Pancyprian Theatre Studies cheat sheet

Integrated humanities foundations: Pancyprian Theatre Studies

• Theatrical language includes text, subtext, stage directions and double enunciation

• Structure is driven by objective, obstacle and irreversible decision, not by act count

• Dramatic irony depends on an information gap between audience and character

• Genre is a contract defined by action, tone and ending

• Dramatic time and scenic time are separate analytical categories

• Greek theatre is tied to Dionysian festivals, masks, chorus and open-air performance

• Commedia dell'arte uses scenario-based improvisation, lazzi and stock types; not every role wears a mask.

• The Spanish Golden Age operates through corrales and Lope's Arte nuevo (1609)

• Realism and naturalism are linked to the box set, the fourth wall and Stanislavski

• Brecht, Artaud and Absurd-associated writers challenge different representational conventions; their purposes and methods are not identical.

• The performance text includes all stage signs, not only the spoken dialogue

• Dramaturgy analyses action, character, structure, genre and context

• Stage directions are interpretable signs, not optional decoration

• Version, transposition and adaptation are different operations

• A staging choice must be justified by the text's function and its effect

• Stanislavski, Brecht, Grotowski, Lecoq and Meisner offer distinct actor-training tools

• Playable actions are transitive verbs, not emotional labels

• The director interprets the text through casting, staging, rhythm and focus

• Blocking encodes status and power through proxemics, levels and crosses

• Stagecraft includes sightlines, cue calling and rehearsal sequencing

• Scenography organises meaning through space, scale, texture and sightlines

• Costume signs period, class and character change, and must serve movement

• Lighting controls visibility, focus, mood and rhythm through cue sequences

• Diegetic sound has a source in the play's world; non-diegetic sound does not