DRAMA TEXTBOOK ICSE

AUTHORS: ALVINA SHAKIR HUSSAIN, RASHDAN

HARSH, VAIBHAV SINHA

DRAMA BATCH OF ‘24

{The largest batch of drama in GMA history}

{Dedicated to our future junior drama students, you're welcome.

Your seniors worked hard and made this unofficial textbook with our
blood sweat, and tears so that you can leisurely study. Thank us for
your marks and we know, we are the best. }

MEET THE AUTHORS

 RASHDAN HARSH ALVINA SHAKIR

VAIBHAV SINHA
DRAMA TEXTBOOK ICSE
AUTHORS: ALVINA SHAKIR HUSSAIN, RASHDAN HARSH, VAIBHAV SINHA
DRAMA BATCH OF ‘24
{The largest batch of drama in GMA history}
THE STAGE..............................................................................................................................................................................
Various parts of a stage
Different types of stages
Proscenium stage

2
GREEK THEATRE..................................................................................................................................................................
Imp terms
Central staging

INDIAN FOLK THEATRE.....................................................................................................................................................

Jatra
Ankiya naat bhaona
Therukoothu
Bhavai
Nautanki
Yakshagana
Swang
Tamasha
Bhand Paather
Navrasas

PUPPETRY...............................................................................................................................................................................

COMPOSITION........................................................................................................................................................................

EMPHASIS................................................................................................................................................................................
Types of emphasis
Methods obtaining emphasis

DRAMATISATION..................................................................................................................................................................

RHYTHM...................................................................................................................................................................................

MOVEMENT.............................................................................................................................................................................

USE OF SPACE, PEOPLE AND CONFLICT.......................................................................................................................

Space
Choosing an area for scene
Conflict
Techniques used to get focus
Imp terms
Actor
Movement and approaches
Slapstick and physical theatre
Movement techniques
Turns and gestures
Gestures

3
 Rehearsals
Blocking
Directors functions

PYGMALION............................................................................................................................................................................
Plot summary
Themes
Characters
Myth

LIFE OF GALILEO.................................................................................................................................................................
Plot summary
Director
Characters
Themes
Conflict

ANTIGONE...............................................................................................................................................................................
Plot Summary
Characters
Chorus
Themes
A DOLL’S HOUSE...................................................................................................................................................................
Plot
Characters
Themes
Conflict

THE MAIN TYPES OF LIGHTS............................................................................................................................................

VISUAL GLOSSARY...............................................................................................................................................................

MAKEUP...................................................................................................................................................................................
Theatrical makeup
Japanese and Chinese style makeup
Different Kinds of Make-Up
Straight Make-Up
Character Make-Up
Character makeup
Prosthetic Make Up
Process
Make-Up Artists

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COSTUMES...............................................................................................................................................................................
Types of Costumes
Uses of Costumes
Costume Design Process
Additional Considerations for Costume Design

PEOPLE OF THEATRE..........................................................................................................................................................

IMPROV THEATRE................................................................................................................................................................

THE END...................................................................................................................................................................................

5
THE STAGE
The stage – its various parts and different types of staging
(proscenium arch theatre, central staging, street theatre, folk
theatre, puppetry, Composition, picturisation, movement, rhythm,
dramatisation, emphasis.

Various parts of a stage -

● The director watching from the audience would see for
example stage left on his or her right.

Different types
of stages -
➔ Proscenium stage
● There is an edge to the stage
● Most common
● Audience in the front

➔ Platform stage
● Raised stage
● No barrier/frame

➔ Thrust stage
● Audience on 3 sides
● Least common used
● Stage goes in crowd

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 ● No backstage, constant movement is done

➔ Arena stage
● Audience on all 4 sides
● No back stage

➔ Black box stage

● The seats move / audience moves
● Can be any stage

➔ Open air theatre

● Does Not have a ceiling
● Its out doors

➔ Site specific
● Does Not use a stage, uses a site or location
● They use the site to their benefit

Proscenium stage-
● Arched frame
● Popularised during italian renaissance
● Uses one point perspective to create the illusion of dept
Advantages:
● Easy to place a set
● Easy to place a backdrop / cyclorama
● Less likely for the actors to “mask” each other
● Provides for spectacle
● Scene changes are easier

Disadvantages:
● Intimacy with audience is more difficult to achieve
● Can be seen as old fashioned
● Sightlines can be limited

GREEK THEATRE
● 2 types of greek plays: religious / tragedy and greek
comedy
● Great playwrights: Sophocles , Euripides, Aristophanes
● Only men acted, women's roles were taken up by men

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 ● The greeks preferred tragedies because people related to
it and released their emotions, another name for it is
catharsis and purgation

3 main parts of greek theatre:

● Kolion - Seating
● Skene - Backstage
● Orchestra - Place used for singing/dancing/music

Aristotle said that tragedy has 6 parts:

1. Plot - most imp
2. Characters - good, but not too good
3. Diction - Speaking clearly by enunciating the consonants in
words.
4. Thought - theme
5. Melody - chorus should contribute to the unity of the play
6. Spectacle - least imp and least connected

Imp terms -

1. Hubris - arrogance and excessive pride

2. Nemesis - protagonist's foremost enemy, they oppose
everything the main character believes in
3. Hamartia - a tragic flaw or error that leads to a character's
downfall
4. Peripetia - turning point in a drama after which the plot moves
to its denouement
5. Anagnorisis - a change from ignorance to knowledge
6. Catharsis - the purification/purgation of emotions like pity, fear
or sadness
7. Mimesis - imitation of an action

Central staging-

Form of theatrical staging in which the acting area, which may be

raised or at floor level, is completely surrounded by the audience.

