FACULTY OF ARTS

DEPARTMENT: Acting/Choreography
COURSE: English Language IInd Year
COURSE TUTOR: Teach. Assist. Cecilia Vrlan

Essay Questions Winter Exam 2014

I. Types of Stages [http://www.youtube.com/watch?v=L99g_Wg5Gh8]
1. What are the four main types of stages? Describe each type of scene. What
advantages and disadvantages do they offer in terms of artistic consideration, practicality,
and aesthetics in theatre?
Proscenium stage is the most common stage used in theaters. The audience
directly faces the stage which is typically raised several feet above front row audience
level and views only one side of the scene.
An arena stage is a central stage surrounded by audience on all sides. Assigning
stage directions in an arena setting can be almost arbitrary.Sometimes directors use
compass directions (north, south,east, west) from center stage.
A thrust stage is one that extends into the audience on three sides and is
connected to the backstage area by its upstage end. Entrances onto a thrust are most
readily made from backstage, although some theaters provide for performers to enter
through the audience aisle.
Flexible stage or sometimes called an environmental stage can take on many
different forms and functions and allow for extreme creativity on the part of the director.
2. What is an apron of a stage? How is it used? Who decides whether to use the
apron as an acting space or not?
The part of the stage located downstage of the proscenium is called the apron. It
is used as an additional playing area for the actors. The director is the one that decides
wheter or not the apron will be used in his play. But sometimes this choice is dictated by
the fire code of the theater.
3. How do the actors enter or exit an arena stage?
Actors can enter or exit an arena stage through the audience from different
directions or from below the stage.
4. How do the actors enter or exit a thrust stage?
Actors can enter or exit a thrust stage from the backstage, although some theaters
provide for performers to enter through the audience aisle.
5. What are the two examples of flexible theater space given in the film?

stage.

The black box theater and the outdoor theater are a good example of a flexible

II. Theatrical Terms [https://www.youtube.com/watch?v=Un85gA0S1wc]

Explain the following theatrical terms:

moving downstage = moving toward the audience
moving upstage = moving away from the audience
bringing a backdrop in = bringing the backdrop on stage
flying a backdrop out = removing the backdrop from the stage
going on-stage = someone comes into a scene
going off-stage = someone goes out of a scene
stage left = right side of the stage
stage right = left side of the stage
house right / house left = left and right side of the audience

What is a fly loft?

A fly loft is a Space above some proscenium stages where curtains and scenery are
hanged on pipes and battens to fly them in and out.

What are the main types of curtains on a stage? Describe them very briefly.

The front curtain,is called a grand drape hangs downstage, just behind the proscenium
arch. It is typically opened and closed during performances to reveal or conceal the stage
and scenery from the audience.

How is the audience seating organized in a theater?

All theaters provide a space for an audience. The orchestra seats is the main level
of audience seating in most theaters. Orchestra seats are categorized by sightlines and
proximity to the stage. Prime orchestra seats are in the front section, close enough so that
the expressions and gestures of the performers can be clearly seen.
The seats in the mezzanine or balcony are on the level above the orchestra seats
and extend over it. The front, center mezzanine seats have an excellent, unobstructed
view of the entire stage, although they are not close to the stage.

What is a running crew in a theatre?

Running crew represents the members of the technical crew who supervise and
operate the various technical aspects of the production during a performance

Theatrical Conventions [https://www.youtube.com/watch?v=Ojo3ik8M6Bk]

What are theatrical conventions? Which is the key-term that is being used in

connection with these conventions?

Theatrical conventions are the specific actions or techniques the actor, writer or
director has employed to create a desired dramatic effect or style.
A theatrical convention is a set of rules,which both the audience and actors are
familiar with and which act as a useful way of quickly signifying the nature of the
action or of a character.

How can the passage of time be indicated onstage?

By revealing to the audience the timelapse between the scenes or between the acts
from a play.The audience knows thata the play theyre watching it isnt happening in real
time.Two hours may represent a week, a month or a year.

How and why can the convention of the fourth wall can be broken onstage?

An actor performing in a scene can break the ,,fourth wall to deliver a line directly to
the audience or to themselves, which is called an aside.

List the various types of focus (minimum 3 types) an actor can use onstage and
describe them briefly.

The 3 types of focus are: on stage focus, where the actor is focusing on his stage
partner, off stage focus, where the actor is creating the illusion that he is speaking with
someone even though he or she isnt there, and the audience focus where the actor is
addressing comments directly to the audience and making the audience become the
scenery of the play.

Understanding Emotions in Acting [http://www.youtube.com/watch?

v=SV5FP0KsPpA]

Write a short paragraph (70 110 words) to summarize the main ideas the
NYC Acting teacher Adam Hill gave in his opening lecture Understanding
Emotions in Acting.
A few vital characteristics of a great actor: a free-flow of emotions and
impulses expressed in the body and voice; an understanding of how to create
life-and-death, moment-to-moment acting; a vivid imagination; and a body
and voice capable of telling all kinds of stories. We live in a dangerous world.
People are insensitive, self-absorbed and emotionally retarded. Interacting
with people can hurt, often far more than we consciously realize. So when it
comes time to act and genuinely experience the reality of a character, we are
blocked. Great actors understand the human tendency to shut down. They
fight against it. So in a real acting class, you need to learn how to raise the

stakes, beyond simply being told you must do this. You need to learn why
people fight. You need to learn some relationship psychology. You need to
learn about and experience your vulnerabilities, and about how vulnerability
underlies every human conflict. You need to learn about archetypes,
relationship patterns and the human psyche. When you do, your imagination
will grow leaps and bounds. So will your acting.

Note: Your written essays should be submitted electronically (via e-mail) by Monday,
February 3, 2014.