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| Which Shakespeare play is the inspiration for "West Side Story"? |
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| "Fiddler on the Roof": In one word, what is this show about? |
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| What eventually pushed the musical out of the mainstream of American culture |
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| What was one of the last songs from Broadway to be number one on the charts in the 20th century? |
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| What was the first Broadway musical to have an entire score of rock music |
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| What was one of the main controversies about the musical "Company"? |
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| There was no plot and songs didn't come naturally out of dialogue. |
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| What was unusual about the creation of the musical "A Chorus Line"? |
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| Longer running time, work shopped piece |
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| In 1973, Bob Fosse accomplished something for the first time that no one else ever had. What was it? |
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| Triple crown of directing: Grammy, Oscar, and Tony |
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| American Choreographer;triple crown of directing. |
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| was an American composer and playwright noted for exploring the serious social issues of multiculturalism, addiction, and homophobia in his work. Typical examples of his use of these themes are found in his works, Rent and tick, tick... BOOM! |
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| His most famous works include (as composer and lyricist) A Funny Thing Happened on the Way to the Forum, Company, Follies, A Little Night Music, Sweeney Todd, Sunday in the Park with George and Into the Woods. He also wrote the lyrics for West Side Story and Gypsy |
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| is an American composer and lyricist, known for his work in Broadway musical theater. He composed the scores for the hit Broadway musicals Hello, Dolly!, Mame, and La Cage aux Folles |
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| He has composed 13 musicals, a song cycle, a set of variations, two film scores, and a Latin Requiem Mass. |
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| is an American film director, screenwriter, composer, lyricist, comedian, actor and producer. He is best known as a creator of broad film farces and comic parodies.One of his most recent successes has been the transference of his film The Producers to the Broadway stage |
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| "Company"-Choreographer, "a Chorus Line" |
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| "Westside Story"(Director & Choreographer),Among the numerous stage productions he worked on were On the Town, Peter Pan, High Button Shoes, The King And I, The Pajama Game, Bells Are Ringing, West Side Story, Gypsy: A Musical Fable, and Fiddler on the Roof |
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| He almost gave up musical theater right before he hit success with Cabaret in 1966. 1970 marked the start of his greatest collaboration, with composer/lyricist Stephen Sondheim. They had previously worked on West Side Story and at this point decided to embark on their own project. Their association spawned a long string of productions, including Company (1970), Follies (1971), A Little Night Music (1973), Pacific Overtures (1976), and Sweeney Todd (1979). Following Merrily We Roll Along (1981), which was not successful, they parted ways until Bounce (2003) |
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* Count Me In (musical), performer (1942)
* Lend an Ear, musical staging (1948)
* Small Wonder (musical), choreographer (1948)
* Make a Wish, choreographer (1951)
* 3 for Tonight, director and performer (1955)
* Bye Bye Birdie, director and choreographer (1960)
* Carnival!, director and choreographer (1961)
* Hello, Dolly!, director and choreographer (1964)
* I Do! I Do!, director (1966)
* 3 Bags Full, director (1966)
* The Happy Time, director and choreographer (1968)
* A Flea in Her Ear, director (1969)
* Prettybelle, director and choreographer (1971)
* Sugar, director and choreographer (1972)
* Irene, director (1973)
* Mack & Mabel, director and choreographer (1974)
* Rockabye Hamlet, director and choreographer (1976)
* A Broadway Musical, production supervisor (1978)
* 42nd Street, director and choreographer (1980) |
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| he was described as being "the most successful, influential and powerful theatrical producer in the world" by the New York Times.[1] He is the producer of shows such as Les Misérables, The Phantom of the Opera, Mary Poppins, Oliver!, Miss Saigon and Cats. |
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| Who was known as “The Abominable Showman”? |
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| David Merrick(Guy with the mustache) |
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| Wicked is a musical inspired by what movie/book: |
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| A dramatic genre that employs, normally in addition to spoken dialogue, a musical score with several songs and dances |
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| a genre that emphasized comedy, singing, and youthful romance |
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| a genre with increasingly serious plots and sophisticated musical treatments |
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| Living truthfully under imaginary circumstances |
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| There are two notions of acting: |
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1)Presentational
2)Representational |
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| Acting is both______ and _____. |
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| presentational and representational. |
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| Body, voice, mind/imagination. |
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| Developing actor's method of approaching a role: GOTE |
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| Goal, obstacle, Tactic, Expectation |
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| Audition Process:head shot, resume, prepare monologues, wait for call back; Rehearsal;Performance |
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| The director on a technical level: |
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| The person who organizes the production and involves scheduling and supervising. |
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| The director on an artistic level |
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| inspires and conceptualizes |
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| Directing was considered a form of |
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| Director/teacher reached pinnacle in _____ centuries |
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| Realistic Directors:end of the __ &__ centuries |
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| George II, Duke of Saxe-Meiningen |
