CSET: Theatre (223/224) cheat sheet

Aristotle's Poetics names six elements of tragedy in order of importance: plot (mythos), character, thought, diction, song, and spectacle; plot is primary because tragedy imitates action, not persons.

Freytag's pyramid models five-part dramatic structure: exposition, rising action, climax, falling action, and denouement (resolution); it derives from analysis of five-act drama, not from Aristotle.

The well-made play (Scribe, Sardou) relies on tight cause-effect plotting, a secret revealed in the obligatory scene, and a climactic scène à faire near the end.

Stanislavski's system centers on given circumstances, objectives (super-objective), the magic 'if', emotion memory, and the through-line of action; the Method of Physical Actions came later in his career.

Brecht's epic theatre uses Verfremdungseffekt (alienation), episodic structure, placards, song, and direct address to prevent empathy and provoke critical judgment.

Artaud's Theatre of Cruelty seeks sensory assault on the audience through spectacle, sound, and gesture rather than psychological dialogue; it influenced later avant-garde and physical theatre.

Greek tragedy: Thespis is credited as the first actor; Aeschylus added a second actor, Sophocles a third; the chorus remained central and the dramatic festivals were civic-religious competitions.

English Restoration theatre (post-1660) introduced actresses on the public stage, movable scenery and the proscenium arch, and comedy of manners by Congreve and Wycherley.

Realism as a movement is tied to Zola's naturalism and the independent theatre movement (Antoine's Théâtre Libre, 1887); Ibsen and Chekhov are frequently studied as realist/psychological dramatists.

An objective is what a character wants in a scene; an action (or tactic) is the playable verb used to pursue it; obstacles create dramatic conflict.

Blocking is the planned stage movement and positioning of actors; it is recorded in the prompt book and should serve composition, focus, and storytelling.

Stage directions from the actor's perspective: stage right/left are the actor's right/left facing the audience; upstage is away from the audience, downstage toward it.

Cheating out means angling the body toward the audience to keep the face visible; open positions and countering (adjusting when another actor moves) maintain stage pictures.

The director's core tasks: script analysis, concept and interpretation, casting, blocking, rehearsal scheduling, and integrating design and technical elements.

Given circumstances include time, place, relationships, and prior events; they anchor improvisation and scene study in Stanislavskian practice.

Table work is early rehearsal focused on reading and analyzing the script before staging; it establishes objectives, beats, and units of action.

Beats (units of action) are segments of a scene marked by a change in objective or tactic; scoring a script into beats guides rehearsal.

Audition callbacks and cold readings test adaptability; a monologue should be chosen for range and contrast with the character type being sought.

Scenic design communicates period, place, mood, and practical needs; ground plans and elevations are the standard drafting documents handed to the scene shop.

A flat is a framed scenic unit covered with muslin or lauan; a platform is a raised acting surface; both must be built to support actor weight and be safely braced.

Lighting functions include visibility, selective focus, mood, time/place indication, and composition; key, fill, and back light shape three-dimensional form.

Color temperature is measured in kelvin: tungsten is roughly 2700-3200K (warm), daylight roughly 5600K; gels and LED mixing change perceived color.

Sound design covers reinforcement, playback of cues, and effects; a cue is a numbered change executed by the operator, logged in the cue sheet.

Costume design considers silhouette, color, fabric, character, and quick-change needs; a costume plot tracks which character wears what in each scene.

Prop categories: hand props (carried), set props (dressing), and personal props (worn or pocketed); a prop list is built from script analysis.

The technical rehearsal (tech) integrates light, sound, and scene changes with actors; the dress rehearsal adds costumes and makeup before opening.

Safety rules: lock casters, tape cable, use proper rigging hardware rated for load, and never stand on unbraced scenery; the stage manager enforces safety calls.

The producer secures funding, sets the budget, contracts rights, and oversees the business side; the stage manager runs rehearsals and performances.

The production hierarchy typically runs producer to director and designers; the stage manager coordinates communication and maintains the prompt book.

A prompt book contains the script with blocking, cues, and contact sheets; it is the authoritative record for running the show.

Cue calling: the stage manager gives standby and then 'go' over headset; light, sound, and fly cues are numbered and executed in sequence.

