Robert Cohen - Theatre, Brief Version-McGraw-Hill Education (2016)

G-6 Glossary
mise-en-scène The composition of a scene of theatre through
the arrangement of bodies and objects on stage; literally, “seen
in the scene.”
modern A difficult term to pin down because it literally refers
to work of “the present”—which, however, is always changing.
The term popularly means “up-to-date,” but arts scholars
employ it mainly in reference to works created between approximately
1890 and 1945, which were called modern in their own
time (e.g., “Modern art”) and now—in contrast to postmodern
works—can be roughly categorized into identified various
artistic styles (e.g., realism, naturalism, expressionism, absurdism,
epic theatre) of those years.
modern classic A term used to designate a play of the modern
era that has nonetheless passed the test of time and seems as
if it will last into the century or centuries beyond, such as the
major works of Anton Chekhov, George Bernard Shaw, and
Samuel Beckett. Contrast with classic drama.
monologue A long unbroken speech in a play, often delivered
directly to the audience (in which case it is more accurately
called a soliloquy).
morality play An allegorical medieval play in which the characters
represent abstractions (Good Deeds, Death, and so on)
and the overall impact of the play is moral instruction. The
most famous in English is the anonymous Everyman (fifteenth
century).
motivation That which can be construed to have determined
a person’s (or a character’s) behavior. Since Konstantin Stanislavsky,
actors have been encouraged to study the possible
motivations of their characters’ actions. See also objective.
music theatre A dramatic genre that employs, normally in
addition to spoken dialogue (but see sung-through), a musical
score with a dozen or more songs and dances. Also called
“musical theatre.”
musical (noun) A single work of music theatre—such as
Oklahoma! or The Producers.
musical comedy A musical intended mainly as light comic
entertainment, emphasizing comedy and youthful romance as
well as singing.
mystery play The most common term referring to medieval
plays developed from liturgical drama that treated Biblical stories
and themes. (They were also known as “pageant plays” in
England, as “passion plays” when dealing with the Crucifixion
of Jesus, and as “Corpus Christi plays” when performed
in conjunction with that particular festival.) Unlike liturgical
dramas, which were in Latin, mystery plays were written in
the vernacular (English, French, German, Italian, Spanish, and
Russian versions exist) and were staged outside the church.
naturalism A version of realism advancing the notion that
the natural and social environment, more than individual willpower,
controls human behavior. Its proponents, active in the
late nineteenth and early twentieth centuries, sought to dispense
with all theatrical convention in the search for verisimilitude—or,
as the naturalists would say, a slice of life.
neoclassicism Literally, “new classicism.” A renewed interest in
the literary and artistic theories of ancient Greece and Rome and
an attempt to reformulate them for the current day. A dominant
force in seventeenth-century France, neoclassicism promoted
restrained passion, balance, artistic consistency, and formalism in
all art forms; it reached its dramatic pinnacle in the tragedies of
Jean Racine.
New Comedy Greek comic dramas—almost all of which
are now lost—of the late fourth to the second centuries b.c.
Considerably more realistic than the Old Comedy of Aristophanes,
New Comedy employed stock characters and domestic
scenes; it strongly influenced Roman author Plautus and,
through him, Renaissance comedy.
nō The classical dance-drama of Japan. Performed on a
bare wooden stage of fixed construction and dimensions and
accompanied by traditional music, nō is the aristocratic forebear
of the more popular kabuki and has remained generally
unchanged since its fourteenth-century beginnings.
objective The basic “goal” of a character. Also called “intention,”
“goal,” or “victory.” Since Konstantin Stanislavsky, the
actor has been urged to discover his or her character’s objectives
and, by way of “living the life of the character,” to pursue
that character’s objective during the course of the play.
ode In Greek tragedy, a song chanted or sung by the chorus
and often accompanied by dance. Also called “choral ode.”
off-Broadway The New York professional theatre located
outside the Broadway district; principally in Greenwich Village
and around the Upper East and West Sides. Developed
in the 1950s, when it was considered avant-garde, the off-
Broadway theatre is now more of a scaled-down version of the
Broadway theatre, featuring musicals and commercial revivals
as much as (or more than) original works.
off-off-Broadway A term designating certain theatre activity
in New York City, usually nonprofessional (although with
professional artists involved) and usually experimental and
avant-garde. Off-off-Broadway developed in the 1970s as
a supplement to the commercialism of both Broadway and,
increasingly, off-Broadway.
Old Comedy Ancient Greek comedy of the fifth century b.c.,
mainly known to us through the bawdy, satirical, and even
slapstick comedies of Aristophanes.
onnagata “Women-type” roles in kabuki, which, like all the
roles, are played by men.
“Open the house!” A direction to admit the audience. See
also house.
orchestra (1) In the ancient Greek or Roman theatre, the
circular (in Rome, semicircular) ground-level acting area in
front of the stagehouse, or skene. It was used primarily by the
chorus. (2) In modern U.S. theatre buildings, the ground-level
section of the audience, which usually slopes upward at the
rear. Distinct from the mezzanine and balconies and ordinarily
containing the more expensive seats. In England, known as
“the stalls.”
parabasis The “coming-forward” of a character in Greek Old
Comedy who then gives a direct address to the audience in
the middle of the play. In Aristophanes’ plays, the parabasis is
often given in the author’s name and may have been spoken by
Aristophanes himself. The parabasis was often unrelated to the
plot and dealt with the author’s immediate political or social
concerns.
parados (1) The ode sung by the chorus entering the orchestra
in a Greek tragedy. (2) The space between the stage-house
(skene) and audience seating area (theatron) through which the
chorus entered the orchestra.
parody Dramatic material that makes fun of a dramatic genre
or mode or of specific literary works; a form of theatre that is
often highly entertaining but rarely has lasting value.
passion play A medieval play about Jesus and his trial and
crucifixion, still performed in many towns and villages around
the world during Easter week.