8
INDIAN FOLK THEATRE

Jatra-

● Originated in Bengal in the 15th century

● Result of the bhakti movement
● Included love stories and socio-political themes

Ankiya naat bhaona-

● One act play from Assam

● Plays written in Brajavali
● Centred on Krishna

Therukoothu-

● From Tamil Nadu

● Performed in open, mostly during temple festivals in villages
● Has lively dances and songs sung in high pitch by males
● Female roles played by men

Bhavai-

● From Kutch and Kathiawar in Gujarat

● Subtle social criticism laced with humour
● Uses instruments like Bhunjai, Rabaab, Sarang ect

Nautanki-

● From Uttar Pradesh

● Performances can be anywhere
● Stories from folklore or mythological themes

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Yakshagana-

● From Karnataka
● Kings, demons, heroes, villains dominate
● Harmony of music, dance, eye-catching costumes and acting
● Narrator is known as Bhagavatha

Swang-

● Popular in Haryana, Rajasthan and up

● 2 styles: Rohtak performed in Bangru language
● Haathras performed in Braj Bhasha language

Tamasha-

● From Maharashtra
● Female actor is lead
● Fast footwork - Lavani dance

Bhand Paather-

● From Kashmir
● Begins with ritualistic dance called Chhok
● Ends in early hours of morning
● Uses satire
● Instruments are used like Mukam, Dhol, Swarnai, Nagara.

Navrasas-

● The Navarasas, also known as the nine rasas, are the nine
essential emotions or sentiments in Indian classical arts,
particularly in dance, music, theater, and literature. Each rasa

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 represents a distinct emotional state and is expressed through
various artistic forms:
● Shringara (Love/Beauty): This rasa embodies feelings of love,
romance, and beauty. It's often depicted through stories of love
and devotion.
● Hasya (Laughter): Hasya represents the emotion of joy, humor,
and comedy. It involves situations that bring about laughter
and amusement.
● Raudra (Anger): Raudra portrays the emotion of anger, rage, or
fury. It's expressed through intense and fiery performances.
● Karuna (Sorrow): Karuna embodies feelings of sadness,
compassion, and empathy. It's expressed through stories that
evoke emotions of pity or empathy.
● Veera (Heroism/Courage): Veera represents valor, bravery, and
heroism. It showcases courage, strength, and determination.
● Bhayanaka (Fear): Bhayanaka is the emotion of fear, anxiety, or
terror. It's depicted through situations or characters that evoke
a sense of fear.
● Bibhatsa (Disgust): Bibhatsa portrays feelings of disgust,
repulsion, or revulsion. It's expressed through situations or
characters that evoke a sense of aversion.
● Adbhuta (Wonder/Amazement): Adbhuta represents the
emotion of wonder, amazement, or astonishment. It's depicted
through extraordinary or awe-inspiring situations.
● Shanta (Peace/Tranquility): Shanta embodies feelings of peace,
tranquility, and serenity. It represents a state of calmness and
contentment.
These rasas are crucial elements in traditional Indian arts, and
artists use various techniques, expressions, and nuances to convey
these emotions effectively to their audience.

PUPPETRY
A puppet is a figure that is moved by a person
It develops:
● Effective listening and looking skills
● Improves group cooperation
● Maintains self-control

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Hand puppets
● Few or no moving parts
● Can be stiff, made from hard plastic or be flexible made from
fabric with some stuffing
● Eg - sock puppet

Finger puppets
● Can be a small round ball painted with heads and colourful
costumes made from fabric or paper
● Operated below the stage

Shadow puppets
● Flat pictures in which the shadow is seen
● May be cut from paper, leather, any opaque material and can
be made by hands

String puppets
● Full length puppets controlled from above
● Moved by strings or threads attached to the limbs to a control
of 2 sticks in an x or + position
● Movement is made to a large extent by tilting but individual
strings are plucked when a desired movement is needed

Stick puppets
● Created by when a model is attached to a stick made from
paper or styrofoam

Rod puppets
● Supported by rods attached to the body and hands.

Composition
● Composition is the structure, form or design of a group it is the
arrangement of people on a stage
● Composition can't be avoided in the placement of set pieces,
furniture, ppl on stage.

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Emphasis
● Emphasis is used by the director to give focus to the performer
or area of the stage the audience should be looking at.
● Many people at once can get emphasis

Types of emphasis -

➔ Direct emphasis - where 1 person gets emphasis

➔ Duo emphasis - when 2 or more people receive emphasis

Methods obtaining emphasis -

Through body positions

● In a group of people standing onstage standing in many body
positions, the one with full front body position will receive the
emphases
● Emphasis is obtained by having one person use many diff body
positions
● Having many body positions used in one scene by different
people

Through area
● If a group of people spread over the stage without much form,
the actor in the centre area will take on emphasis
● But if other factors giving emphasis enter into the stage
picture then the emphasis won't be that strong

Through plane
● The downstage plane is the strongest, a figure in this position
will receive emphasis.
● A stage has 3 dimensions

Through level
● The attention of the audience is attracted by whatever is
higher than the regular line of vision

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 ● If a group onstage is sitting, the emphasis goes on the person
who is standing or sits on the arm of a chair or sits in a chair
with higher seat.

Through contrast
● An actor in a
position that is
sharp in contrast
to the positions of
the other actors
will receive
emphasis

➔ Examples in the
use of contrast
● Body
positions
● Area
● Plane
● Level

Dramatisation
to adapt (something, such as a novel) for theatrical presentation.

Rhythm
Rhythm refers to the timing and pace of the drama. It also means the
beat or tempo of the performance.