Rights and royalties: performance rights are licensed per production; royalties are typically a percentage of gross or a flat fee, and amateur rights differ from professional rights.

Budget lines include royalties, set, costumes, lights, sound, labor, marketing, and contingency; a contingency of roughly 10 percent is common practice.

Front of house covers ticketing, ushering, and audience services; the house manager coordinates with the stage manager on house opening and hold.

A production calendar runs from pre-production and auditions through rehearsals, tech, previews, run, and strike; strike returns the space to neutral.

Marketing elements: press release, poster/key art, social media, and box office data; opening night press and reviews affect ticket sales.

Process drama prioritizes participant experience and inquiry over performance; teacher-in-role and mantle of the expert are common conventions.

Creative drama (often associated with Winifred Ward) uses improvisation and story dramatization with children, without a scripted production.

Theatre for Young Audiences (TYA) is professional theatre made for young people; Theatre in Education (TIE) tours interactive programs into schools with curriculum links.

Applied theatre uses theatre practices for social goals such as health education, conflict resolution, and community dialogue; it is not primarily commercial.

Forum theatre (Boal's Theatre of the Oppressed) invites spectators ('spect-actors') to stop the scene and try alternative actions.

Curriculum connections: drama supports literacy (story structure, vocabulary), social-emotional learning, and historical empathy through role and reenactment.

Assessment in drama education often uses performance rubrics, reflective journals, and peer feedback rather than only final product.

Community theatre is typically volunteer-based and locally funded; it builds civic participation and often partners with schools and social services.

Inclusive practice: sensory-friendly performances, accessible venues, and adapted participation widen access for audiences and students with disabilities.

Greek theatre space: the orchestra (dancing/singing circle), the skene (scene building), and the theatron (seeing place); masks and the mechane were standard conventions.

Roman comedy (Plautus, Terence) influenced later stock characters and the commedia dell'arte tradition; Roman theatre favored spectacle and farce.

Commedia dell'arte (16th-century Italy) uses fixed stock types (Arlecchino, Pantalone, Columbina) and scenario-based improvisation with lazzi comic bits.

Shakespeare's Globe was an open-air amphitheater with a thrust stage and no scene changes; indoor Blackfriars used candlelight and more scenery.

Kabuki (Japan) features stylized movement, onnagata male actors in female roles, and the hanamichi runway; Noh uses masks and slow, ritual movement.

Melodrama (19th century) relies on clear virtue-vs-villain conflict, music underscoring, and spectacular sensation scenes; it shaped modern popular drama.

The Moscow Art Theatre (founded 1898 by Stanislavski and Nemirovich-Danchenko) premiered Chekhov's The Seagull and developed psychological realism.

The Federal Theatre Project (1935-1939, US WPA) employed thousands and produced the Living Newspaper; it ended amid political controversy over censorship.

Absurdism (Beckett, Ionesco, Pinter) rejects linear plot and logical cause-effect, using circular structure, silence, and non sequitur to reflect existential instability.

The given circumstances and the 'magic if' are Stanislavskian tools; the actor asks what they would do if placed in the character's situation.

Emotion memory (affective memory) recalls personal experience to fuel feeling; it is used cautiously because it can be emotionally taxing.

The Method (Strasberg) emphasizes sense memory and substitution; Meisner training emphasizes repetition and truthful behavior under imaginary circumstances.

Viewpoints (Bogart/Landau) trains attention through spatial and temporal elements such as tempo, duration, kinesthetic response, and shape.

Blocking notation uses abbreviations: X for cross, XDR for cross down right, and arrows or diagrams for paths; consistency in the prompt book is essential.

Rehearsal order typically moves from read-through and table work to blocking, scene work, run-throughs, tech, and dress rehearsals.

A director's concept must be justified by the text and communicated to designers through research, renderings, and production meetings.

Stage combat and intimacy work require a certified fight/intimacy director, choreographed sequences, and consent-based rehearsal practices.

Audition prep: choose material within your range, know the playwright and context, and prepare a brief slate; contrasting monologues show range.

Lighting instruments: ellipsoidal reflector spotlights (ERS) for sharp focus and gobos; fresnels for soft wash; PAR cans for broad color washes.

