Theatre Arts: An Interdisciplinary Approach
Edition: 3
Copyright: 2020
Pages: 320
Edition: 3
Copyright: 2020
Pages: 320
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Theatre Arts: An Interdisciplinary Approach offers modules in four major categories: Ideas, Stories, Enactment and Realization. Within these categories, you will discover subtopics like creativity, actors and blocking. At first glance, there seems to be a wide variety of concepts listed under these categories. Some, like auditions and casting, are obviously part of creating theatre while others, such as gaming, might seem like distant relatives. The textbook is designed this way because many students who typically enroll in a course that introduces Theatre Arts may not necessarily have direct experience with live theatre. Yet, we know that these same students come to us having been exposed to many elements considered “theatrical.” Additionally, emerging technologies have enhanced a student’s ability to experience storytelling in multiple contexts.
Theatre Arts: An Interdisciplinary Approach helps readers examine familiar concepts and their relationships to the act of theatre production. As the old adage goes, “everything is relative.” This book is less a textbook than it is a “connect-the-dots” workbook. It is designed to provide a personalized, interactive and interdisciplinary process for learning about the theatre. By linking to concepts and experiences that are familiar, the publication delivers a survey of the theatre that is more accessible and recognizable to all students.
INTRODUCTION
The THEATRE Process and Other DISCIPLINES
1 IDEAS
Introduction: Finding Common Ground in IDEAS
CREATIVITY
IMAGINATION
INSPIRATION
BOREDOM
AESTHETIC DISTANCE AND WILLING SUSPENSION OF DISBELIEF
CONVENTIONS
PLAY AND IMPROVISATION
ROLE-PLAYING
PSYCHOLOGY AND NEUROLOGY
SELF-CONSCIOUSNESS
LYING
HUMOR
TEMPO AND RHYTHM
SURPRISE AND SUSPENSE
FASHION
SPACE
COLLABORATION
VALUE
CENSORSHIP
2 STORIES
Introduction: STORIES as Phenomena in Interdisciplinary Inquiry
LITTLE RED RIDING HOOD
STRUCTURE
LEGENDS AND MYTHS
RITUAL AND RELIGION
FAMILY
STYLE
GENRE
GAMES AND GAMING
ADAPTATION AND INTERPRETATION
FILM
TELEVISION
SONG
3 ENACTMENT
Introduction: PEOPLE as Agents of Synthesis in the Theatre
PLAYWRIGHT
THEATRE MANAGEMENT: MANAGEMENT AND ARTISTIC DIRECTORS
THEATRE COMPANIES
DIRECTOR
FRONT OF HOUSE
PRODUCTION MANAGEMENT AND STAGE MANAGEMENT
ACTORS
PLAYING SPACE
DESIGNERS
SET DESIGNERS
COSTUME DESIGNERS
LIGHTING, SOUND AND MEDIA DESIGNERS
TOP TECHNICIANS
MUSIC DIRECTOR AND CHOREOGRAPHER
AUDIENCE
4 REALIZATION
Introduction: PRODUCTION as Integration
SEASONS AND BUDGETS
ADVERTISING AND MARKETING
AUDITIONS AND CASTING
SCRIPT DEVELOPMENT
REHEARSAL
PROMPT BOOK
PRODUCTION MEETINGS
BUILDING SETS, PROPS AND COSTUMES
LOAD IN
TECHNICAL AND DRESS REHEARSALS—PREVIEWS AND RUNS
CRITICS AND CRITICISM
STRIKE
POSTMORTEM
5 PROJECT TEMPLATES
Production Review Template
Introduction to Sample Student Papers
The Critical Analysis Template
Playwriting Template for Writing a Short Play
Design Template
The Research Template
The Performance Template
6 SCRIPTS
TRIFLES Susan Glaspell
THE INTRUDER Maurice Maeterlinck
BLUE EYED BLACK BOY Georgia Douglas Johnson
HAPPY Amy Cuomo
APPENDIX: So You Want to Be a Theatre Major?