Movement
1. To convey dramatic meaning through the use of body, action and
blocking.
2. The action or 'flow' of a play or performance as it moves from one
event to another.

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USE OF SPACE, PEOPLE AND CONFLICT
Space -
● theatrical space: could be a conventional stage or any other
area where a theatrical performance is held
● The use of space means the urge of the areas on the stage to
create a specific atmosphere or stage

This is achieved by
1. Movement of actors
2. Use of props
3. Appropriate placement of set/furniture
4. Full, complete gestures
5. Colourful and lighting costumes
6. Actions involving conflict, dramatic gestures and facial
expressions

Proscenium arch stage - only frontal view for the audience, it has
some guidelines to create an impactful visual on stage

Choosing an area for scene

● Downstage area - closest to the audience, the audience views
the scene as they get maximum impact of the visual
● If you go from downstage to upstage then the effect of the
visual continues to decrease
● Imp scenes to be held downstage
● Downstage right - most imp scene/action done here as
audiences vision travels from right to left
● Central area - used for narration, soliloquies or any other
speech rendered by an actor when alone on stage
● Right centre stage - used for entries of imp characters as they
get maximum attention as they move downstage
● Upstage - creates background. Ex: crowd in a crowdy scene

Conflict -
Challenges the main characters need to solve and achieve their
goals

Techniques used to get focus-

● Use of spotlight on a particular character

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 ● Using a specific colour on the characters costume
● Giving movement to the character while others are still in a
scene
● Use of “conflicting action” in a particular area on stage

Imp terms-
Skit
● Smallest play in terms of decoration
● Does Not exceed 15 mins
● Not complex, simple, very effective for conveying a message

Script
● Written text of the play {dialogues, stage direction and other
imp info}
● Useful guide for actors/directors to prepare for the
performance
● Provides clarity and definiteness to the play

One act play

● Plays in one act, multiple scenes
● Playwrights explore themes for such plays
● 45-50 mins
● Popular among youths

Three act play

● Long duration, complex
● First act is exposition and info on characters
● Second act - plot is developed and reaches the highest
dramatic point {climax}
● 3rd - the turning point of the story or a resolution to the crises

Five act play

● Aristotle poetics
● Exposition, rising action, climax,falling action and resolution

Actor
● Full front - address the audience

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 ● ¼ L or R - gives the appearance of social interaction or
engagement with action happening on stage. Used to stage
dialogues
● Profile- feet are parallel with the audience and only part of the
actor is seen, used to deliver secret info
● ¾ L or R - ¼ of actor's face and ¾ of actor’s back, used to show
secrecy or to convey info
● Full back- weakest body position

Movement and approaches

● Movement means actors on stage move around
● Link movement to motivation of a character

Slapstick and physical theatre

● Slapstick is a type of choreographed rough house or physical
comedy
● Physical theatre is a form of performance including spoken
text. It’s a means of telling a story through physical means ex:
story-driven dance, clownery or mime

Movement techniques
1. Alexander technique- applies specialised body awareness
strategies to correct unnecessary tension
2. Jacques Lecoq - Mix of mime, mash work and freedom of
expression
3. Corporeal mime- counter-argument to pantomime using
expressive movements to illustrate abstract concepts
4. Viewpoints - used to create a story onstage through time,
space and sound
5. The Suzuki method - extreme physicalities, trains actors to
work from their core and regulates discipline, strength and
focus
6. Williamson technique - teaches that awareness of sensory
stimulation creates experiences for actors.
7. Laban movement analysis - movement into 4 categories: body,
effort, shape and space

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Turns and gestures -

● Gesture is defined as a sign that communicates a character’s

actions, state of mind and relationship with other characters to
an audience

Gestures -

● Illustrations- use of hands

● Manipulations- one body part, manipulates/interacts w one
other’
● Emblems- hands or head, shoulder, face, non-verbal acting

Rehearsals -

1. Selection of play
2. Reading and casting
3. Blocking and rehearsals
4. Working with designers
5. Polishing other play
6. Run-through
7. Tech Run-through
8. Grand Run-through
9. Final show

Blocking -

Blocking is the precise staging of actors in order to facilitate the

performance of a play, ballet, film or opera.

Blocking is the placement of actors and props and composition is

the combination of the placement of characters, props, and their
techniques

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Directors functions -

● Conceptualising the Production: The director develops the

artistic vision and interpretation of the play, setting the overall
tone and style.

● Casting: The director selects and casts actors who are best
suited for their roles and can work effectively together.

● Rehearsal Process: The director leads rehearsals, guiding the

actors in their performances and helping them refine their
characters and interpretations.

● Blocking and Staging: The director determines the physical

movements and positions of the actors on stage, creating
visually dynamic and meaningful stage pictures.

● Interpretation and Vision: The director ensures that their

artistic vision is realized throughout the production, making
decisions about the tone, style, and mood of the play.

● Collaboration with Designers: The director collaborates with

designers to develop the visual and technical elements of the
production, including set design, costumes, lighting, sound,
and music.

● Communication and Collaboration: The director facilitates

effective communication and collaboration among the creative
team, actors, and production staff.

● Technical Rehearsals: The director oversees the integration of

technical aspects, such as lighting, sound, and set changes,
with the performances during technical rehearsals.

● Overall Production Management: The director may be involved

in production management tasks, including budgeting,
scheduling, and coordinating with the production team.

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 ● Final Performance: On the day of the performance, the director
ensures that all elements are in sync and effectively
communicates the artistic vision to the audience

PYGMALION

Plot summary -

"Pygmalion" unfolds as Professor Henry Higgins, a phonetics expert,

encounters Eliza Doolittle, a working-class flower girl with a strong
Cockney accent. Intrigued by his belief that one's social standing is
determined by language and manners, Higgins makes a wager with
Colonel Pickering, another linguistics enthusiast. The bet is that he
can successfully pass off Eliza as a refined lady within a specified
timeframe.