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| Stylizing Directors: The aim is primarily at the creation of : |
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| originality, theatrically, and style |
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| The contemporary Director:creating what is ____ and ____ |
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The Training of a Director
1. Traditionally come from other areas of personal distinction
a. ____________________
b. ____________________ |
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The Training of a Director
School
a._______
b._______ |
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| graduate school or conservatory, apprenticeship |
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Term
Well trained directors possess:
a. Strong literary imagination
b. ___________________________
c. Sensitive to interpersonal relationships
d. History
e. _______________________________ |
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| ability to conceptualize intellectually and visually, resourceful |
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Directorial Functions
1. To__________, to____________, to _____________, to____________ |
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Definition
| lead, supervise,instruct,give shape |
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Directorial Functions:
Is determined by a __________, if there is a _______. |
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Directorial Functions:
Vision and Leadership
a. __________ the production
b. Provide the artistic leadership to achieve that ______________ |
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Definition
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| Directing is providing a point of focus |
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Definition
| Directing is providing a point of focus |
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Steps of Directing
1. Play Selection (Three basic considerations):
a. The director’s________________
b. The ___________ of the intended audience
c. The _______________to make the play happen |
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Definition
| interest,interest,capability |
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Steps of Directing
Conceptualizing (Two different sorts):
a. ________ Concept: What is most important
b. ________ Concept*: making the familiar surprising |
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Casting (Audition)
a. ____________ audition
b. Looking for ____________ characteristics
c. Callbacks
d. __________casting, __________casting, ____________ casting |
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| initial,ideal,good,bad,inspired |
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. Implementation
a. ________________________
b. ________________________
c. ________________________
d. ________________________
e. ________________________ |
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Definition
| staging,actor-coaching,pacing,coordination,presenting |
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| The basic purpose of design |
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| to transform somethi8ng so it may be seen as something else |
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| execute its actions and impersonate its characters |
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| determine what the stage and the characters look like |
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| The work of ______________ and _______________ brings to the theatre a play’s: scenery, costumes, props, lighting, sound score, sound amplification, and special effects |
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| The Design Process: The first step is a conceptual one: |
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| ideas emerging from reading the script, research, imagining impact on the audience. |
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| These ideas are soon shared with_____________, _________________, and ________________________ in other areas |
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| director, playwright, and production designers |
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| A _______________________ design begins to form guided by director and budget |
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What Design Does
What questions are raised by the______________? |
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| What Design Does These questions are posed and addressed by the production’s __________ and ________________ |
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| designers and techinicans |
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| The design team and their collaborators ordinarily shape the production’s ________ and _________ elements as they see fit |
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| Scenery is usually what we see _____________ |
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| Scenery is relatively new; prior to the _____ century, scenic aspects were wither a part of, or dictated by, the theatre structure itself |
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| The development of European ________ stages and ____________ _____________ fostered the first great phase of scene design |
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| indoor, artificial illumination |
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| Today, scenery is generally __________, ____________, or both |
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4 Basic Staging Formats:
the arch frames the action |
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4 Basic Staging Formats:
audience is on three sides |
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4 Basic Staging Formats:
the audience is on all sides |
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4 Basic Staging Formats:
a simple space able to adapt to a variety of staging styles |
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| _____________________ is the basic precondition for theatrical appearance |
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| The use of light for ____________________ effect |
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Definition
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| ______________________has always been a theatrical consideration |
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Modern Lighting Design and the Designer
____________________ and _____________ are the primary considerations |
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Modern Lighting Design and the Designer
_________________ and Atmosphere |
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Definition
| Verisimilitude(how close it is in real life) |
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| Costumes serve both _________________ and ________________ functions |
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| Modern costume design serves four functions: |
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1.retains a hint of the old ceremonial magic
2.shows audience what kind of world they are in
3.can express the specific individuality of each character
4.costume serves as wearable clothing for the actor. |
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Costume designer at work
Fabric, _________________, shape, and _________________ |
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