Bibliography
Ph.D. in Theatre – Louisiana State University (1994–1999)
MFA in Screenwriting – Hollins University (2005–2008)
B.A. in Theatre – Mary Baldwin University (1981–1985)
Amy Cuomo, Ph.D., is a Professor of Theatre at the University of West Georgia, specializing in playwriting, dramaturgy, and theatre history. She teaches in the School of Visual and Performing Arts within the College of Humanities, Arts, and Social Sciences.
Dr. Pauline Gagnon currently serves as Professor of Theatre at the University of West Georgia. She joined West Georgia in 1990 as Director of Theatre and has directed and taught production and performance for over 30 years. Dr. Gagnon has also served as Director of Interdisciplinary Studies, Dean of Arts and Humanities, Interim Dean of Science and Mathematics as well as Dean of Arts, Culture, and Scientific Inquiry. She is also actively involved in interdisciplinary and multidisciplinary work and has served as a consultant for and is a past-president of the international Association for Interdisciplinary Studies. She serves on the Editorial Board for the journal “Issues in Interdisciplinary Studies.” Dr. Gagnon holds an M.A. and Ph.D from the University of Michigan.
Joe has been with the University of West Georgia Theatre program since 2011. He holds an MFA from the University of Connecticut and a BA from the University of Virginia. Joe is a member of USA 829, the Union for Professional Designers, Artists, and Craftspeople, as a Lighting Designer. His professional design credits include over 50 Productions as Lighting and/or Sound Designer for Actor's Express Theatre Company, where he is an Associate Artist. In Atlanta, Joe has also designed for : Theatrical Outfit, Kenny Leon's True Colors Theatre Company, The Weird Sisters Theater Project, Horizon Theater Company, Atlanta Lyric Theatre, The Atlanta History Center, Georgia Ensemble Theater, Theatre Emory, 7Stages, Synchronicity Theatre, Serenbee Playhouse, The Alliance Theatre Teen Ensemble, Theater in the Square, Oglethorpe University, and Berry College. Regionally he has designed for for Playhouse on the Square/The Circuit Playhouse (TN), CAST (IA), Screaming Madman Productions (NYC) and The Wayside Theater (VA).
Theatre Arts: An Interdisciplinary Approach offers modules in four major categories: Ideas, Stories, Enactment and Realization. Within these categories, you will discover subtopics like creativity, actors and blocking. At first glance, there seems to be a wide variety of concepts listed under these categories. Some, like auditions and casting, are obviously part of creating theatre while others, such as gaming, might seem like distant relatives. The textbook is designed this way because many students who typically enroll in a course that introduces Theatre Arts may not necessarily have direct experience with live theatre. Yet, we know that these same students come to us having been exposed to many elements considered “theatrical.” Additionally, emerging technologies have enhanced a student’s ability to experience storytelling in multiple contexts.
Theatre Arts: An Interdisciplinary Approach helps readers examine familiar concepts and their relationships to the act of theatre production. As the old adage goes, “everything is relative.” This book is less a textbook than it is a “connect-the-dots” workbook. It is designed to provide a personalized, interactive and interdisciplinary process for learning about the theatre. By linking to concepts and experiences that are familiar, the publication delivers a survey of the theatre that is more accessible and recognizable to all students.
