Conventions of Theatre+

Conventions of Theatre Things that aren’t “real” but the audience accepts as a reality! They imply rather than become explicit.

Acting Conventions Vocal Projection Speaking clearly enough to be heard throughout an auditorium. Cheating Out Turning the body out toward the audience in a proscenium theatre, thus rarely turning backs to the audience. Exaggerated Gestures

Writing Conventions Soliloquy A monologue in which one character, who may or may not be alone, reveals to the audience their innermost thoughts. Aside Allows a character to speak directly to the audience. Monologue An extended speech by one character on stage.

Production Conventions Sets They suggest real places even though they are theatrical constructions. Example: theatrical living rooms are not arranged like real living rooms. Flats Painted canvas frames used to create walls and on stage objects. Props (short for properties) Often props only represent objects. Stage Lighting Make-Up

Concepts about theatre

Legitimate Theatre Any stage play, professional, regional, or community. Originally referred only to sanctioned (read: funded) stage plays.

conflict The Most important ingredient in Drama.

empathy The emotional identification with someone or something outside oneself.

Sympathy vs. Empathy Sympathy: feeling “for” a character Empathy: feeling “with” a character

STAGEFRIGHT The nervous anticipation of going onstage! It is the extra energy your body needs to perform at a higher level!

Improvisation The impromptu portrayal of a character or a scene without any rehearsal or preparation.

Scene-stealing Calling attention to one’s presence onstage and diverting attention away from the main characters.

Characterization All the things we chose to do to portray a character Putting together all the facets of a character to bring life and interest to that character

“Do nothing effectively” to be visible on stage without scene-stealing

“illusion of the first time” The impression given by the performance that has spontaneity and freshness. The audience should as if the events of the play are occurring for the first time.

“aesthetic distance” The detachment that allows the audience to appreciate the beauty of a work. An audience cannot physically be in the film, it is just an image. They can, however, react to it as if it were real. Theatrical conventions establish this detachment while simultaneously attempting to bridge that distance.

“Suspension of Disbelief” The audience knows that what it sees is not real, but accepts it as a reality – the Theatrical Reality