The play takes us through Eliza's rigorous transformation under

Higgins' strict guidance. From speech lessons to etiquette training,
Eliza undergoes a remarkable metamorphosis. As the process
unfolds, deeper themes emerge, including questions of identity, self-
worth, and societal expectations. Shaw uses humor and wit to
critique the rigid class structures of Victorian society, highlighting
the malleability of human behaviour and the influence of external
factors.

Eliza's journey becomes a focal point for exploring the power

dynamics between social classes and the implications of linguistic
and behavioural changes. The play forces the audience to confront
ethical questions surrounding the manipulation of one's identity for
social acceptance. The culmination of the story raises thought-
provoking issues about authenticity, the fluidity of social roles, and
the true measure of an individual's worth beyond superficial
transformations. "Pygmalion" remains a classic exploration of
language, class, and the intricate interplay between societal
expectations and personal identity.

20
Themes -

● Language as a class barrier

● Myth of Pygmalion
● Gender identity
● Appearance and reality
● Social prejudice

Characters -

● Henry Higgins - Authority on phonetics, energetic scientific

type, careless about feelings.
● Eliza Doolittle - Dirty flower girl, lower-class, intelligent and
ambitious, transformed into a lady.
● Colonel Pickering - Author of spoken Sanskrit, elderly
gentleman generous and courteous, kind to Eliza.
● Alfred Doolittle - Vigorous “dustman”, spends recklessly, no
morals, Eliza’s father.
● Mrs. Higgins - Upper-class, irritated by son’s insensitivity,
intelligent and perceptive.
● Freddy - Upper-class, good-natured and weak, a true
gentleman, infatuated with Eliza.
● Ms. Peake - Huggins’ housekeeper, cares for Eliza, farms land
with Eliza, and pushes Huggins to be considerate.

Myth -

In Greek mythology, Pygmalion, a skilled sculptor and king of Cyprus,

crafted an ivory statue of unparalleled beauty. He fell deeply in love
with his creation and, during the festival of Aphrodite, prayed for a
wife as perfect as the statue. Touched by his plea, Aphrodite
brought the statue to life, and Pygmalion named her Galatea. The
myth explores themes of love, artistic devotion, and divine
intervention, inspiring adaptations like George Bernard Shaw's play
"Pygmalion" and the musical "My Fair Lady," which both center on
transforming an ordinary person into an idealized figure. This myth
was told in Metamorphoses by Ovid.

21
LIFE OF GALILEO

Plot summary -

"Life of Galileo" is a play written by the German playwright Bertolt

Brecht. The play explores the life and career of the Italian scientist
Galileo Galilei, focusing on his struggles with the Catholic Church
and the Inquisition due to his support for the heliocentric model of
the solar system.

The story begins with Galileo's early discoveries with the telescope,
which confirm the heliocentric theory proposed by Copernicus. As
Galileo gained more evidence supporting this revolutionary idea, he
faced opposition from the Catholic Church, which adheres to the
geocentric view that the Earth is the centre of the universe.

Throughout the play, Galileo grapples with the conflict between his
scientific discoveries and the religious and political authorities of
his time. Despite being initially vocal in support of the heliocentric
model, he is eventually forced to recant his views under the threat of
torture by the Inquisition.

The play highlights the tension between scientific progress and the
entrenched beliefs of the Church and society, as well as the personal
and ethical dilemmas faced by Galileo as he navigates this
challenging terrain. "Life of Galileo" is a thought-provoking
exploration of the clash between scientific inquiry and established
dogma.

Director -

Bertolt Brecht was a German playwright and poet known for his
distinctive style, often referred to as "epic theatre" or "Brechtian
theatre." Some key features of Brecht's style include:

22
 ● Verfremdungseffekt (Alienation Effect): Brecht sought to
distance the audience emotionally from the characters and
events on stage to encourage critical thinking. This was
achieved through techniques like direct address to the
audience, breaking the fourth wall, and interrupting the
narrative flow.

● Non-illusionistic Theatre: Instead of creating a realistic and

immersive theatrical experience, Brecht aimed to remind the
audience that they were watching a play. This was done to
prevent emotional identification with the characters and to
keep the audience intellectually engaged.

● Use of Songs and Music: Brecht often incorporated songs and

music into his plays to underscore themes, provide
commentary, and enhance the overall theatrical experience.
These elements contributed to the episodic structure of his
works.

● Political and Social Themes: Brecht's plays frequently dealt with

social and political issues. He aimed to provoke thought and
encourage audiences to critically examine the world around
them. His works often had a didactic purpose, challenging the
status quo and advocating for social change.

● Epic Structure: Many of Brecht's plays had an episodic

structure, resembling an epic narrative. This allowed for a
broader exploration of social and historical contexts, rather
than a narrow focus on individual characters.

● Collaborative Creation: Brecht often collaborated with a

collective of artists, including composers and set designers, to
create a unified theatrical experience. This collaborative
approach aimed to serve the collective nature of society and
the shared responsibility for social change.

Brecht's style was a departure from traditional theatre, emphasizing

intellectual engagement and social critique. His influence on

23
modern theatre remains significant, and the term "Brechtian" is often
used to describe works that share his distinctive approach.

Characters -

● Galileo Galilei - Protagonist, scientist.

