Theatre Semester 1

lapel mic

(news) called "lavalieres," or "lavs" for short - they are mics that are worn somewhere on the actor's clothing -these mics are hidden on the clothing in a way that allows them to still work well without being seen by the camera, and by extension, the film's audience -used to be connected to the recording device by wire, they are now often wireless, which makes the process of using them easier.

omnidirectional mic

-a microphone that picks up all sound around it and all at the same volume level -useful for filming crowds, large events, and ambiance sounds, they are not ideal for other filming circumstances as they will pick up many sounds, including unwanted ones (exterior mics can be plugged into the camcorder when needed)

types of undesired sound

-ambiance -footsteps

shotgun mic

-best used for recording dialogue -gets its name from the range of sound it can pick up: the sounds right in front of it -can be attached to a boom, a tripod, or the camera itself (though not always all three of these options).

how to lessen footsteps

-blankets can be placed around the scene's room to soften the effect of feet on the floor -foam can be attached to the actors' feet or shoes to muffle the sound of the feet's impact -for lower-budget filmmakers, attaching carpet or the soft side of Velcro to the soles of the actors' shoes can achieve a similar effect

sound purposes in theatre

-can motivate characters' actions -indicate actions that are taking place -can establish the scene's physical setting as well as its place in time -Sounds can also establish and change the mood of the performance and, by extension, the mood of the audience.

sound can be used for

-dialogue -establish and heighten the setting for a scene -emotional level (music) -transitions (ease)

several different types of sounds that the filmmaker and crew may want in their film

-dialogue -music -sound effects -ambiance

theatrical performances have two types of sound: sounds that are wanted and sounds that are not wanted

-dialogue between the actors must be audible to every member of the audience. Depending on the size and arrangement of the theatre and set, making sure that everyone in the audience can hear the dialogue can be a difficult task. -music must be audible to all audience members. (music can be non-diegetic; it may play before the performance starts to set the mood, or it may play in between scenes to provide a transition from one scene to another). (music may also be diegetic. If the performance is a musical, the actors will provide much of the music through singing. Even in non-musicals, however, an element of diegetic music may be present, such as a radio playing or an actor singing a lullaby) -Ambiance is used in theatre as well, though not to the extent that it is in film because of the practical restrictions for live performances. Sound effects are used too, of course, and they help contribute to the play's believability.

Why do people attend the theatre?

-entertainment -cathartic -spying (private lives) -connections -social event -art event

boom operator

-holding mics attached to booms during filming - must know exactly where to stand so that the mics can properly pick up the sound while still keeping the mics out of the actors' way and out of the cameras' view; has to be very familiar with the script for the scene that is being shot since he or she must know who will be speaking, where the actor(s) will be standing, and how the actor(s) will be moving. Because a script's lines and direction can be changed up until the moment the camera starts rolling, knowing the script can be a difficult job! - know where the cameras are located and how they will be moving. On larger-scale films where multiple cameras are filming a scene simultaneously, this can be very tricky! -has to understand how the different pieces of sound equipment work because he or she may have to operate them at some point during filming. This includes lapel mics because the boom operator is often responsible for placing a lapel mic on an actor's body, making sure it correctly picks up the sound while remaining hidden. - must know if the use of these mics is necessary in the first place.

microphones (mics)

-most camcorders today have what is called an omnidirectional mic

reasons footsteps can be audible

-the flooring on which the actors stand and walk may be wooden -the room's acoustics could result in an echo when the actors move -the sound-recording equipment's positioning may make it more likely to pick up the movements of the actor's feet

What do theatres require?

-typically space for the performance and the audience, such as a stage and seated/standing area (Performances can take place anywhere there is enough room for both the audience and performers to be at the same time.) -at least one actor

Once the wardrobe designer has decided on the types and numbers of costumes needed for the film, she or he must amass the costume components.

. In many cities, costumes can be rented from costume shops. This option can be beneficial for the film's budget, particularly if a specific costume is needed for only a short amount of time and will not be harmed during filming. Costumes can also be borrowed from other production companies or film studios, or from actors' own collections in some cases. Often, costumes are created specifically for a film, so a costume designer must understand at least the basics of garment construction. While larger-budget films will have a crew who will actually assemble the costumes, sewing and fitting them for the actors, the costume designer must know what is possible to accomplish within the given budget.