DMX512 is the standard digital control protocol for lighting; channels and addresses map consoles to dimmers and fixtures.

A gobo is a metal or glass template placed in an ERS to project a pattern; a gel is a color filter placed in the color frame.

A cyclorama (cyc) is a large backdrop used for sky effects and color washes; it is lit separately from the acting area.

Sound: dynamic microphones are rugged for general use; condenser microphones are more sensitive and need phantom power.

Scenic construction: a ground plan shows the set from above; an elevation shows the vertical view; a section shows height relationships.

Costume process: renderings, swatches, measurements, fittings, and dress parade; a dresser assists with quick changes backstage.

Makeup: stage makeup compensates for lighting washout; character makeup uses contouring and prosthetics, with hygiene and skin safety prioritized.

Rigging and fly systems: counterweight arbors balance loads; never walk under a moving batten and always call 'clear' before flying scenery.

Production meeting agenda: schedule, budget status, design progress, safety, and upcoming deadlines; the stage manager circulates minutes.

The stage manager's paper tech precedes the tech rehearsal and sets cue numbers and timing with designers.

Rehearsal report: daily record of attendance, progress, injuries, and needs; it is sent to the production team.

Performance report: documents audience count, incidents, and timing; it goes to the producer and management.

Union context in the US: Actors' Equity (actors/stage managers), IATSE (technicians), and USA (designers) set contracts and working conditions.

Box office metrics: capacity, gross, and comps; a sold-out house is measured against seating capacity, not ticket requests.

Strike safety: assign crews, use gloves, lift with legs, and secure tools; strike happens immediately after the final performance.

Risk management: liability insurance, fire code compliance, and emergency action plans are producer and venue responsibilities.

Contracts and rights: amateur vs. professional rights, grand rights for musicals, and licensing restrictions on altering scripts.

Drama in education (DIE) uses drama conventions inside the classroom to teach other subjects; it is distinct from producing a play.

Mantle of the expert: students take on expert roles to solve problems, building inquiry and ownership of learning.

Teacher-in-role: the teacher adopts a fictional role to steer the drama from within, modeling and raising stakes.

Boal's Image Theatre uses frozen tableaux to explore power and social issues before moving to Forum Theatre.

Playbuilding/devising: an ensemble creates original work from prompts, research, and improvisation, then shapes it into performance.

Community engagement: partnerships with libraries, senior centers, and social services extend reach and relevance.

Evaluation tools: audience surveys, focus groups, and participation counts measure impact beyond ticket sales.

Ethical practice: informed consent, safeguarding minors, and cultural responsiveness are central to applied and educational theatre.

Career pathways: teaching artist, community arts coordinator, drama therapist (with clinical training), and youth theatre director.

Objective + obstacle + tactic = dramatic action; a scene without an obstacle is usually dramatically flat.

Listening is active: reacting truthfully to a scene partner is central to Meisner and to stage realism.

Status transactions (Johnstone) describe power shifts in scenes; status can be played high or low independent of character rank.

Improvisation rules: accept the offer ('yes, and'), build on the partner's idea, and avoid blocking or denying.

Composition: avoid flat lines and crowding; use levels, diagonals, and triangles to create visual interest.

Focus: the audience looks where the actor looks; directing focus means controlling eyelines and stage pictures.

Pacing: vary tempo and rhythm; a run-through reveals where energy sags and where beats need sharpening.

Notes etiquette: directors give specific, actionable notes after run-throughs; actors receive them without defensiveness.

Understudy and swing roles require learning multiple tracks and being ready to go on with limited rehearsal.

Lighting angles: front light flattens, side light sculpts, back light separates from the background; a balanced plot uses all three.

Intensity and color mixing: additive (light) mixing combines red, green, and blue; subtractive (pigment) mixing uses cyan, magenta, and yellow.

Cue structure: light cues are numbered (e.g., Q1, Q1.5) and timed with fade times; sound cues follow the same convention.

Scenic painting techniques: scumbling, spattering, and dry brushing create texture; trompe l'oeil creates illusion of depth.

Properties sourcing: build, buy, borrow, or pull from stock; a prop table backstage keeps items organized for actors.

Wardrobe: quick-change rigs, snap tape, and magnets speed changes; a dresser is stationed at each quick-change point.