● Virginia Galilei - Daughter of Galileo, ex-fiancee to Ludovico.
● Andrea Sarti - Son of Galileo’s housekeeper, Mrs. Sarti and
assistant of Galileo.
● Sagredo - Assistant to Galileo.
● Federzoni - Assistant to Galileo.
● Fulganzio - The little Monk, assistant to Galileo.
● Ludovico Matsili - A Tuscan nobleman who engages Galileo as
a tutor.
● Cardinal Barberini - One of two cardinals who was charged
with communicating the papal decree against Copernican
cosmology to Galileo.
● Mrs. Sarti - Galileo’s housekeeper.

Themes -

● Freedom of thought and speech

● Knowledge and society
● The moral responsibility of the scientist

Conflict -

The main conflict in "Life of Galileo" revolves around the clash

between scientific discovery and the established beliefs of the
Catholic Church and societal authorities. Galileo Galilei, the
protagonist, makes groundbreaking observations with his telescope
that support the heliocentric model of the solar system, challenging
the geocentric view endorsed by the Church. As Galileo's ideas
gained traction and posed a threat to the religious and political
status quo, he faced opposition, censorship, and ultimately
recantation under the threat of the Inquisition. The play explores the
tension between scientific progress and the resistance of

24
entrenched institutions, highlighting the personal and ethical
dilemmas faced by Galileo as he navigates this conflict.

ANTIGONE

Plot Summary-

"Antigone" is a tragedy play written by the ancient Greek playwright

Sophocles around 441 BCE. It is the third play in a trilogy that also
includes "Oedipus Rex" and "Oedipus at Colonus," although the three
plays were written at different times and are not a continuous
narrative. "Antigone" focuses on the consequences of violating the
laws of the state in favour of one's moral or religious beliefs.

The plot revolves around the aftermath of a civil war in the city of
Thebes. Antigone, the daughter of Oedipus, is determined to give
her brother Polynices a proper burial, even though the king, Creon,
has declared that Polynices must remain unburied as punishment
for rebelling against the city. Antigone's act of defiance sets up a
conflict between personal morality and the laws of the state,
exploring themes of duty, justice, and the consequences of moral
choices.

Creon, who is both Antigone's uncle and the ruler of Thebes, insists
on enforcing the law and orders Antigone's execution. The play
explores the clash between Antigone's loyalty to her family and the
divine laws and Creon's commitment to the stability of the state. The
characters in "Antigone" grapple with questions of morality, justice,
and the balance between individual and societal interests.

The play ends tragically, with the deaths of several key characters,
including Antigone and Creon's son Haemon, who was engaged to
Antigone. The tragedy serves as a cautionary tale about the
dangers of inflexible leadership and the consequences of placing
the interests of the state above those of individual conscience.

25
"Antigone" is a classic work of Greek literature and has been widely
studied and adapted over the centuries. It remains relevant for its
exploration of ethical dilemmas, the conflict between personal and
political authority, and the consequences of rigid adherence to the
law.

Characters -

● Antigone - The protagonist of the play; daughter of Oedipus;

determined to give her brother Polynices a proper burial
against King Creon's decree.
● Creon - The king of Thebes; Antigone's uncle; rigid and
authoritative ruler who enforces the law forbidding the burial
of Polynices.

● Ismene - Antigone's sister; initially hesitant to defy Creon's

decree, but ultimately unwilling to let Antigone face
punishment alone.

● Haemon - Creon's son; engaged to Antigone; torn between

loyalty to his father and his love for Antigone.

● Eurydice - Creon's wife; takes her own life after learning about
the tragic events in her family.

● Tiresias - The blind prophet who warns Creon about the

consequences of his actions and decisions.

● Polynices - Antigone's brother; declared a traitor for rebelling

against Thebes; denied proper burial.

● Eteocles - Antigone's brother; fought against Polynices in the

civil war and is given an honourable burial.

● Chorus - The chorus represents the elders of Thebes and

provides commentary on the events of the play.

26
Chorus -

Across Greek tragedies, the chorus plays a pivotal role as a

narrative device and a reflection of societal values. Functioning as a
collective voice, the chorus provides commentary, moral reflections,
and emotional context to the unfolding events. Whether in
Sophocles' "Antigone," Euripides' "Medea," or Aeschylus'
"Agamemnon," the chorus serves as a conduit for the audience to
connect with the broader implications of the characters' actions.
Their lyrical odes contribute to the overall atmosphere, enhancing
the tragic experience and offering a communal perspective on the
ethical and existential dilemmas explored in these timeless plays.

Themes -

● Conflict between Individual and State Law

● Moral Consequences
● Hubris and Pride
● Family Loyalty
● Gender Roles
● Divine Law vs. Human Law
● Consequences of Stubbornness
● Fate and Free Will
● The Role of the Chorus

A DOLL’S HOUSE

Plot -

"A Doll's House" is a play written by Norwegian playwright Henrik

Ibsen. It was first performed in 1879 and is considered a landmark in
the development of modern drama. The play is a scathing critique of
19th-century societal norms, particularly those concerning gender
roles and marriage.

The story revolves around Nora Helmer, a seemingly happy wife and
mother, who is living a comfortable but constricted life. As the play

27
unfolds, it becomes clear that Nora is concealing a significant secret
from her husband, Torvald. The revelation of this secret exposes the
power dynamics in their marriage and challenges the prevailing
social expectations of women at the time.

One of the central themes of "A Doll's House" is the exploration of

individuality and the quest for self-discovery, as Nora grapples with
her own identity in a society that confines women to predefined
roles. The play is celebrated for its groundbreaking portrayal of
women's issues and its bold departure from the conventions of its
time.

Characters -

● Nora Helmer - The protagonist, a seemingly carefree and

childlike wife, who ultimately grapples with issues of identity
and societal expectations.

