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| Styles of construction and ornamentation first used in Greek buildings; adopted by the Romans; most easily identified by the capitals; commonly used today as historical references. |
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| A decorative structure at the top of a column; this design is the easiest way to identify the Greek orders. |
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| The simplest of the Greek orders; the capital includes a round pillow-like stone topped by a flat, rectangular stone. |
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| A Greek order; the capital consists of large scrolls. |
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| The most complex Greek order; the capital includes stylized leaves and scrolls. |
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| A structural system with a post spanned by a single piece (e.g. stone columns spanned by a single piece of stone); in wood this is called post and beam. |
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| A free-standing vertical structural support. |
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| The vertical grooves carved into columns. |
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| A curved structure that spans an opening. |
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| An arch in the shape of a half circle; widely used by the Romans and again in the middle ages (identified as Romanesque). |
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| A pointed arch. Developed in the middle ages. |
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| A series of arches side by side. |
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| A series of arches, one behind the next, that enclose a space, producing an arched ceiling. |
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| The simplest of vaults, a continuous arched ceiling, with either round or pointed arches. |
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| Occurs where two tunnel vaults of the same size intersect at a right angle. |
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| A structure that encloses a space by using a series of continuous arches on a continuous round base. |
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| Bearing-wall Construction |
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| A structural method in which the building is held up by the outside walls, which must be thick and strong. |
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| A modern structural method that holds up a building with an internal frame of steel; the walls do not hold up the building as in earlier structural systems. |
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| An overhanging structure supported only on one side. |
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| The front of a building, often given special architectural design. |
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| The pattern of windows in a building. |
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| Building size as compared to the human body. |
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| Comparative size of parts of a building measured against other parts of the building. |
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| Stone, brick, masonry, concrete, wood, steel, glass. |
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| Brick or stone held together by mortar, a substance similar to concrete. |
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| Plot, live actor, theatrical space, theatrical event. |
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| Plot, live actor, theatrical space, theatrical event |
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| Series of closely related events. |
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| Live actor in the same space as the audience. |
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| Formal theater space or informal such as garage, basement, street corner. |
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| Actors and audience react to each other. |
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| Audience is able to fully immerse themselves in the story taking place on stage; accepting improbability within the framework of the work of art. |
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| Aristotle Devices or Components of a Play |
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| Plot, character, thought, diction, music and spectacle. |
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| Plot, Character, Thought, Diction, Music, and Spectacle |
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| Aristotle devices or components of a play. |
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| Series of closely related events; story structure. |
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| People of the play, vehicle through which the story is told. |
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| Theme, message, moral, central idea playwright is trying to get across. |
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| Language of the play: imagery, tone, and articulation. |
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| All sound; rhythm of sounds and vocal tones. |
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| All visual aspects of the production. |
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| A stage framed by a large rectangular arch that divides playing space from the audience. |
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| Stage that goes out into the audience area and is surrounded on three sides by seats. |
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| Arena (or Theater in the Round) |
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| Stage is surrounded on all sides by seats. |
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| Flexible space that can be configured for requirements of the production. |
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| Tragedy, Drama, Comedy, Melodrama, Farce, Musical |
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| Oldest form of recorded genre; serious play with protagonist of high social stature who has a flaw. |
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| A play with serious intent, but not universal significance; usually people of everyday type, but ending is often unhappy or at least serious. |
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| A funny play often about serious human conflict. |
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| Stereotypical and sentimental drama. |
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| Play written purely for entertainment. |
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| Play combining dialogue, music, and often dance. |
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| Exposition, Conflict, Climax, Denouement |
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| Background information; introduces the characters, situation and problem. |
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| Drama requires this; mechanism by which a situation becomes dramatic; begins with an inciting incident. |
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| The moment of maximum tension in the play when the primary conflict is resolved. |
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| Resolution of conflict; new harmony or understanding has been reached. |
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| Things happen on stage faster than they do in real life and audience accepts this. |
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| Principal character in a dramatic action. |
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| The character who opposes the action. |
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| Responsible for casting, rehearsal process, mounting of the play; communicates their vision for approach to the play to actors and designers. |
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| Provide the visual elements for the production including setting, costumes, lighting, props, and sound. |
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| People who bring the characters to life. |
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| The author of the script. |
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| Concept or Production Approach |
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| Vision of the entire production formulated and shared by the director. |
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| Plays that present life in a realistic manner; characters talk to each other without regard for the audience. |
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| Characters deliver the material out to the audience in a less than realistic manner. |
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| Style of theater in which design and approach to the play is highlighted and not necessarily a historical representation; style is removed from observable reality. |
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| To behave truthfully under an imaginary set of circumstances. |
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| Major movement on stage, usually predetermined and set by the director. |
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| Small actions performed by each character, necessary for specifically defining each character and for creating reality on stage. |
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| A long speech, delivered by one character, which may be heard but not interrupted by other is his/her presence. |
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| A speech wherein a character verbalizes his/her thoughts aloud while alone. |
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| Presentational in intent, meaning that the character(s) acknowledge the presence of the audience by speaking directly to them. |
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| A speech wherein a character expresses his/her thoughts in words audible to the audience but supposedly unheard by the other characters on stage. |
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| The imaginary wall between the actors and the audience. |
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| Energy, long or angular, fast or slow |
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| What the dance is trying to communicate. |
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| Everything around the dance; stage, props, etc. |
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| Dancing for dancing's sake. |
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| Pictures and words that describe what a dancer does. |
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| Arches that have something behind them that you can't see through. |
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| Actor looks like the character. |
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| Actor becomes the character. |
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| Conversation between two or more people. |
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