT it is most always centered around CONFLICT! Without a conflict, or a problem to be solved, there is no play!





We classify plays in one of two broad categories:





a) Duration (how long?) There are three sub-categories:



1- One act - a short play that is an hour or less (sometimes as short as ten minutes). These short pieces are often combined to produce a full evening of theatre.



2- Full- length- These are divided into at least two ACTS, and last anywhere from 90 minutes to three hours (usually falling in the 2 hr range). MOST of the shows you will see, or have seen, will fall into this category.



3- Marathon- Exactly as the name implies. LONG shows, ranging anywhere from three to nine hours in length. AS you could imagine, these are not terribly fashionable or popular in the United States. But in some areas of the world, they are the norm.



b) Genre (TYPE or KIND)- There are many genres out there, including:



1) Tragedy- Where it all started with the Greeks. Certain elements make a tragedy a "Tragedy" (according to Aristotle, in his essay THE POETICS) such as:



* Protagonist / Antagonist relationship- the protagonist "propels" the action of the play, and the antagonist opposes the action. This is NOT as simple as good guy/bad guy. Often times in true Tragedy, the protagonist is a fatally flawed character, and the Antagonist is (in most cases) not even human, but a force of nature, or a God. Something, in other words, that cannot be defeated!



* All main characters must be nobility of some sort (Princes, Kings, etc...)



* The ending is always tragic BUT, despite belief to the contrary, the protagonist does NOT always die in the end. The classic Tragedy OEDIPUS REX is a prime example, as Oedipus does not die (until the next play in the cycle, at any rate).





2) Comedy- Another cornerstone of theatrical genre. The main (obvious) difference is that comedy ends HAPPILY. An important element in all comedy, from the Greeks to today, is TRUTH. All good comedy must be rooted in what is believable and real, as often times we are laughing at something because we recognize that truth.





3) History Plays- A historical piece based (at least partially) in fact. Shakespeare is often credited as the originator of this genre, with plays like RICHARD III, and all the HENRY plays. Some modern examples might include THE DIARY OF ANNE FRANK and THE LARAMIE PROJECT.





4) Dark Comedy- Very simply, comedy that doesn't end all nice and tidy, but has a dark or unresolved ending. The humor itself is dark and pokes fun at things we often might not laugh at. If you've ever watched a show and asked yourself "Should I REALLY be laughing at this?" , it' s a good bet you're watching a dark comedy.





5) Farce- A wildly hilarious treatment of a trivial theme. Often with "stock characters" (characters that are very cliched) and stock situations (such as "misheard instructions" mistaken identity, illicit infatuation, etc...) A forerunner of what we might also call "slapstick comedy", as it is usually very physical.





6) Melodrama- Plays that are outwardly serious, but actually very surface and trivial. Highly suspenseful and contrived plot, with very clear distinctions between good and evil. Sounds like SOAP OPERAS? Good- cause the soaps are a perfect modern example of melodrama.





7) Musicals- The ONLY genre originated in America. Probably the most popular, lucrative genre for over the last fifty years. Commercial Theatre at the highest level is FILLED with musical theatre, and it's a good bet most of you have seen at least one in your life.



STRUCTURE:



Aristotle (him again!) described the components of a play as follows:



* Plot- The "mechanics" of storytelling. What happens from point a, to point b, to point c. Usually the way one describes a play or film when asked to describe it.



* Characters- The people who inhabit the world of the play. *NOTE- These characters do not always have to be "living" or "Seen". As an example, in August Wilson's THE PIANO LESSON, a recurring "character" is the ghost of a dead man named James Sutter, who we never see. However, Sutter's "presence" is very much a character in the show, and has a great bearing on the outcome.



* Theme- What the show is truly about. The "main idea" of the piece. It's topic or "overall statement". An example might be that the main theme of Shakespeare's HAMLET is that "revenge leads to madness and ultimately, death".



* Diction- The pronunciation of spoken dialogue. The text, and the tone, cadence and imagery involved therein. The poetry of the language. The diction is by NO MEANS the creation of the playwright alone. It is very much the product of the actor as well, and what that actor brings to the language with their vocal quality and depth of performance.



* Music- In Aristotle's time, most plays were sung or chanted, hence the words all had a lyrical musicality to them. Today, music can play a direct role (as in the use of actual music in Musical Theatre, or other real music used in the context of a non-musical play) and an indirect role (the rhythm of the sounds, the background ambiance of a play. Crickets in the night, waves crashing on the beach, the sounds of a city at night, etc.



* Spectacle- All visual aspects of a performance. Today, spectacle is very important to most big budget, commercial Theatre. It involves the pageantry of the costumes, the grandeur of the scenery, the lustre of the lighting design, etc...





One final component-



This is one that has evolved over time and that had NOTHING to do with Aristotle. It is called CONVENTION. Basically, this is a set of understandings between the actors and the audience that has developed over a period of years. Examples:



* When the lights go down in the house, you know that the play is about to begin. That's Convention!

* If the lights go down onstage after a scene, and when they come back up, everything looks different, you know that time has passed. THIS is convention.

THE ORDER OF A PLAY:

A play has a temporal (time) structure. It occurs in three phases:

THE PRE-PLAY

* Gathering of the audience- How do we get folks in the theatre? Primarily, this is through various PR and publicity avenues. (Newspapers, TV, internet/viral marketing) If you don't get "butts in the seats", then the work of the Theatre is all for naught!

* The Transition- Transforming yourself from an individual in the every-day world, into an audience member who is going to immerse him or herself into the "world of the play". Certain things like lobby displays, pre-show music and our program aid us in this venture.

THE PLAY PROPER:

SEE THE TEXT FOR THE STRUCTURED SEQUENCE- Pages 50-55

THE POST PLAY-

* The curtain call- The actor's bow (OUT OF CHARACTER! or at least they should be. This is to show appreciation to the ACTOR, not the character) and the audience applauds (hopefully!). It is not just for the actors to receive recognition, but for the actors to give respect to their audience as well.

* Criticism- Discussion or dissemination of the production that has just taken place before you. This can be in small groups over coffee, a critic writing a review for a paper, OR a student writing a paper! (hint hint!)

DISCUSSION FOR CHAPTER TWO-

Of all the genres discussed, which is your favorite and why? AND give some examples of plays (or films, for those of you who haven't ventured into the Theatre too often) within that genre that are your favorites.

Have at it!