Audio playback: QLab and similar software run cues; always have a backup file and a tested playback device.

Electrical safety: know the difference between load and capacity, use GFCIs near water, and never overload circuits.

Technical drawings: a section view shows vertical relationships; a rendering shows the designer's visual intent in color.

Pre-production timeline: secure rights, set budget, hire designers, hold auditions, and schedule rehearsals before opening.

Audition notice should state roles, dates, requirements, and whether pay or credit is offered.

Rehearsal schedule: block scenes by actor availability; protect tech week and build in a cushion for problems.

Ticket pricing strategies: tiered pricing, student/senior discounts, and dynamic pricing based on demand.

Grant writing: align the project with funder priorities, include a budget narrative, and report outcomes after the grant.

Volunteer management: clear roles, training, and recognition keep community theatre running.

Copyright: scripts may not be altered without permission; recording performances requires additional rights.

Post-mortem: after closing, the team reviews budget, attendance, and process to improve the next production.

Crisis planning: weather, illness, and equipment failure require contingency plans and clear communication chains.

Lesson planning in drama: warm-up, focus activity, main drama work, and reflection; each stage has a clear purpose.

Drama conventions: hot-seating, freeze-frame, thought-tracking, and role on the wall are standard classroom techniques.

Assessment rubrics for drama often address collaboration, focus, creativity, and performance skills.

Applied theatre projects should define goals, audience, and evaluation before the first workshop.

Community cultural development values local voice; outside artists facilitate rather than impose content.

Theatre for social change addresses issues such as bullying, health, and civic engagement through participatory methods.

Partnerships with schools require background checks, safeguarding policies, and clear communication with staff.

Documentation: photos, videos, and participant reflections capture impact for funders and future planning.

Reflective practice: facilitators debrief after each session to adjust pacing and content.

Dramatic genres: tragedy, comedy, tragicomedy, farce, melodrama, and history play; genre shapes structure and audience expectation.

Dramatic structure terms: exposition, inciting incident, rising action, climax, falling action, resolution, and denouement.

Character types: protagonist, antagonist, foil, confidant, and raisonneur (a character who voices the author's view).

Dialogue functions: advance plot, reveal character, create subtext, and establish style; subtext is meaning beneath the spoken line.

Theatre semiotics: signs on stage (set, costume, gesture) create meaning; the audience reads them within cultural context.

Feminist and postcolonial theory examine whose stories are told, who speaks, and how power is represented on stage.

Postdramatic theatre (Lehmann) moves beyond plot and character toward performance, media, and spectator experience.

Musical theatre structure: book, lyrics, and score; the 'I want' song establishes the protagonist's goal early in Act I.

Dramaturgy: the dramaturg researches context, advises on script, and supports the director's interpretation.

Character analysis: identify objective, obstacle, stakes, and arc; the arc is the character's change across the play.

Voice and speech: breath support, resonance, articulation, and projection are core actor training areas.

Movement training: Laban effort qualities (weight, space, time, flow) describe how a character moves.

Alexander Technique and Feldenkrais improve alignment and reduce tension for performers.

Directing a musical: coordinate music director, choreographer, and stage management; the rehearsal schedule must protect music and dance calls.

Blocking a musical number requires staging for both singing and dancing; sightlines and microphone placement matter.

Directing new work: collaborate with the playwright, hold readings, and protect the writer's voice during development.

Rehearsal safety: warm-ups, hydration, and rest prevent injury during intense tech weeks.

Feedback: use 'I noticed' and 'I wondered' language to give notes that are specific and non-judgmental.

Set design process: read the script, research, sketch, render, draft ground plan and elevations, then build.

Scale: standard drafting scale for theatre is 1/2 inch = 1 foot or 1/4 inch = 1 foot; ground plans use these consistently.

Lighting design process: read script, meet director, create light plot, hang and focus, then cue.

Color theory for design: warm colors advance, cool colors recede; contrast creates focus.

Costume design process: read script, research period, sketch, select fabrics, fit, and build or pull.

Sound design process: read script, identify effects and music, source or compose, then edit and cue.

Projection design uses media servers and projectors; content must be mapped to surfaces and tested in the space.