The number of people who work on a film production's sound will change depending on the film's budgets and its needs, but there are two specific roles that are almost always necessary for a film's sound to function properly

1. production sound mixer 2. boom operator

The Jazz Singer

1927; audiences were introduced to full-length film with synchronized sound.

____ types of film cameras are in use today.

4

Some productions, particularly in theatre, may have no costumes as we typically think of them.

Actors may all dress in monochromatic clothing (clothing that is all one color), such as black pants, black shirts, and black footwear. The decision to have no "costumes" may be due to budget. Perhaps the money simply doesn't exist for elaborate, historically accurate period costumes, so the costume designer/wardrobe crew and director decide to focus the available funds on notable accessories and props to distinguish characters. The decision may also be an artistic one. For example, if the play's theme is the shared characteristics of all human beings, having actors wear the exact same clothing will visually demonstrate this theme.

Certain fabrics and colors work better for theatrical productions than others.

As mentioned earlier, shiny satin is usually not a wise choice for a stage show. While it may look lovely and luxurious under normal light, it reflects too much light from stage fixtures. Cotton fabrics are a good choice to use when constructing costumes because its breathability will help actors' body temperatures stay somewhat cooler than woolens or corduroys. Silk is also an excellent choice, especially when an expensive look is required, but its cost can be prohibitive for smaller budgets if a large amount of yardage is needed.

Once the costumes have been created and are fitted for the actors, the head of the wardrobe department (which may or may not be the costume designer) is responsible for the upkeep of the costumes and accessories.

Continuity is vital when filming. If a character is wearing a specific pair of gloves in a scene and the scene requires several takes, the actor must be certain to wear the gloves in every take for the sake of continuity. In some cases, having multiple copies of a costume or accessory is a good idea. A scene with certain actions, like coffee spilling on a character's brand-new white dress, is one reason. The scene must either be filmed in only one take, or the wardrobe department must have multiples of the dress in case the scene requires several takes. (While cleaning the white dress in between takes is an option, the film's production schedule may not allow for several hours to a day in between each take.) If a piece of a costume or an accessory is a vital part of a character's appearance, such as Clark Kent's glasses, having multiples of that item is very wise in case the glasses are broken during a fight scene or they are misplaced in between takes or scenes.

sound engineer

Essentially, the sound designer comes up with the plan, and the sound engineer makes it a reality. The sound engineer works to coordinate the actors, any prerecorded sound, any music, and any other sound effects so that the performance is smooth. A cue sheet is created so that all the members of the sound crew, called sound techs, have their own version of the play with notes on their sound cues (when sounds should happen and where).

One of the most well-known morality plays is called

Everyman

Wardrobe and makeup for theatre productions share some of the basic concepts as makeup and wardrobe for film, but theatre has its own unique requirements that make the processes quite different from those for film.

First, a costume designer is chosen for the theatrical production. He reads through the play's script and creates a list, just like the costume designer for a film does. A theatrical production's costume plot helps the costume designer see where costumes may need to be created to allow for quick changes in between scenes or when characters' movements will affect the materials used and the way the costumes are constructed. Once the costume designer has the costume plot completed, he creates, at the very least, rough sketches of costume ideas and suggestions. He then meets with the director and set and lighting designers. At this meeting, everyone discusses their ideas for their designs, and they work to make sure that everything fits together well with everyone else's plans. Bringing swatches of fabric, in addition to the sketches, is particularly helpful at this meeting so that the director can see what the costume designer is envisioning, the lighting designer can keep this information in mind when working with the lights, and the set designer can see if there will be any color clashes or problems between the sets and the costumes.

Wardrobe serves several functions for both the actor and the audience, whether film or stage.

First, like scenery and sound effects, it helps construct the reality of the production's world. Having actors wear scrubs for a scene at a modern hospital helps make the scene more realistic, for example. Second, costumes can communicate to the audience, in visual shorthand, the setting of the production and information about specific characters. Finally, wearing a specific costume can help the actor get into his or her character and deliver a better acting performance. Think about when you go to a religious service or a wedding: you typically dress differently for these types of events than you do for school, and your change in clothes helps you remember how to act at these events. The same is true for actors. Putting on a soldier's uniform can help an actor better immerse himself in the role of a soldier during the Vietnam War.

