Final lol

Euripides4th Century BCEAncient Greek TragedyLONG Monologues

The Wakefield Master17th CenturyMystery/Cycle PlayMiddle EnglishRhyming SchemeShort Lines, maximum 7 words

Anonymous16th CenturyMorality PlayEnglishRhyming/old english

Moliere17th CenturyNeoclassical ComedyFrance12 Syllable Rhyming Couplets

Aphra BehnLate 17th CenturyRestoration ComedyEnglish

Susan GlaspellEarly 20th CenturyAmerican Feminist Drama

Anton ChekhovEarly 20th CenturyRussian Mature DramaChekhovian DramaEasy-to-read, everyday vocabulary

Sophie TreadwellEarly 20th CenturyAmerican ExpressionismAmericanExtremely Short LinesDialogue is poetic (almost musical)Rapid back-and-forthLong Monologue by Young Woman distinguishable by use of "--"

Bertolt BrechtMid-20th CenturyModernist Theatre/BrechtianGermanSongs throughout the play

Wole SoyinkaLate 20th CenturyPost-ColonialismNigerian

SmithLate 20th CenturyVerbatim TheatreAmerican

Daniel David MosesIndigenous Canadian/First Nations CanadianLate 20th CenturyCanadianShort dialogue, phrases back and forth"we" poem/phrases

Sarah Ruhl2009AmericanOld English, not hard to understand

story that represents abstract concepts or a moral lesson, medieval england, everyman

moment of recognition/enlightenment, Aristotle,

important tenet of Brecht's epic theatre - asks the audience to examine familiar, everyday events from a critical distance as if they were strange

emotional release or sense of relief at the end of Greek tragedy, pity + fear, Aristotle

month-long festival to celebrate the Holy Eucharist, Second Shepherd's Play

a crane used for special effects in Greek Drama, often utilized by Euripides

addresses human reason rather than feeling, discouraging passivity, leaving the theatre with a sense that the current social order is alterable and that action is necessary, Brecht + good woman

information that reveals something essential about the world of the play, its circumstances, and the basic relationships b/w characters or events

Europe in the late 19th/Early 20th century spurred by the political upheaval of WWI, moral crisis that the world is dominated by machines - industrialization distorted the human spirit, loss of human spirit - machinal

emotional babble speak - extraordinary enough that people can understand the actor's emotions and situations - common in Commedia Del'Arte

comic bits of action and dialogue performed by stock characters in commedia dell'arte

medieval european drama, incorporating the imitation of religious figures serving as religious services - exploring the mysteries and miracles of the bible and the lives of saints

greek word for imitation - used to describe the practice of representing reality - Aristotle: tragedy is an imitation of an action in a way that is is embellished and perfected

details about the world itself and the experience of its characters are revealed explicitly through narrative, as opposed to being enacted

early medieval liturgical plays that demonstrated the miracles and martyrdom of saints

secular form of medieval drama that was popular in the 14th/15th centuries, in England and france - dealt with an individual's moral life

17th century movement prompted by renewed interest in the writings of Aristotle and other classical theorists, revival of what was taken to be the classical style of Greece and Rome - purpose of drama is to "instruct" how to live properly

central tenet of neoclassicism - quality or appearance of truth; characters and events onstage must be believable

the proper way that characters should act onstage as dictated by their disposition and social standing

in a tragedy, the moment in which the story's action undergoes a lasting reversal, or change in direction, Aristotle

the Cherry Orchard - seeks to depict life as it really is without conventional artifice

theatrical term that involves the use of a three-dimensional playing area where the actors' performance is focused entirely on the world of the play and the audience is a silent, unseen observer

the theatrical period (1660-1700) marked by the return of Charles II to the throne of England after the commonwealth period - written for and represented by the aristocracy - the Rover

originally, a wooden sword worn by the Commedia dell'arte character Harlequin - as a subgenre, it is a form of physical comedy often characterized by farcical situations, crude jokes, and reckless behaviour

a theatrical movement in the early 20th century - sought to transform humanity by rejecting the past and embracing the age of the machine

back and forth argument/debate performed by the chorus to address the central subject/issue of the play - Greek tragedy

peripeteia + anagnorisis (reversal and recognition)

final song of the chorus

- a process of imitating an action- by means of language- enacted by the persons themselves- through a course of pity and fear, completing the purification of tragic acts

Madame PernelleOrgonTartuffeValiereMarianeDorineElmireDamis

Wimore (rover)BluntBelvileHellenaFlorindaDon PedroDon Antonio

John WrightSheriff PetersAttorney HendersonHaleMrs. HaleMrs. Peters

Lopakhin (buys the orchard)Ranevsky (owner of the estate)Anya daughter)

Helen Jones/Young Woman

Shen TeYang Sun

Yoruba tribeElesinOlundePilkingJane

Almighty Voice/GHOSTWhite Girl/Interlocutor