Deck 2: The Seeing Place

Question 1

The chapter discusses the similarities and differences between theatre and ritual. Think about some rituals you have been a part of (church services, weddings, funerals, etc) and describe the elements that are similar to the elements that we see in theatre.

Answer 1

Some rituals I have been a part of include church services and weddings. In both of these rituals, there are elements that are similar to those seen in theatre. For example, in church services, there is often a set order of events, similar to the structure of a play. There is also a sense of performance, with the clergy and choir members taking on specific roles and performing scripted or rehearsed parts.

In weddings, there is also a sense of performance, with the bride and groom taking on the roles of the main characters, and the wedding party and officiant playing supporting roles. Like in theatre, there is often a sense of anticipation and excitement leading up to the main event, and the use of music, costumes, and decorations to set the stage and create a certain atmosphere.

Additionally, both rituals and theatre often involve a shared experience among a group of people, with a sense of community and togetherness. Both also often convey a sense of tradition and history, with certain rituals or performances being passed down through generations.

Overall, there are many elements of rituals that are similar to those seen in theatre, including structure, performance, anticipation, and a sense of community. These similarities highlight the close relationship between the two forms of expression.

Question 2

Describe Shakespeare's Globe Theatre and explain how the shape and type of the theatre are reflected in the plays that were performed and the audience that came to view them. Give specific examples from one of Shakespeare's plays.

Answer 2

The Globe Theatre was a 16th century playhouse located in London, England. It was known for its unique design, which featured a circular shape with an open-air courtyard in the center and three levels of seating surrounding it. The stage was a large platform that extended into the audience, allowing for an immersive theatrical experience.

This shape and type of theatre had a significant impact on the types of plays that were performed and the audience that came to view them. The open-air design allowed for natural lighting and a more intimate connection between the actors and the audience, creating a dynamic and engaging atmosphere. The circular shape also meant that the audience was seated on all sides of the stage, which influenced the staging and direction of the plays.

One specific example of how the shape and type of the Globe Theatre influenced the plays performed there is evident in Shakespeare's play "A Midsummer Night's Dream." This play features multiple scenes that take place in the woods, with characters entering and exiting from various points around the stage. The circular shape of the Globe Theatre would have allowed for these scenes to be performed in a more fluid and natural manner, with actors weaving in and out of the audience and creating a sense of immersion in the magical world of the play.

Additionally, the open-air design of the Globe Theatre would have been well-suited to the comedic and lighthearted nature of "A Midsummer Night's Dream," as it allowed for a more relaxed and informal atmosphere that complemented the playful tone of the play. The audience would have been able to interact with the actors and feel more connected to the action on stage, enhancing their enjoyment of the performance.

In conclusion, the shape and type of the Globe Theatre had a significant impact on the types of plays that were performed and the experience of the audience. The immersive and intimate nature of the theatre influenced the staging and direction of plays, as well as the overall atmosphere of the performances. This is clearly reflected in Shakespeare's "A Midsummer Night's Dream" and other plays performed at the Globe Theatre during that time.

Question 3

How does the development of Western theatre (English, Italian, French) parallel the development of Eastern theatre? How do their histories differ?

Answer 3

The development of Western theatre, specifically English, Italian, and French theatre, has parallel aspects to the development of Eastern theatre in terms of historical influences and the evolution of performance styles. Both Western and Eastern theatre have been shaped by cultural, religious, and political influences, leading to the creation of unique and diverse theatrical traditions.

In terms of their histories, Western theatre has been heavily influenced by ancient Greek and Roman theatre, as well as by the Renaissance and the Enlightenment, leading to the development of naturalistic acting styles and a focus on individualism and realism. English theatre, for example, has a rich history dating back to the Elizabethan era, with the works of playwrights like William Shakespeare and the establishment of the Globe Theatre. Italian theatre has been influenced by commedia dell'arte and the development of opera, while French theatre has been shaped by neoclassical principles and the establishment of the Comédie-Française.

On the other hand, Eastern theatre, particularly in countries such as China, Japan, and India, has been influenced by ancient religious and philosophical traditions, leading to the development of highly stylized performance techniques, such as kabuki and noh theatre in Japan, Peking opera in China, and kathakali in India. These Eastern theatrical forms often incorporate elements of dance, music, and elaborate costumes, and are deeply rooted in ritualistic and symbolic storytelling.

Despite these parallel developments, the histories of Western and Eastern theatre differ in terms of their cultural and philosophical foundations, performance techniques, and the ways in which they have been influenced by external factors. Western theatre has been influenced by the rise of humanism and individualism, leading to a focus on psychological realism and character development, while Eastern theatre has been shaped by the principles of harmony, balance, and symbolism, with an emphasis on collective storytelling and the integration of various art forms.

In conclusion, while the development of Western theatre parallels the development of Eastern theatre in certain aspects, their histories differ in terms of their cultural influences, performance styles, and philosophical foundations. Both traditions have contributed to the rich tapestry of global theatre, showcasing the diversity and complexity of human expression and storytelling.

Question 4

One of the earliest theatres to have a permanent proscenium arch was

A) The Globe Theatre
B) The Swan Theatre
C) The Farnese Theatre
D) The Eisenhower Theatre

Question 5

Thrust Stages were an attempt to

A) Minimize the separation of actor an audience
B) Create a theatre of illusion
C) Use perspective scenery
D) Increase the audience size

Question 6

The Italian architect Giambattista Aleotti created a system of scenery that employed

A) Tongue and groove
B) Wing and Groove
C) Mortise and tenon
D) Groove and pinion

Question 7

The only surviving Greek trilogy is by the playwright

A) Sophocles
B) Euripides
C) Aeschylus
D) Aristophanes

Question 8

The cycle plays of the medieval theatre dealt with

A) Classical myths
B) Biblical events
C) Moral lessons from everyday life
D) None of these

Question 9

Chikamatsu Monzaemon is best know for writing plays for

A) Japanese Noh
B) Kathakali Dance Drama
C) Balinese Dance Theatre
D) Bunraku

Question 10

The four types of roles for actors in Beijing Opera include:

A) Dao, jhing, tang, sheng
B) Sheng, dan, ching, chou
C) Dan, tao, xiang, fou
D) Ming, dan, chou, tang

Question 11

Eastern theatre has influenced the work of Western playwrights and directors such as

A) Julie Taymor
B) Bertold Brecht
C) Peter Schumann
D) All of these

Question 12

In Kabuki theatre, male actors who play female roles are called

A) Berdache
B) Onnagata
C) Shamisen
D) Hanamichi

Question 13

The Nayasastra, the Sanskrit book on dramaturgy, spelled out conventions of

A) Theatre architecture
B) Costumes
C) Dramatic composition
D) All of these

Question 14

The most dramatic changes in Greek theatre architecture were from the Classical to the Hellenistic period.

Question 15

Pageant Wagons were used extensively in 19^th century theatre.

Question 16

The aim of the picture frame stage was to shatter the illusion of reality

Question 17

The Japanese Noh drama has remained unchanged since the 17th century

Question 18

The butai and the hashigakari are the two principal scenice elements of the Kabuki Theatre.

Question 19

Beijing Opera depended heavily on conventions of acting, staging, and singing rather than on a text.

Question 20

The best known fixed stage of medieval times was the one constructed for the Valenciennes Passion Play in 1547.