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Midterm

THAR 201 Study Guide - Midterm Guide: Little Theatre Movement, Shingeki, Noh


Department
Theatre Arts
Course Code
THAR 201
Professor
Anne Quackenbush Ammons
Study Guide
Midterm

Page:
of 3
THAR 201 SUMMER 2016 TEST THREE STUDY GUIDE
Multiple-choice, multiple-answer, True/False
35 questions, 5 points each, over lectures about Japanese Theatre, Shingeki, and Suzuki
15 questions over the film "RAN."
NOH THEATRE “the art of walking”
Elements of Noh
o A little posing
o Music
o Slow movements
o Chanting
o Masks
Audiences
o Educated
o Refined
o Patient
Masks
o identify major characters or human vs demon
o tilting of head, gestures, and use of body to show emotions
o neutral
Stage characteristics (in general)
o More similar to western stage
o Pine tree at center stage
o Bridgeway “hashigakari” located stage right
o Indoor theatre
o Roofed stage visible to audience
o Look of stage has specific meanings
o Four pillars
Actors enter and exit the bridgeway entering the world of the play as actor and transition to
character (spiritual process for actor becoming of character)
Acting different from western acting styles
o Mostly everything
o Very stylized
Noh has not been affected by western drama (very traditional)
Musicians are situated on stage behind main character
Four instruments accompany Noh
o Flute
o 3 types of percussion (drums)
Women do not perform in Noh
KABUKI THEATRE “the art of singing and dancing”
Created by women
Women were available as prostitutes after performances
o brought too much attention to theatre
o caused the law to change to young boy performers only
o soon changed to adult male performers only when the same result came from young boy
actors
Women do not perform in Kabuki today (only grown men still)
Audience
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o Have to already know the story somewhat
o Shout out encouragements and support
o May not know traditional languages
o Family oriented
o Interactive
o Enjoyable for all ages and classes
o Festival setting (all kinds of people)
How are the Kabuki actors different from Noh actors
o Noh
Masks
o Kabuki
Face paint
Kabuki similar to Noh
o Bridgeways to introduce transition of character
o Musicians on stage
o Poses (less in Noh, more exaggerated in Kabuki)
Western influences
Categories of Kabuki drama
o Historical (due to censorships)
Focused on Samurai class
Set within major historical Japanese events or periods
o Domestic
Focused on everyday people
Family dramas
Romances
Elements of limitations and pressures placed on them
o Dance Pieces
Dramas with dance
Colors express characters’ nature (Similar to Chinese theatre)
Stage characteristics (in general)
o Dynamic stage sets (often had westernized stylizations)
o Bridge to stage “hanamachi” (flower walkway)
Entire scenes can play out on it
Transition to character
o Non-traditional sets (very different, not specific, non-realistic)
o Use of special effects
Trap doors
Turn table stages
Onnagata
o Female role specialists
o Can also play male roles
o Often play many roles within one play
Costumes/makeup/wigs
o Very colorful costumes
o Big, colorful, crazy wigs
o Extensive, very stylized (non-realistic) face paint
Indicates character
o “kurago” assistants
Dressed in all black
Changes happen on stage
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“invisible” to audience (pretend they aren’t there)
Kabuki actors do not ever wear masks (face paint only)
SHINGEKI AND SUZUKI 10 questions
Shingeki “New Drama”
Shingeki was reacting against
o Traditional styles of theatre (Noh, Kabuki, etc.)
Shingeki is associated with Western drama (western-oriented, influenced by western playwrights)
Suzuki founded his theatre in a very remote little town in the mountains
Suzuki formed his own theatre as a reaction to a stagnation of Shingeki (Little Theatre Movement)
o Shingeki had become too institutionalized
o Wanted to reintroduce parts of traditional Japanese theatre
Cultures of the people involved in Suzuki’s theatre (normally not compatible cultures)
o North Korea
o South Korea
o China
o Russia
o Japan
Suzuki’s Method focus on grammar of the feet (connection to ground)
Suzuki’s Method requires rigorous training
Juxtapositions in Suzuki’s beliefs and actions
o Spirituality
o Embraces traditional forms
o Utilizes contemporary pieces too
o International
o Involves western and eastern ideas
o Supports very small rural areas
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