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

Index I-5
as part of overall design plan, 116
Quem Queritis (Whom seek ye), 116
xiqu (Chinese opera), 209
See also designing; masks
Countryman, Michael, 69
Coward, Noel
Blithe Spirit, 54
Hay Fever, 88
Private Lives, 109
The Cradle Will Rock (Blitztein), 245
Cradle Will Rock (film), 245
craft specialists, 142
Craig, Edward Gordon, 93, 147
“The Art of the Theatre,” 147–148
Cranston, Bryan, in All the Way
(Schenkkan), 16
Craven, Karen, 184
Crazy for You (Stroman), 150, 248
credibility of play, 63–64
Crerar, Leila, 93, 295
Cresswell, Luke, Stomp, 279
crewing, 10
Crimp, Martin, 58, 295
The Cripple of Inishmaan (McDonagh),
41, 296
the critic
the amateur, 317
audience as observant, informed, sensitive,
demanding, and articulate, 318–319
critical perspectives considered by, 311–315
professional criticism by the, 316–317
the role played by, 310–311
See also dramatic criticism
critical focus
amateur criticism, 317
professional criticism, 316–317
critical perspectives
artistic quality, 312–313
entertainment value, 314–315
human significance, 311–312
relationship to the theatre itself, 313–314
social significance, 311
cross-gender casting, 269
Crowden, Jessica, 178
Crowley, Bob
The History Boys classroom setting by,
100, 101
The Invention of Love set and costumes by,
94, 259
Mary Poppins set design by, 250
Crowley, Mart, The Boys in the Band, 265
The Crown (Rebeck), 82
The Crucible (Miller), 71
Crumbs from the Table of Joy (Nottage), 159
Cruz, Nilo, Anna in the Tropics, 260
Cumming, Alan, 154, 154, 267
Cumpsty, Michael, 98
The Curious Incident of the Dog in the
Night-Time (Stephens), 133
curtain call, 35
Cusack, Sinead, 99
cutters, 142
cyclorama, 108
Cyrano de Bergerac (Rostand), 125, 205
Dafoe, Willem, 223, 256, 302
Damaged Goods (Brieux), 218
Damn Yankees (Adler and Ross), 245, 247
D’Amour, Lisa, Airline Highway, 104
Damrosch Park (New York), 196
Les Danaïdes (Purcaree production), 196
dance-dramas
of ancient theatre, 190
Ben Jonson’s musical masques, 241
as form of physical theatre, 280
geometric face paint used in traditional Ivory
Coast, 126
dance play, 281
dance-theatre
current innovative choreographers of, 281
origins and development of, 280
Dancin’, 247
dancing
basic acting exercise on, 42
choreographer-directors, 246–248
comédie ballets written by Molière, 241
dance crazes in early black musicals, 243
early extravaganzas shows, 242
Greek theatre use of music, acting, and, 195
used in Shakespearean plays, 240–241
See also music
Dancy, Hugh, 38
dangerous theatre, 272–276, 273, 275, 276
focus on torture, 273
language of, 274
plays about human savagery in historical
events, 273–274
television violence and, 276
themes and plots of, 274, 276
Daniels, Jeff, 302
Danton’s Death (Büchner), 273
Dara, 137
Darcueil, Claire Lasne, 218
Darktown Follies of 1914 (Williams
and Hill), 243
Darling, Robin, 293
Darnley, Lyn, 50
Davalos, David, Wittenberg, 73
Davis, Hope, 302
Davis, Viola, 260
De Bris, Roger, 14
De La Guarda, 282
de Mille, Agnes, 245, 246
Dead Accounts (Rebeck), 82
Dead Man’s Cell Phone (Ruhl), 83–84
Deaf West (Los Angeles), 267, 268
Dean, James, 41, 47
Dearest Enemy (Rodgers and Hart), 243
Death of a Salesman (Miller)
classification as tragedy, 23–24
despair shown in, 46–47
dramatic conflict in, 33
dream sequence in, 24
Lee J. Cobb on his performance in, 57
Def, Mos, 63
Delacorte Theatre (Central Park), 40, 103,
105, 118
A Delicate Balance (Albee), 288
Demodocos company, 13
Denis, Arnaud, 204
Denis, Maurice, 221
Dennehey, Brian, 216, 291
Dennehy, Brian, 24
denouement
definition of dramatic, 35
as part of horizontal axis timeline, 35
Denver Center for the Performing Arts, 82
The Deputy, 256
design
creating the Delacorte Theatre (Central Park),
103, 105
digital technologies in theatre, 136–138
Fool for Love, 90
the function of, 88–100
Hay Fever (Coward), 88
lighting, 95, 97, 106–115, 106, 109, 110,
112–115
Lisa Iacucci’s work as stage manager,
139–140
Mary Poppins, 101
postmodern scenery and, 94
projections, 134–136
puppet, 133–134
the scene designer at work on the, 99–105
scenery, 89–105
sound, 127–133
special effects, 136
technical production team working on,
138, 141–142
Waiting for Godot, 91
Woyzeck (Büchner), 89
See also theatre
designing
definition of, 1073
director collaboration with the, 160–161
the process of, 87
See also costuming
Deutsches Schauspeilhaus (Hamburg), 313
dialogue
depth of characterization shown through, 70
“everyday speech,” 66
playwright’s process of transcription, 73
richness of, 68–70
speakability of, 66–67
writing scenes of conflict, 73
written as pretext for great acting, 62
Diamond, Lydia R., Stick Fly, 259
Dickens, Charles, A Christmas Carol, 281, 290
Dickinson, Emily, 259
diction (tragedy), 28
Diderot, Denis, “Paradox of Acting,” 13,
40–41
digital technologies
copyright issues of, 138
design advances made using, 136–137
design advantages provided by, 137–138
dinner theatres, 292
Dionysia festival (ancient Athens), 2, 11, 193,
195–196
Dionysus (Greek god), 206
Diphilos, The Lot Drawers, 187
directing
definition of, 10
historical overview of, 144–152
step by step process of, 152–174
directing preparation
adapting the play, 154–155
choosing the play, 153–154
conceptualizing the production, 155–158, 160
finding a producer, 153
directing process
conceptualizing the production, 155–158, 160
implementation period, 153, 158, 160–163,
166–173
pre-preparation period, 153
preparation period, 153–155
The School for Wives (Molière), 175–186
director implementation period
casting the actors, 161–163
collaborating with the designers, 160–161
rehearsals, 163, 166–173
selecting the designers, 160
staging, 166–169