DRAM 1000 Study Guide - Final Guide: Berliner Ensemble, Distancing Effect, Syncretism
Drama 1000 Final Exam Review Sheet, Fall 2016
Plays we have read and seen this term:
Still Stands the House; Macbeth; The Drowning Girls; Princess Pocahontas and the Blue Spots;
The Importance of Being Earnest
For each play, be prepared to think and answer questions about:
Plot and Actions:
What happens in the play? Is it a single journey from stasis through intrusion to the negotiation
of a new stasis? Are there subplots? If it is not a traditional plot, how does the play move
forward?
Characters:
Who is(/are) the protagonist(s)? Who(/what) is(/are) the antagonist(s)? How can you tell?
What is the relationship between characters and actors?
Space and Setting:
How is theatrical space used in the play to create an imagined setting? Is it one setting, or many?
What are they? Realistically depicted, or not?
How do the spaces and the fictional places change during the show?
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Drama 1000 Final Exam Review Sheet, Fall 2016
2
The following are vocabulary terms from throughout the term, with an emphasis on terms
studied after the midterm but including some that were seen before it. You should be able to
define each term, but also to apply the definition or idea to conceptual questions about drama,
performance, and the theatrical production process:
PERFORMANCE STUDIES AND INTERCULTURAL THEATRE VOCABULARY
restored behaviour / “twice-behaved behaviour”:
Performance in the restored behavior sense means never for the first time, always for the second
to nth time: twice-behaved behavior.
social roles and social scripts:
Social roles are the behaviors one exhibits because of being in a social environment. These
behaviors vary depending on the situation and the individual.
speech-acts / performative utterances:
performative utterances are sentences which are not only describing a given reality, but also changing the
social reality they are describing.
Schechner’s “domains of performance” and “purposes of performance”:
Schechner’s idea of “As performance” as a way of analyzing non-theatrical events/objects
atemporality:
Timeless
post-colonial theatre:
is drama that focuses on issues surrounding oppressed peoples.
intercultural theatre:
also known as cross-cultural theatre, may transcend time, while mixing and matching
cultures or subcultures.
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Drama 1000 Final Exam Review Sheet, Fall 2016
3
transcultural theatre:
globalization:
is a process of interaction and integration among the people, companies, and
governments of different nations, a process driven by international trade and investment
and aided by information technology.
hybridity and syncretism:
Hybridity is a cross between two separate races or cultures.
Syncretism the amalgamation or attempted amalgamation of different religions,
cultures, or schools of thought.
Orientalism:
style, artefacts, or traits considered characteristic of the peoples and cultures of Asia.
ALTERNATIVE THEATRE PRACTITIONERS
Brecht: (gest, verfremdungseffekt, theatricalism)
Eugen Bertolt Friedrich Brecht was a German poet, playwright, and theatre director of the 20th century. He
made contributions to dramaturgy and theatrical production, the latter through the tours undertaken by the
Berliner Ensemble – the post-war theatre company operated by Brecht and his wife, long-time collaborator
and actress Helene Weigel.
Artaud:
Antoine Marie Joseph Artaud, better known as Antonin Artaud, was a French dramatist, poet, essayist, actor,
and theatre director, widely recognized as one of the major figures of twentieth-century theatre and the
European avant-garde.
His best-known work, The Theatre and Its Double, was published in 1938. This book contained
the two manifestos of the Theatre of Cruelty. There, "he proposed a theatre that was in effect a
return to magic and ritual and he sought to create a new theatrical language of totem and gesture
- a language of space devoid of dialogue that would appeal to all the senses." "Words say little to
the mind," Artaud wrote, "compared to space thundering with images and crammed with
sounds." He proposed "a theatre in which violent physical images crush and hypnotize the
sensibility of the spectator seized by the theatre as by a whirlwind of higher forces." He
considered formal theatres with their proscenium arches and playwrights with their scripts "a
hindrance to the magic of genuine ritual
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