Search results
Results From The WOW.Com Content Network
Both "blocking" and "block" were applied to stage and theater from as early as 1961. [2] The term derives from the practice of 19th-century theatre directors such as Sir W. S. Gilbert who worked out the staging of a scene on a miniature stage using a block to represent each of the actors. [3]
Hotseat: The student is interviewed in character. By putting the character from a scene, event or story on the "stand", students can further explore their understanding of the content. Other students in the class prepare questions that explore the character and their conflicts. Students are encouraged to write open-ended questions.
An "unbroken line" describes the actor's ability to focus attention exclusively on the fictional world of the drama throughout a performance, rather than becoming distracted by the scrutiny of the audience, the presence of a camera crew, or concerns relating to the actor's experience in the real world offstage or outside the world of the drama.
Stanislavsky conceived the segmentation of script as a preparatory tool for actors working on a play. Although he used the Russian word for "bit" (kusok) in the drafts he originally made for his planned books, he later preferred to speak in terms of "episode" (epizod in Russian), "event" (sobytie), and "fact" (fakt). [2]
Each character should have their distinctive voice. [14] To differentiate characters in fiction, the writer must show them doing and saying things, but a character must be defined by more than one single topic of conversation or by the character's accent. The character will have other interests or personality quirks as well. [15]
a dramatic technique in which a line is said by one character to him or herself or to the audience. The line is unheard by the other characters onstage. Audience People watching a drama. Avenue Staging the staging of a performance with the audience placed on two sides, as though the performance space is a street.
Metatheatre, and the closely related term metadrama, describes the aspects of a play that draw attention to its nature as drama or theatre, or to the circumstances of its performance. "Breaking the Fourth Wall" is an example of a metatheatrical device.
Stichomythia (Ancient Greek: στιχομυθία, romanized: stikhomuthía) is a technique in verse drama in which sequences of single alternating lines, or half-lines (hemistichomythia [1]) or two-line speeches (distichomythia [2]) are given to alternating characters. It typically features repetition and antithesis. [3]