While the actors are busy learning their lines and movements, the wardrobe crew is preparing costumes.

Fittings take place throughout the production's preparation stage, up until dress rehearsals. At fittings, actors try on their costumes (whether those costumes are complete, partially assembled, or under construction) to ensure they fit properly. If an actor's shirt is too tight, it will need to be let out (made bigger), or a replacement shirt may need to be located. The wardrobe crew needs ample time to make these types of adjustments, particularly if the cast has many members, which is why fittings are staggered throughout the lead-up to performances. During fittings, accessories are also added as they are acquired. Accessories for characters can include glasses, canes, hats, watches, wigs, shoes, stockings, rings, necklaces, and hair barrettes. The costume designer and wardrobe department may work with the production's technical director and/or the props master to create and collect accessories, especially if the accessories are complicated or will undergo some sort of physical abuse in the course of the performance, such as a walking cane that is used as a weapon in a physical fight.

Other elements of a person's appearance can be changed or altered.

For example, an actor may be asked to color his or her hair for a role, to gain or lose weight, to exercise and increase muscle tone, to grow or shave facial hair, to cover up tattoos or to have fake tattoos painted on, or to cover up or add to body and facial piercings. An actor's tool is his or her body, which includes physical appearance as well as acting ability and voice. While these changes may not be directly related to wardrobe and makeup, they have similarities in the changes they create in an actor's appearance and mindset.

makeup and special effects can intersect

For example, if a character is supposed to have a visible scar, but the actor playing that character does not have the same scar, one must be created. The makeup artist(s) and special effects crew may work together to create a latex "scar" that can be applied to the actor for the duration of the performance or filming.

The costume designer may work with the technical designer and/or any special effects crew members if a character's costume has special technical requirements.

For example, in the Broadway musical Beauty and the Beast, a character named Lumiere is a human who has been turned into a candelabra. The actor portraying Lumiere must be able to dance while in his costume, which includes "candles" for hands that light up with actual, propane-fueled fire. For a complicated costume like this, the costume designer would need to work with, at the very least, the special effects crew, the technical designer, and pyrotechnics experts, while being certain to follow local and national fire protection codes and union safety guidelines. (Do NOT attempt to construct this type of costume yourself!)

Poetics

Greek philosopher Aristotle wrote extensively on emotions and theatre in a book titled

rituals

Groups of people also created performances that took place at specific times of the year

When the costume designer is creating the designs for each costume, she must keep in mind the information from the costume plot.

If an actor goes offstage during a scene and has to have a speedy costume change, both costumes should be constructed so that this change can take place. A dress with numerous hook-and-eye closures on the back will be much more difficult to change out of or into than a dress with one long zipper or Velcro. The costume designer has to balance the actor's mobility needs with the budget, the director's vision/desires, and historical accuracy, if applicable. For example, the zipper was not patented until 1917, so if historical accuracy in wardrobe is very important to the production, zippers must not be visible. If a specific costume or costume component must be worn by more than one actor during the course of the performance, it must more or less fit all the actors. Elastic, Velcro, and safety pins (when not visible) can all make this possible.

What is the plot of the morality play Everyman?

In this play, the main character is Everyman. He is summoned by Death to meet God for judgment. Everyman tries to convince different friends to go with him, such as Kindred (representing family), Goods (representing material items), and Fellowship (representing friends) so that God will look on him more favorably, but none of these are willing or even able to go with him. The only companion he can take with him all the way to meet Death and then God is Good Deeds, which represents the morally upright decisions Everyman made and the commendable actions he did while still alive.

The second film camera we'll look at is the 16 mm.

It is also a good option for filmmakers with lower budgets as its film, while more expensive than 8 mm, is generally still fairly inexpensive. These cameras are also easier to carry around than larger and more costly cameras. They're often used for documentaries and low-budget feature films.

a film's budget and scope will determine how many people are needed to work on the actors' wardrobe and makeup

Looking at how the actors will move during the film can help the costume designer spot places where modifications to costumes may be necessary, such as a looser fit for an actress's shoes if they will need to "accidentally" slip off during a specific scene. Because a film's script can change up until the moment that a scene's filming actually begins, the costume designer must be prepared to tackle any surprises that may arise that can change the information on the costume plot.