INTRODUCTION
The THEATRE Process and Other DISCIPLINES
1 IDEAS
Introduction: Finding Common Ground in IDEAS
CREATIVITY
IMAGINATION
INSPIRATION
BOREDOM
AESTHETIC DISTANCE AND WILLING SUSPENSION OF DISBELIEF
CONVENTIONS
PLAY AND IMPROVISATION
ROLE-PLAYING
PSYCHOLOGY AND NEUROLOGY
SELF-CONSCIOUSNESS
LYING
HUMOR
TEMPO AND RHYTHM
SURPRISE AND SUSPENSE
FASHION
SPACE
COLLABORATION
VALUE
CENSORSHIP
2 STORIES
Introduction: STORIES as Phenomena in Interdisciplinary Inquiry
LITTLE RED RIDING HOOD
STRUCTURE
LEGENDS AND MYTHS
RITUAL AND RELIGION
FAMILY
STYLE
GENRE
GAMES AND GAMING
ADAPTATION AND INTERPRETATION
FILM
TELEVISION
SONG
3 ENACTMENT
Introduction: PEOPLE as Agents of Synthesis in the Theatre
PLAYWRIGHT
THEATRE MANAGEMENT: MANAGEMENT AND ARTISTIC DIRECTORS
THEATRE COMPANIES
DIRECTOR
FRONT OF HOUSE
PRODUCTION MANAGEMENT AND STAGE MANAGEMENT
ACTORS
PLAYING SPACE
DESIGNERS
SET DESIGNERS
COSTUME DESIGNERS
LIGHTING, SOUND AND MEDIA DESIGNERS
TOP TECHNICIANS
MUSIC DIRECTOR AND CHOREOGRAPHER
AUDIENCE
4 REALIZATION
Introduction: PRODUCTION as Integration
SEASONS AND BUDGETS
ADVERTISING AND MARKETING
AUDITIONS AND CASTING
SCRIPT DEVELOPMENT
REHEARSAL
PROMPT BOOK
PRODUCTION MEETINGS
BUILDING SETS, PROPS AND COSTUMES
LOAD IN
TECHNICAL AND DRESS REHEARSALS—PREVIEWS AND RUNS
CRITICS AND CRITICISM
STRIKE
POSTMORTEM
5 PROJECT TEMPLATES
Production Review Template
Introduction to Sample Student Papers
The Critical Analysis Template
Playwriting Template for Writing a Short Play
Design Template
The Research Template
The Performance Template
6 SCRIPTS
TRIFLES Susan Glaspell
THE INTRUDER Maurice Maeterlinck
BLUE EYED BLACK BOY Georgia Douglas Johnson
HAPPY Amy Cuomo
APPENDIX: So You Want to Be a Theatre Major?
Bibliography
Ph.D. in Theatre – Louisiana State University (1994–1999)
MFA in Screenwriting – Hollins University (2005–2008)
B.A. in Theatre – Mary Baldwin University (1981–1985)
Amy Cuomo, Ph.D., is a Professor of Theatre at the University of West Georgia, specializing in playwriting, dramaturgy, and theatre history. She teaches in the School of Visual and Performing Arts within the College of Humanities, Arts, and Social Sciences.
Dr. Pauline Gagnon currently serves as Professor of Theatre at the University of West Georgia. She joined West Georgia in 1990 as Director of Theatre and has directed and taught production and performance for over 30 years. Dr. Gagnon has also served as Director of Interdisciplinary Studies, Dean of Arts and Humanities, Interim Dean of Science and Mathematics as well as Dean of Arts, Culture, and Scientific Inquiry. She is also actively involved in interdisciplinary and multidisciplinary work and has served as a consultant for and is a past-president of the international Association for Interdisciplinary Studies. She serves on the Editorial Board for the journal “Issues in Interdisciplinary Studies.” Dr. Gagnon holds an M.A. and Ph.D from the University of Michigan.
Joe has been with the University of West Georgia Theatre program since 2011. He holds an MFA from the University of Connecticut and a BA from the University of Virginia. Joe is a member of USA 829, the Union for Professional Designers, Artists, and Craftspeople, as a Lighting Designer. His professional design credits include over 50 Productions as Lighting and/or Sound Designer for Actor's Express Theatre Company, where he is an Associate Artist. In Atlanta, Joe has also designed for : Theatrical Outfit, Kenny Leon's True Colors Theatre Company, The Weird Sisters Theater Project, Horizon Theater Company, Atlanta Lyric Theatre, The Atlanta History Center, Georgia Ensemble Theater, Theatre Emory, 7Stages, Synchronicity Theatre, Serenbee Playhouse, The Alliance Theatre Teen Ensemble, Theater in the Square, Oglethorpe University, and Berry College. Regionally he has designed for for Playhouse on the Square/The Circuit Playhouse (TN), CAST (IA), Screaming Madman Productions (NYC) and The Wayside Theater (VA).