● Torvald Helmer - Nora's husband, a banker, and a conformist

who adheres to societal norms, but reveals a lack of
understanding and empathy for Nora's struggles.

● Krogstad - A morally ambiguous character who works at the

bank with Torvald, initially portrayed as an antagonist, but his
character evolves throughout the play.

● Christine Linde - Nora's old friend, a widow, who represents the

consequences of societal expectations on women and the
sacrifices they make.

● Dr. Rank - A family friend and confidant of Nora and Torvald,

he provides insight into the characters' relationships and
serves as a symbol of the consequences of societal norms.

● The Nurse - A minor character who takes care of the Helmer

children, symbolizing the delegation of maternal duties in a
wealthy household.

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Themes -

● Gender Roles and Expectations

● Identity and Individuality
● Deception and Secrecy
● Social Expectations and Morality
● Marriage and Family Dynamics
● Financial Dependence and Independence
● Critique of Middle-Class Values

Conflict -

"A Doll's House" revolves around the central conflict between societal
expectations and individual identity, particularly within the context
of gender roles. Nora, the protagonist, grapples with the prescribed
roles of wife and motherhood, leading to a conflict between her
desire for self-discovery and societal norms. The revelation of a
significant secret and Nora's rebellion against traditional gender
roles and financial constraints drive the narrative, highlighting the
tensions between societal expectations and individual agency.
THE MAIN TYPES OF LIGHTS

FLOODLIGHTS- Floodlights are used to brighten up large areas of

the stage and can fill in any areas that are too dark. They provide a
wide, soft light source. Common types of floodlights include soft,
broad, fixed-focus, and fluorescent lights.

SOFT LAMPS- They use bright lights and wrap around the subject,
mostly to cut down on shadows on the stage. They look like boxes
and are usually portable.

BROAD LIGHTS- These are tiny lights that come in a box-like shape
and usually only have one lamp. They're used in tiny spots on the
scene to add some extra light to make the shadows lighter and not
overpower the main light.

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FIXED-FOCUS LIGHTS- It covers a large portion of the stage and
provides an even and easy-to-control light field.

SPOTLIGHTS- LED lights make great spotlights for your project.

SSRC's LED Work Light is a great way to get strong beams of light
onto the stage.

VISUAL GLOSSARY

15 AMP CABLE- 15 amp is a high-current

cable that's great for high-current
applications, like stage lighting. It's a great
alternative to the regular 13-amp main plug
because it draws more power. 15 amp
sockets are also different in design to make
sure high-current devices don't overload
the 13 amp circuits.

BARNDOOR- A barndoor is a type of shuttered

window. They are flaps that block light from
entering the room. Barndoor shutters are not
as accurate as shutters, but they are often
used to block spilled light.

Control cable (named DMX512 cable)- The control

cable is the connection between the desk and the
dimmers that turn on the lights. It's done through
a serial digital connection, which is cheaper than
the parallel systems that were used in the past.

COLOUR FRAME- A colour frame is basically a

piece of metal that's been coloured and folded up
so it can hold coloured gel. They're made to fit
right on top of the fixtures.

COLOUR SCROLLER- It's a lighting accessory that

lets you change the colour gels on your stage
lighting instruments. Inside the colour changer,

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there's a scroll of colours, so you can quickly switch between
different colours when you need to.

CHURCH SOUND SYSTEMS- Church sound systems

present a unique set of challenges due to the
acoustical characteristics of this type of venue.
Additionally, the speaker and sound system design
must be harmonious with the aesthetic of the
church interior. Sound systems may include fill-in
speakers, a pre-programmed audio system
(particularly for larger venues), and automated
mixers.

Communications Systems (COMMS)- A

communication system is a way for multiple
people to have a conversation at the same
time. Everyone can talk to each other and
hear each other's voices. It's a lot like a
phone system, but it requires more power,
two or more outstations, and belt packs to
do it all. More complicated systems can
include different channels.

DIMMER- A dimmer gives you the ability to

adjust the brightness of your light by changing the
amount of power it sends through the cables to the lights.
It does this automatically on the light deck.

FILAMENT- A filament is basically a tiny piece of metal

that's heated up by a current that sends light out in all
directions. You'll find them in your regular light bulbs.

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FLATS- These are flat theatrical sets, sometimes referred
to as ‘backdrops’. They are created by painting or
decorating them to look like buildings or other
environments. They are typically about 12 feet in height
but may be shorter or longer.

FLOOD- A flood light lights up a wide area. It's not

controlled, it doesn't have a lens, and it's a cheap and
efficient way to light up a place. Even from far away, the
area is still lit up evenly.

FOLLOWSPOT (SPOTLIGHT)- A follow-spot, also called a

spotlight, is a spotlight that projects a bright light onto
the stage. It usually lights up one character in a show. The
spotlight uses a high-powered discharge lamp and a
manually focused lens.

FRESNEL- A Fresnel light takes after the name of its lens,

the Fresnel lens. The Fresnel lens uses a series of
concentric glass rings which focuses the light in a
certain way. The Fresnel light gives the effect of a beam
of light but with soft edges, meaning it is not that precise
but allows a greater spill of light onto the performance
area. It cannot project Gobo images but is a great tool
on stage when used close-up on a subject.

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GEL (OR COLOUR FILTER)- A gel is a plastic
sheet that fits in front of a light. It's coloured
and can be used to create different
atmospheres and moods on stage. For
instance, a red gel could be used to create
an atmosphere at a crime scene or when a
character gets angry. A lot of tech directors
use gels in their performances to create
different effects.

Gobo- Gobos are pieces of metal or glass

that block certain areas of light to create a
pattern or silhouette on the screen. This
could be a company logo, shape, or text.
They work with smart lights and projectors.