Makeup for a theatrical production may be designed by a key makeup artist, just as in film, or the costume designer may specify actors' facial appearances. In larger-scale productions with larger budgets, the makeup for at least the main characters may be applied by makeup artists. Often, however, for smaller productions, community theatre, college/university theatre, and children's theatre, the actors apply their own makeup unless special effects beyond their skills are required (such as latex scars).

Most actors at some point in their training or career take a course or workshop about stage makeup. Actors can share cosmetics like eye shadow, foundation, and powder as long as they have their own disposable makeup applicators to prevent causing or sharing skin or eye infections. Dressing rooms are often equipped with lights that mimic the intensity of stage lights to aid actors and makeup artists in their applications of their performance makeup.

When mics are used, speakers are required.

Most theatres have some sort of speaker system already installed, with the ability to add additional speakers if needed. The types, sizes, and number of speakers will depend on the theatre space, the production's needs, and the production's budget.

Final alterations are made after dress rehearsals.

Once the production actually begins, the wardrobe assistant is responsible for managing the entire wardrobe. Costumes and accessories are "checked out" to actors and "checked in" when they are returned at the end of that day's performance. The wardrobe assistant checks for tears or holes and repairs them or delegates repairs to members of the wardrobe crew. She also cleans costumes as needed. For some costumes, cleaning may be required daily, particularly if special effects such as splattered blood or paint are used in a scene and land on the costume(s).

the film's production designer will select a costume designer for the film

The costume designer has many tasks, some of which are more artistic than others, but all are vital to the "look" of the film. To begin, the costume designer will read through the script and make a list of characters, including background and nonspeaking characters, that will require costumes and/or makeup. For a film set in current times, extras in a crowd scene may be able to wear their own clothing while a film set during the Russian Revolution will require costumes for every member of a crowd scene. To help organize this information, the costume designer will likely develop what is called a costume plot. A costume plot is a diagram, chart, or list that contains the following information: characters in each scene what those characters wear how the characters generally move during each scene (on crutches? rolling? running? etc.)

The wardrobe department head oversees or takes care of cleaning costumes and repairing them when needed, especially if they are rented as they must almost always be returned clean and in perfect condition.

The department is responsible for tracking every item under its charge: every pair of shoes, every necktie, every set of crutches, and every necklace. Some actors may be tempted to "borrow" items from the wardrobe department, and they may even have permission from the director or production designer to do so. However, the wardrobe department must still keep track of these items and ensure they are returned when needed or that backups are available if the originals do not make it back to the set.

First, let's look at the Super 8.

The film used for it is 8 millimeters in width and 50 feet in length. While Super 8s are no longer being produced, they can be purchased, refurbished, from used camera dealers. Kodak still manufactures several different types of 8 mm film for the Super 8; a filmmaker can choose between two types of color film and two types of black-and-white film. Super 8s are generally used by filmmakers who have low budgets as the film is among the least expensive available. Documentary filmmakers often choose Super 8 cameras because of their portability and price.

Two types of cameras are used in making films, whether big-budget blockbusters or small-scale independents.

The first is the traditional film camera. The second is the digital camcorder.

Theatrical productions do not have the ability to edit out sounds the way that film productions do as there is no post-production editing stage.

The live nature of theatre makes retakes impossible, and if an actor messes up a line or does not speak loudly enough, there is no opportunity to say that line again.

While wardrobe and makeup can enhance a film, filmmakers need to make these decisions carefully.

The use of wardrobe and makeup in movies requires special considerations on the part of the wardrobe and makeup crew as well as the lighting and sound crews. The way that colors and fabrics are captured on film is heavily influenced by the scene's lighting, so the wardrobe designer and crew must be aware of how specific fabrics and colors interact with lighting, and the lighting crew must be aware of what the actors will be wearing when they plan and set up their lighting for a take. The type of lighting used, or the amount of natural sunlight allowed to filter onto the actors, will affect what types of makeup and how much makeup the actors will need to wear in order to appear a certain way once filmed. Certain fabrics, like taffeta, and accessories can make noises that may be picked up by the sound recording equipment if the wardrobe and sound crews have not worked together to prevent this.

