Extremadura PAU Performing Arts II - independent theatre foundations cheat sheet
Extremadura PAU Performing Arts II - independent theatre foundations · Keep the key ideas within reach.
Dramatic language, structure and genre
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
Theatre history from antiquity through modern transformations
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.
Dramaturgy, adaptation and the page-to-stage relationship
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
Acting, direction, rehearsal and ensemble choices
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
Space, scenography, costume, lighting and sound
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
Design choices must answer practical constraints as well as interpretive aims
Music, dance, movement and embodied performance
Music frames, transitions, ironises and rhythms theatrical action
Diegetic and non-diegetic music are distinct analytical categories
Dance meaning arises from codified vocabularies, context and repetition
The body is a sign system through posture, gesture, proxemics and gaze
Analyze regional forms in their actual cultural setting; do not substitute one region’s repertoire for another’s.
Contemporary performance, documentary work and media
Performance art foregrounds presence, body and duration
Site-specific work treats place as a partner in meaning-making
Devised and verbatim theatre change the source and authority of text
Postdramatic theatre decentres text in favour of simultaneity and media
New media raise questions of liveness, remediation and audience co-creation
Evidence-based literary and performance criticism
Distinguish text evidence from production evidence.
Separate description, interpretation and evaluation.
Use context to illuminate close reading rather than replace it.
A persuasive judgment states criteria and considers an alternative.
A review, photograph or recording has a particular perspective and evidentiary limit.