Collaboration: designers present ideas in production meetings and revise based on director and budget feedback.

Documentation: keep plots, cue sheets, and build drawings for remounts and future productions.

Stage management kit: tape, flashlight, first aid, batteries, sewing kit, and spare hardware; it is kept at the calling desk.

Calling a show: standbys precede 'go'; the stage manager follows the script and cue sheet precisely.

Communication: headset etiquette, clear channel use, and backup communication plans for failures.

Scheduling: build in buffer time for tech; tech week is the highest-risk period for delays.

Budget tracking: compare actual vs. planned spending weekly; flag overruns early.

Marketing calendar: announce season, open ticket sales, run press, and coordinate opening night.

Front of house: house opening time, late seating policy, and accessibility accommodations.

Contract basics: rights, royalties, payment schedules, and cancellation clauses.

Closing and strike: final performance, strike, return rentals, and file final reports.

Drama across the curriculum: role play in history, tableau in literacy, and improvisation in social studies.

Classroom management in drama: establish routines, use signals, and set physical boundaries before activities.

Inclusive casting: consider accessibility and representation when assigning roles.

Community storytelling: collect local stories and dramatize them with community members.

Funding sources: grants, sponsorships, ticket sales, and donations; diversify revenue for stability.

Evaluation methods: pre/post surveys, interviews, and observation notes.

Partnerships: schools, museums, and community centers provide audiences and resources.

Professional development: teaching artists benefit from ongoing training in pedagogy and safeguarding.

Career paths: teaching artist, arts administrator, community engagement coordinator, and education director.

Ancient theatre: Greek festivals honored Dionysus; the City Dionysia included tragic competitions.

Medieval theatre: mystery, miracle, and morality plays; pageant wagons and church production.

Renaissance: commedia dell'arte in Italy, Elizabethan theatre in England, and neoclassical rules in France.

Restoration and 18th century: comedy of manners, sentimental comedy, and the rise of the actor-manager.

19th century: melodrama, realism, and the independent theatre movement.

20th century: expressionism, epic theatre, absurdism, and postmodern performance.

Non-Western traditions: Noh, Kabuki, Kathakali, and Beijing opera each have distinct conventions.

Theory: Aristotle, Horace, Lessing, Artaud, Brecht, and Boal offer different frameworks for analyzing theatre.

Contemporary: immersive theatre, site-specific work, and digital performance expand the definition of theatre.

Audition technique: slate, monologue, and callback; prepare a contrasting second piece.

Cold reading: scan for objectives and tactics quickly; make bold choices.

Callback etiquette: be flexible, take adjustments, and thank the team.

Rehearsal process: read-through, table work, blocking, scene work, run-throughs, tech, dress.

Director's prep: script analysis, concept, research, and design meetings before rehearsals begin.

Actor-director communication: ask questions, clarify objectives, and stay open to notes.

Ensemble building: trust exercises, listening games, and shared goals.

Performance stamina: warm-ups, vocal care, and rest during runs.

Post-show reflection: review recordings and notes to improve future work.

Lighting equipment: ERS, fresnel, PAR, LED, and moving lights each serve different functions.

Control: consoles, dimmers, DMX, and networking; address fixtures correctly.

Sound equipment: microphones, mixers, amplifiers, and speakers; gain structure matters.

Scenic materials: wood, steel, muslin, and foam; choose for strength and weight.

Costume construction: patterns, draping, and fitting; alterations are common.

Props: build, buy, or borrow; track with a prop list.

Makeup: stage makeup, character makeup, and prosthetics; hygiene first.

Safety: rigging, electrical, and fire codes; train crews.

Documentation: plots, cue sheets, and drawings for future use.

Producer role: funding, budget, rights, and oversight.

Stage manager role: rehearsals, cues, and communication.

Prompt book: script, blocking, cues, and contacts.

Cue calling: standby and go; follow the cue sheet.

Rights: amateur vs. professional; grand rights for musicals.

Budget: royalties, design, labor, marketing, contingency.

Front of house: ticketing, ushering, and accessibility.

Calendar: pre-production through strike.

Marketing: press, key art, social media, and box office.

Process drama: inquiry over performance; teacher-in-role.

Creative drama: improvisation and story dramatization.