As in film, costumes may be rented from a local costume shop.

They may be borrowed or rented from other theatres or theatrical companies. They may be refashioned from the theatre's current wardrobe stock, or they may be created from scratch. Often, a combination of all approaches is used, particularly for productions with smaller budgets. The wardrobe assistant (who may be the same person as the costume director, depending on the production's budget and needs) may be in charge of this stage, or he may help the costume director with this task.

A step up from the 16 mm is the Super 16 mm.

This camera type is good for television shows and features as well as films that go directly to DVD. However, it is not a good choice for films destined for movie theatres because the quality of the image produced is not clear enough to be shown on such a large scale.

Depending on the film's budget and needs, the production designer may select someone to serve as the key makeup artist.

This position is the makeup counterpart to the costume designer. The key makeup artist will work with the costume designer and the wardrobe and makeup departments to create the look for each actor. The makeup head may be in charge of selecting makeup artists to work on the actors, or s/he may be the only makeup artist for the entire film. (Again, this depends on budget and need.) Some actors may request specific makeup artists they have worked with before. Cosmetics purchased at a drug store or even a department store almost never offer the level of coverage and pigmentation (depth of color) needed for film. Using everyday cosmetics can result in actors who look completely unmade or who appear poorly made up. If a movie is being filmed in high definition, makeup artists will need to use makeup created specifically for HD. A film in HD shows much more detail than traditional film, even scars or imperfections that may not be very visible in person. Traditional makeup can settle into these areas, making them even more obvious on HD. Makeup for HD is finer, so it does not look grainy on screen, and it hides any imperfections without being obvious. Many brands of professional-grade cosmetics are available for purchase. Some of the most popular are Kryolan, Make Up For Ever, and Ben Nye. Most makeup artists have their own basic kits they bring with them, but many items may still need to be purchased, such as sponges, cotton pads, eye makeup applicators, and certain types of cosmetics. Supplies and cosmetics can be purchased online from the brands' sites or through different distributors. Some brands also have retail stores in which customers can see the products in person and sometimes even try them out. For example, Kryolan has stores in San Francisco and Chicago, and in addition to sales they also offer workshops and other events.

sound board

Through the sound board, which in appearance and function is similar to a light board, the input and output of almost all sound in theatre can be controlled. For example, a sound effect of an explosion can be played from a compact disc through the theatre's speakers via the sound board. The sound board is located in the audience area of the theatre, usually at the back on the main floor, sometimes hidden from the audience's view by low walls in a space called the sound booth.

troupe

When a group of actors regularly performs together

plays that were performed also functioned as

a means of moral and religious education for their audiences.

improvisation (improv)

a type of performance where the actors do not have a script. Instead, they create the performance as they go along, sometimes taking suggestions or directions from the audience.

voice-overs

are actors' lines that are not spoken by the actors within the scene but instead used as off-camera narration.

sound designer

begins his or her work by closely studying the script to determine exactly what types of sounds will be needed. Once the sound designer has read the script carefully, he or she meets with the production's director to discuss the overarching artistic vision for the production: what the director wants to accomplish and how sound will contribute to it. The sound designer then creates a design for the production's sound, which includes what specific sound (apart from dialogue) will occur when.

short shotgun mic

best for medium shots and close-up shots -most commonly used for dialogue -the sound crew may need to also use a windscreen near it, which will filter out the sounds of wind or the actors' breathing, for example.

makeup

cosmetic products, almost always tinted, that are used to change one's facial appearance. Makeup can be used to enlarge an actor's eyes, to add wrinkles, or to emphasize the mouth. It can also be used to enhance an actor's natural attractiveness if the role requires this.

sound effects are usually

diegetic

Professional-grade headphones

enable the filmmaker and sound director to block any noises around them and to focus just on the movie sound that is being or has been recorded

theatrical performances were sometimes one of the few forms of

entertainment available to people in more rural areas around the world, including either performances that they put on for themselves or those done by traveling companies.

