Mr. Sullivan’s Exam Review Jeopardy!

1. Mr. Sullivan’s Exam Review Jeopardy! DISCLAIMER: Any resemblance to real television game shows, say “Jeopardy” owned by Sony Pictures Television for example, is purely coincidental and by having read this disclaimer you have agreed not to seek legal action against Mr. Sullivan or any entities which govern his work e.g. The Peel District School Board or The Ontario College of Teachers.

2. JEOPARDY!

3. AUDIENCE ETIQUETTE No using personal devices (e.g. phone, mp3 player, video game). No talking during the performance. Do not do anything to distract the performers. Do not enter/leave the room/theatre during a performance. Pay attention for positive and constructive feedback. Back to the Board

4. PERPLEXICON! Back to the Board

5. MIME Exaggerated Expression Exaggerated Resistance Consistency No Talking Slow down your movements Back to the Board

6. Tips for Memorization • Read Out Loud • If you are memorizing a piece of text it helps to read it out loud and repeat this several times. • Record Your Monologue and Listen • If you have a tape recorder, a computer with a microphone, or better yet and mp3 player, record yourself reading the monologue. Listen to it on your current playlist. • Use a Prompter • Work with a friend or with another student in the class. Give them your script and let them read it while you speak it. Get their help when you need a line without having to look at the paper. • The Peek-a-boo Method • Cover your monologue with a blank sheet of paper. Show yourself one line at a time starting from the beginning. Start by saying just the first line, and then the first and second together and so on until you have made it through the entire thing. Read it to yourself first, and then say it to yourself without looking down at the script. • Rehearse in character, with movement and props • Running your monologue in character with movement will help you memorize it. Your brain will make connections between your planned movements/blocking and the lines that cue that movement/blocking.Don’t wait until the last minute. • Memorization requires time and patience. If you try to do it the day of the performance you will get nervous, panic, and probably use your prompter. You will be so focuses on recalling lines that you will neglect your character work. Back to the Board

7. BLOCKING (staging context) Cheat Out (e.g. toes and hips facing the audience) Blocking should be motivated by the text (not random) Actors should deliver lines while facing the audience. Arrange scenes with 3 performers in triangles. Avoid throwing away lines while crossing. Back to the Board

8. Name the Theatre Configuration: The Proscenium Arch Back to the Board

9. Name the Stage Area marked x: X The Apron/Thrust Back to the Board

10. PERPLEXICON! Back to the Board

11. Name the Stage Area Marked x: X The Crossover Back to the Board

12. Name the Stage Area Marked x: X X Parados Back to the Board

13. Levels Unit: Mime, Movement and Tableau Significance: Performers arrange themselves at different “levels” (e.g. standing, sitting, kneeling) to add visual interest to a tableau. Back to the Board

14. Diaphragm Unit: Voice and Storytelling Significance: The diaphragm is a flat muscle located below your lungs. Stage performers practice diaphragmatic breathing, marked by the expansion of abdomen rather than chest when inhaling, in order to more efficiently supply their body with oxygen. This aids in voice projection. Back to the Board

15. Flocking Unit: Mime, Movement and Tableau Significance: Flocking is a technique used by performers wherein one performer is leading the movement of the others. It is used to create improvised choreography. Back to the Board

16. WayangKulit Unit: Puppetry Significance: WayangKulit is a form of Shadow Puppetry practiced in Indonesia. Performances last from sunset to sunrise and the audience can move freely in front of and behind the screen to see the mechanisms of the puppets and the puppeteers. Back to the Board

17. Status/Power Unit: Characterization and Verbatim Theatre Significance: A performer must always consider the status of their character, especially in relation to other characters on stage. High status characters will make eye contact with others whereas low status characters will avert their eyes and will be intimidated by high status characters. Back to the Board

18. Yes, And… Unit: Improv and Playwrighting Significance: When an ‘offer’ is made during an improvised scene, it is important to always say “yes” and then build upon the idea of the person who suggested it. You must listen and co-operate with other performers instead of ignoring and ‘blocking’ (in an improv context) their offers. Back to the Board

19. Commitment Unit: Applicable to all, but especially Collective Creation Significance: During any performance it is imperative that performers stay committed both to their character and to the scene on stage. Regardless of slip ups, technical difficulties, the show must go on! Back to the Board

20. Beckett Unit: Theatre of the Absurd, Scene Study Significance: Refers to Samuel Beckett, an Irish playwright who lived in France best known for writing Waiting for Godotand Endgame. He is an absurdist playwright known for writing bleak, dark comedy. Back to the Board

21. PERPLEXICON! Back to the Board

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23. PERPLEXICON! Back to the Board

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