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36 Cards in this Set
- Front
- Back
- 3rd side (hint)
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naturalism |
realistic acting cultivated by stanislavski |
‘slice of life on stage’ |
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verfremdungseffekt |
alienation effect, Brecht |
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Parados |
Doors to ancient greek theatron |
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theatre of cruelty |
- artaud - assaulting audiences senses - audience engulfed in spectacle - suffering essential to existence |
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theatre of cruelty |
- artaud - assaulting audiences senses - audience engulfed in spectacle - suffering essential to existence |
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Brecht |
- epic theatre - distancing audiences |
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Brechtian techniques |
narration multiroling speaking stage directions music against the grain direct address |
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Stanislavski’s system |
emotion memory method of physical actions subtext given circumstances magic if objective/super-objective through line |
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Stanislavski’s rehearsal techniques |
Inner thoughts hot-seating temporal division- breaking down scene into objectives and emotions super-objectives inner and outer tempo improvisation |
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chiton |
Ancient Greek costume. Ankle length on women, knee length on men. Rectangle of wool or linen. |
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Fillet |
Band of fabric or leather toed around head in ancient greece |
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Fibula(e) |
Brooches, often fashioned like modern safety pins at shoulders - ancient greece |
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Exomis |
Chiton pinned at one shoulder only. Ancient Greece |
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Himation |
Extra, shawl-like drape. Could be worn with or without chiton by men. Worn over arm by men and over head by women. |
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Doric Chiton |
Heavier in style and material. |
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Apotygma |
Overfold along top edge of chiton |
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Brecht’s Aims |
To make the audience think wanted to provoke a social - critical audience response relies on audience’s reflective detachment rather than emotional involvement |
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Set & Projection Designer for The Unreturning |
Andrzej Goulding |
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Sound Designer for The Unreturning |
Pete Malkin |
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Lighting Designer for The Unreturning |
Zoe Spurr |
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Associate Director of The Unreturning |
Jessica Williams |
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Costume Designer for The Unreturning |
Lily Arnold |
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Zoe Spurr Quote |
‘The transitions between scenes are as much a part of the play as the text, we can tell a story through light, sound, and movement, and when all of these work together it can either hold the story in anticipation of what’s to come, or impart crucial information to the audience in a vision without words’ |
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Stanislavski Quote |
‘In every physical action, unless it is purely mechanical, there is concealed some inner action, some feelings. This is how the two levels of life in a part are created, the inner and the outer.’ |
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Pete Malkin Quote |
‘Our playlist started with Anna Jordan, who added some tracks as she wrote the piece, which allowed us into her world and how she was feeling about the play.’ |
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Things to analyse in each moment: |
Costume Lighting Acting Staging Sound |
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Moment 1 - Celebrations |
First show of George’s PTSD Rose’s idiosyncrasies Symbolism of dress - stature and physique of Rose Upon change, idiosyncrasies are lost, limbs become heavy, Jared’s legs buckle Lighting changed, darker projections of battlefield, silhouette, falling snow |
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Ionic Chiton |
very wide chiton pinned at arms to give sleeves |
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Kolpos |
pocket of fabric caused by pulling chiton up over belt to raise hemline |
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Frankie |
Joe Layton |
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George |
Jared Garfield |
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Nat |
Jonnie Riordan |
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The Unreturning |
8th February Chichester Festival Theatre |
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Finn |
Kieton Saunders-Browne |
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The Unreturning writer |
Anna Jordan |
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Director of The Unreturning |
Neil Bettles |
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