Ancient Greek drama arose

from celebrations of the god Dionysus. - Plots of plays were based on religious stories: who the gods were, what they did, and how they interacted with humans. The plays reiterated themes that were important in Greek society and religion, such as humans' inability to escape or cheat fate or the gods, the human characteristics that the gods possessed, and the role that fate could play in people's lives.

audience

group of spectators, that is physically present during the performance

At the beginning of the production process, the entire cast gets together for what is called the first read-through. At the read-through, the actors read through their lines as a group with the director for the first time, stopping for clarification of meaning or to discuss ideas for movement and voice. At this first read-through, the costume designer takes the measurements of each performer. These measurements are recorded on a card, one per performer, or digitally. Here is a table of measurements that may be taken:

hip/waist to knee outseam (hip/waist to ground) inseam (crotch to ground) underarm to hip under bust/chest bust/chest shoulder to elbow shoulder to wrist underarm to waist backside (vertical and horizontal) hips low and high waist back (vertical) shoulders (across) neck (around) head (around)

long shotgun mic

ideal for filming scenes when the mic cannot be close to the actors who are speaking

narrative

is a story, usually fiction in the case of theatre and film, which is told in a linear, generally chronological manner.

art

is what results from the application and manifestation of a person's imagination and/or creativity, usually in a form or expression that is out of the ordinary.

ambiance

made up of those environmental or surrounding sounds that give a film's scene credence; ambiance sounds are generally softer than effects sounds -while ambiance plays an important part in sound for film, sometimes it can be a distraction; at that point, it falls into the category of sounds that a filmmaker does not want in the film

makeup effects artist

makeup artist who specializes in such effects

morality plays

medieval and Renaissance Europe; . These plays had their origins in religious morals, and they presented audiences with the moral struggles that individuals faced. They did so through characters embodying moral characteristics such as generosity or dissipation. These characters interacted with a central protagonist, who usually represented humankind in general. How that central character reacted to the struggles he encountered formed the basis of the play's moral lesson.

To help actors with the volume of their voices,

microphones are often used, particularly in professional theatre productions. Wireless lapel mics, which were discussed in the section on film, allow actors the physical freedom to move around the stage as their roles require while keeping them from straining their voices. Avoiding vocal strain is particularly important for productions that have long runs, or numerous performances, as overusing the vocal cords can lead to laryngitis.

sound cart

movable table that can hold the sound equipment. -acts as a sort of portable desk for the sound crew—their command center on wheels, in a way. Being able to move the equipment easily can save time and frustration during the filming process.

how to increase emotion level of a scene using sound?

music

how does sound ease transitions?

music is used for this purpose though other background sounds, such as wind, can be used as well; provides a sense of continuity for the viewer

how do actors strengthen their vocal skills?

must learn how to control their pitch, volume, pace, articulation (how clearly they pronounce their lines), and breathing. - If a performance requires the actors to engage in a good deal of movement, such as fighting or dancing on stage, the actors must be able to do so while still being able to speak or sing, so they must have vocal and physical endurance. - Finally, actors must also be able to speak in different accents

sound board operator

n charge of running the sound board for performances. The sound techs work with the sound equipment, moving it when needed, sometimes during performances or in between scenes. Before a performance ever opens, the sound crew, the lighting crew, and other techs have rehearsals, sometimes with the actors present and sometimes without the actors. These rehearsals enable the crews to make sure that their cue sheets are correct, that the equipment works properly, and that the actors understand what will happen during the performance.

didaskalas

name given for playwrights, teacher

theatre origins

religion, myth, and philoophy -people acted out stories to explain what was, to them, unexplainable

production sound mixer

responsibilities of the production sound mixer position can vary, again depending on the film's budget, needs, and size of the crew -he announces each take that is filmed and is responsible for slating - be responsible for recording voice-overs -records what are called "wild lines," which are lines that the actors repeat because the originals were not spoken or recorded clearly enough for the film's needs. -often in charge of sound effects. He or she may not necessarily be responsible for creating the sound effects, but he or she may be responsible for recording the sound effects that someone else creates. -On smaller-budget films, the filmmaker may select a production sound mixer who has his or her own equipment as this choice can save the filmmaker a considerable amount of money in sound equipment rental, and the mixer is likely to be skilled in using his or her own equipment.