HALOGEN LAMP- Halogen lamps are

incandescent lamps made of tungsten. The
tungsten in the lamp contains a tiny amount of
halon. The light in a halon lamp is very bright
and very hot.

HAZERS- Hazers, also known as haze generators,

are similar to fog machines in that they produce
clouds of unobtrusive and safe smoke which are
suspended in the air. This creates subtle diffusions
with light beams and so produces excellent effects
in any performance space.

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HOUSE LIGHTS - House lights are lights which
illuminate the theatre before and after a
performance so that the audience can find their
seats. These might be incandescent lights or
fluorescent lights, and they are controlled by
dimmers under the supervision of the stage
manager.

HYDRARGYRUM MEDIUM-ARC IODIDE LAMPS- Known

as HMI, this type of lamp is used in the entertainment
industry. These lamps are more efficient than
incandescent bulbs and provide a very high light
output.

INDUCTION LOOPS- Induction loops aid those who are hard of hearing
also referred to as hearing loops. It is essentially a loop of cable which is
put in a room that generates a magnetic field picked up by a person’s
hearing aid. This means the person can hear the sound more clearly
without any other interference.

Intelligent lights (Moving lights)- Intelligent

lights are an automated type of stage lighting,
also known as moving lights. They are
versatile, multi-functional and economical.
You can pre-programme the lights for
different effects which can be played back
using simple controls. They can also be
operated live if required. These types of lights
are often used as a way of quickly changing
and controlling moods and effects in larger
venues and performance spaces.

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IRIS- This is a metal frame with a shutter assembly. The iris is put inside a
focal plan or a fixture just before the lens assembly, and it reduces the
width of the beam emitted from the fixture itself.

LECTURE THEATRE SOUND SYSTEMS- A lecture theatre sound system has

a challenging job because lecture theatres often pose trouble with echo
as space is vast. In some lecture theatres, microphones may need to be
provided; automotive mixers may also be used to control the sound from
the mic.

LED LIGHTS- LED stage lights use “light emitting diodes”

as a lighting source. These act as alternatives to
traditional lighting used on stages such as halogen
bulbs. The benefit of LED lights is that there is a high
light output but low energy consumption.

LENS- A lens is a thick piece of glass which redirects

the light rays as they pass through it. Most lenses are
curved to give an accurate image, although some other
lenses work differently. See Fresnel lens for another type
of lens.

LIGHTING DESK- A lighting desk is the control desk

which houses various switches that are connected to
lights in the theatre. Modern lighting desks are
computer-controlled where scenes are saved into the
computer’s memory so that the light can
automatically change.

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LIVE MUSIC CLUB SOUND SYSTEMS- There are
many different types of live music venue which
are why sound systems can differ from one to the
next. Venues need to make the sound of the
music consistent throughout the venue,
especially when the club is not an open space,
but has various corners or is in an “L” shape. An
air-conditioned room is required to keep the
equipment cool in this type of setting, and the
amps need to be of an appropriate size, too.
Other equipment used may include microphones and automatic mixers.

MIXING CONSOLE- Also called a sound

board or mixing deck, a mixer is an
electronic device which can control audio. It
can be the volume or dynamics of audio
systems. They are used in many different
types of venues, from a theatre to a lecture
hall.

MOVING HEAD LIGHT- Moving headlights are also

known as intelligent lights. They can be remotely
controlled through a signal cable. These lights are
versatile and powerful as they can rotate to
illuminate any area of the stage by the control
lighting desk. Moving lights are usually available in
two types, profile and Fresnel.

Multicore cable (named Lectroflex)- A multicore cable

has six 15amp cables inside it. This is beneficial as all
the cables can run alongside each other in a neat
package, as well as having the advantage of double
insulation. This reduces cost and allows for an easier
connection.

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PA SYSTEMS- A PA system is an electronic
amplification system which hosts loudspeakers,
amps and mixers. This is most commonly used when
a person is giving a speech, addressing an
auditorium or where a DJ plays music. It means that
everyone in the room can hear the sound clearly.

PARLIGHTS (PARCAN)- A parcan or parlight is a robust

lamp which consists of a lens, a filament and a
reflector component in a sealed lamp. It produces a
bright white light and is a lighter bulb in weight. This is
a very cheap yet powerful lamp.

PC (PEBBLE CONVEX/PLANO-CONVEX)- This lamp is

a cross between a profile lamp and a Fresnel lamp. It
used a rough reflector which is used to diffuse light
beams. This type of lamp produces less spill of light
and acts more efficiently than a Fresnel light.

POWER AMPLIFIERS (AUDIO)- Power amps boost a

low-power signal and provide power to drive a
loudspeaker. Every kind of speaker requires a
power amp, right down to the use of headphones.
Some power amplifiers use limiters to protect the
speakers from overloading with too much power.

PROFILE- A profile lamp is an efficient light which

focuses the light into a sharp beam with a little light
spill. This means that the profile lamp can be used
with gobos to project a bright and sharp image.
Using a fixed beam angle, it can also produce zoom
profiles.

PROJECTION SCREEN- A projection screen is designed to display a

projected image so that a whole audience can view it. This might be
projecting something like a document, a spreadsheet or a hymn sheet. For

37
this reason, many different venues use a
projection screen, and they can be permanent,
semi-permanent or mobile.

RECORDING STUDIO- A recording studio is a

studio used to record sound or for mixing
purposes. Voice-over artists will use a
recording studio, as well as other vocalists or bands. They
are designed for the best acoustic tuning and
the clearest sound possible.

REFLECTOR- A reflector is a surface that is

reflective, directing the light in a particular
direction. They are most commonly in circular
or oval shapes.