TYA and TIE: professional and school-based theatre for young people.

Applied theatre: social goals and community dialogue.

Forum theatre: spect-actors try alternatives.

Curriculum links: literacy, SEL, and history.

Assessment: rubrics, journals, and peer feedback.

Community theatre: volunteer-based and locally funded.

Inclusive practice: sensory-friendly and accessible performances.

Aristotle's six elements: plot, character, thought, diction, song, spectacle.

Freytag's pyramid: exposition, rising action, climax, falling action, denouement.

Well-made play: cause-effect plot, secret, obligatory scene.

Stanislavski: given circumstances, objectives, magic if, emotion memory.

Brecht: alienation, episodic structure, direct address.

Artaud: Theatre of Cruelty, sensory assault.

Greek theatre: Thespis, Aeschylus, Sophocles; chorus and festivals.

Restoration: actresses, proscenium, comedy of manners.

Realism: Zola, Antoine, Ibsen, Chekhov.

Objective, action, obstacle: core scene analysis.

Blocking: planned movement, recorded in prompt book.

Stage directions: stage right/left, upstage/downstage.

Cheating out: angle toward audience.

Director tasks: analysis, concept, casting, blocking, integration.

Given circumstances: time, place, relationships, prior events.

Table work: early rehearsal analysis.

Beats: units of action marked by objective change.

Auditions: contrasting monologues, cold readings.

Scenic design: ground plans and elevations.

Flats and platforms: framed units and raised surfaces.

Lighting functions: visibility, focus, mood, time/place, composition.

Color temperature: tungsten 2700-3200K, daylight 5600K.

Sound design: reinforcement, playback, cues.

Costume design: silhouette, color, fabric, quick changes.

Prop categories: hand, set, personal.

Tech and dress rehearsals: integrate cues and costumes.

Safety: lock casters, tape cable, rated rigging.

Producer: funding, budget, rights, oversight.

Stage manager: rehearsals, cues, communication.

Prompt book: script, blocking, cues, contacts.

Cue calling: standby and go.

Rights and royalties: per production; amateur vs. professional.

Budget lines: royalties, set, costumes, lights, sound, labor, marketing, contingency.

Front of house: ticketing, ushering, audience services.

Production calendar: pre-production through strike.

Marketing: press release, key art, social media, box office.

Process drama: inquiry over performance; teacher-in-role.

Creative drama: improvisation and story dramatization.

TYA and TIE: professional and school-based theatre for young people.

Applied theatre: social goals and community dialogue.

Forum theatre: spect-actors try alternatives.

Curriculum links: literacy, SEL, and history.

Assessment: rubrics, journals, and peer feedback.

Community theatre: volunteer-based and locally funded.

Inclusive practice: sensory-friendly and accessible performances.

Aristotle's six elements: plot, character, thought, diction, song, spectacle.

Freytag's pyramid: exposition, rising action, climax, falling action, denouement.

Well-made play: cause-effect plot, secret, obligatory scene.

Stanislavski: given circumstances, objectives, magic if, emotion memory.

Brecht: alienation, episodic structure, direct address.

Artaud: Theatre of Cruelty, sensory assault.

Greek theatre: Thespis, Aeschylus, Sophocles; chorus and festivals.

Restoration: actresses, proscenium, comedy of manners.

Realism: Zola, Antoine, Ibsen, Chekhov.

Objective, action, obstacle: core scene analysis.

Blocking: planned movement, recorded in prompt book.

Stage directions: stage right/left, upstage/downstage.

Cheating out: angle toward audience.

Director tasks: analysis, concept, casting, blocking, integration.

Given circumstances: time, place, relationships, prior events.

Table work: early rehearsal analysis.

Beats: units of action marked by objective change.

Auditions: contrasting monologues, cold readings.

Scenic design: ground plans and elevations.

Flats and platforms: framed units and raised surfaces.

Lighting functions: visibility, focus, mood, time/place, composition.

Color temperature: tungsten 2700-3200K, daylight 5600K.

Sound design: reinforcement, playback, cues.

Costume design: silhouette, color, fabric, quick changes.

Prop categories: hand, set, personal.

Tech and dress rehearsals: integrate cues and costumes.

Safety: lock casters, tape cable, rated rigging.