intertitles

screens that appeared in the middle of scenes

non-diegetic

sound that comes from outside the world of the film but is still intentional; voiceover narration and music that is played to affect the film's mood are the two most common examples of non-diegetic sound.

diegetic sound

sound that comes from within the world of the film somewhere: a door slamming, a train horn blaring, or a character singing, for example.

types of sound

sounds that the filmmaker and crew want to appear in the film (diegetic and nondiegetic) and sounds that they do not want included

in Christian plays

that reenact the events of the Nativity and Jesus's crucifixion and resurrection have been performed for many centuries around the world. -For those who perform in these plays, the experience can provide a sense of closeness to something they consider divine or holy, which makes the play similar to an act of worship for these people

the piece of equipment that will be needed for practically every performance, however, is simple:

the actors' voices

willing suspension of disbelief

the audience understands that what they see in the performance is not real, but they voluntarily stifle that understanding for the duration of the performance, and they enter willingly into the world that the performance creates

While taking measurements,

the costume designer may engage in conversation with the actors to see if they have any specific ideas about their characters' appearances. A costume designer should be open to other people's input, particularly the actors, as they will be the most familiar with their own characters' personalities, movements, and other considerations. Remember: a successful theatrical production requires all members to work together.

diegetic music

the film's central characters may be musicians who spend a good deal of time on screen playing their songs

non-diegetic music

the music that plays whenever a villain appears on the screen, which alerts the audience to the villain's presence as well as sets the mood for the scene

theatre

the performance of acting, as a fine art, in front of an audience that is physically present at the time of the performance; ballet, opera, and stand-up comedy

equipment needed to produce the desired sound for a theatrical performance will depend on several factors:

the performance space (its size and setup); the demands of the script and the vision of the director; the budget; and the actors

What distinguishes theatre from film?

the physical audience's presence

catharsis

the release of those emotions

dialogue

the words spoken by the actors in a film -before technology was created that allowed dialogue to be heard by film audiences, they had to read the words on intertitles

script

the written version of the performance, which includes the words the actors will say and the playwright's stage directions. Actors memorize their lines of dialogue and rehearse, or practice, for anywhere from a few weeks to months before performing the play.

The camera works on a technical level as a

tool because it captures the images and actions. It also works as a tool for the filmmaker's artistic and storytelling vision. The film's audience can see only what is captured by the camera, and the filmmaker can manipulate the camera to capture only what he wants, in the visual style that he wants. Thus, the camera acts as an extension of the filmmaker.

touring company

travels from venue to venue to perform.

how does sound help setting?

use of a sound effect helps the film viewer become more immersed in the world of the film.

Slating

use of the film slate, also called a clapboard, which shows specific information about each take, such as the date, director, production, scene number, and take number. -Digital slates also have time stamps. Proper slating is an important part of filming as it enables the production's editor to later match up the sound that is recorded with the action that is filmed.

The traditional film or movie camera

uses celluloid film to record images; it has been used since cameras and movies were invented. Using a traditional film camera can give the movie a softer feel than digital cameras generally produce. A movie that is filmed with a traditional film camera will generally have a more "classic" look as well, a look that most moviegoing audiences still associate with the movie industry. However, using a film camera does have some disadvantages, the most notable of which is its inability to be seen and edited. In order to view and edit what has been recorded, the images must be transferred from film to tape. Immediate playback is not an option with a film camera.

Theatre as a fine art is really the result of several arts coming together simultaneously such as

visual art of scenery and set design, the fabric art of costuming, the literary art of the script, the art of music, the physical art of movement and dancing, and the art of vocal expression.

wardrobe

whatever kind of clothing and accessories an actor may wear while filming a movie or acting in a play --> For productions that take place during historical periods, wardrobe may include specific types of undergarments, such as petticoats that make skirts look larger. -->For films that are set in the future, wardrobe may include X-ray vision goggles that are worn by all actors. -->For a play or movie set in modern society, an actor's costume may be made up of casual street clothes, such as jeans and a T-shirt.

stock company

which is one that is affiliated with a specific theatre and that performs multiple plays each theatre season