SCOOP (ELLIPSOIDAL REFLECTOR

FLOODLIGHT (ERF))- A scoop’s technical name
is an ellipsoidal reflector floodlight. It is a large
and dome-like reflector. It does not have a lens
and has a large, high-powered lamp. The metal
around the lamp is large and curved and acts
as a reflector. Many theatres and large
performance spaces use this lamp to flood the
stage with downlight.

SHUTTERS- A series of metal plates which can be used to shape the light
coming out of some types of lights. A circular shape can be created when
the shutters are fully retracted, and a rectangular or square shape can be
made when the shutters are pushed in.

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SIGHTLINES- A sightline is a line in which
people can see the stage, for example, in
theatres the seating is designed so that each
can see through the heads of the two
individuals in front. This allows everyone to get
the best view of the stage possible, as well as
the orchestra pit and any other key features of
the theatre. It is important each person can
see well to get the best experience in the
theatre.

SIGNAL PROCESSORS (AUDIO)- Signal processors offer the technician the

chance to manipulate auditory signals or sound. This may be in a digital
or analogue setting. The most common place for signal processors is in
audio broadcasting. The most common audio processing takes place just
before the transmitter. The signal audio processor can correct errors in
the sound wave, adjust volumes and prevent over-modulation.

SOUND REINFORCEMENT SYSTEMS- Sound

reinforcement systems allow larger audiences
to hear the sound louder and more clearly, by
using equipment like microphones, signal
processors, amplifiers and other
loudspeakers. This allows the sound to be
distributed more efficiently in venues like
theatres and music venues.

STAGE LIGHTING- Stage lighting is the use of light on

stage like theatres, dance halls and so on. There are
various types of stage lighting, like spotlights. You
can have different colours and intensities, too.
Depending on the kind of performance, stage
lighting can be manipulated to create effect and
symbolism.
STAGE DRAPES (CURTAINS)- Stage drapes are
large, heavy pieces of cloth or velour-type
material that block out backstage areas. They
can also be used in performance spaces to
divide the space accordingly. They are usually
dark in colour and hang from above.

39
STRIPLIGHT- A striplight is a stage lighting instrument with multiple
circuits. It is a primary light fixture, and it usually consists of three rows of
lamps. These types of lights can be found in churches, schools and
performance venues. More recently, LED striplights have been created for
a more efficient lighting fixture.

THEATRE RIGGING (FLY SYSTEMS)- A theatre

rigging system is a system of lines and blocks
which allow the staff to hoist curtains, lights and
scenery seamlessly onto the stage during a
performance. They need to be professionally
assembled to ensure maximum safety.

THEATRE SOUND SYSTEMS- A sound system

in a theatre may consist of a PA system,
amplifiers, microphones, and mixing control
decks. A sound engineer or technician needs
to monitor the sound system to get the best
sound at the right time during the
performance.

VIDEO PROJECTOR- A video projector displays video images or static

images onto a projection screen. This is useful during presentations in
lecture halls or even on stage to set the scene for performance. They are
used in many different venues and can be a permanent fixture or a mobile
accessory

MAKEUP

Makeup is very close to the soul of theatre, for makeup is the

modern manifestation of the mask. The mask is the physical sign of
transformation--that the actor has become someone else. Even
more than being in costume, when actors look into the mirror to see
a complete makeup job, they begin to feel the part

Theatrical makeup -

Western style:

40
 ● Theatrical makeup is the art of using cosmetics and other
materials to enhance or alter the appearance of actors
for stage performances. It has been used for centuries to
make actors more visible and to help them portray
different characters.
● In ancient Greece and Rome, masks were often used
instead of makeup because they were more practical and
could be used to exaggerate facial features. However,
some actors did use makeup, and by the 17th century, it
had become common for actors to use white paint to
make their faces paler and more visible in dim lighting.
● The introduction of new lighting technologies in the 19th
century led to a more subtle use of makeup. Greasepaint,
which is a type of oil-based makeup, was invented in the
early 19th century and became the standard for theatrical
makeup.
● In the mid-20th century, the desire
for naturalism in appearance led
to a change in the use of makeup.
Actors began to use water-soluble
cake makeup, which could be
applied in a thin wash of colour,
and rubber latex makeup, which
could be used to create realistic-
looking wounds and prosthetics.
● The ideology of many alternative
theatre groups that emerged after
World War II led to their rejection
of makeup. These groups believed that makeup was an
illusionistic tool that prevented the audience from
connecting with the actor on a personal level.
● In the nonexperimental, commercial theatre of Europe
and North America, makeup became very naturalistic in
the late 20th century. This is due in part to the use of
more natural lighting on stage.

Japanese and Chinese style makeup:

● Jingxi, a traditional Chinese opera, uses rigidly controlled

makeup conventions.
● Actors playing male roles and old women wear simple
makeup.

41
 ● Actors playing female roles other than old women have
white faces with red around the eyes.
● Actors playing unbearded male roles wear a white base
with a less pronounced contrasting colour.
● The makeup for painted-face roles is the most
spectacular, using brightly coloured patterns.
● White patches around the eyes are common for comic
roles in Jingxi, while black patterns identify clowns.
● Japanese Noh and Kabuki theatres offer different visual
treatments of the actor's face.
● In Noh, actors wear masks that portray neutral or strong
emotions, depending on the character type.
● Kabuki uses kumadori makeup, which exaggerates facial
lines and features for emotionally charged roles.
● The specific design of kumadori makeup mirrors the
character's emotional nature and social station.
● Makeup for less emotionally charged characters is less
spectacular.
● Kabuki makeup colours are dictated by tradition, with
white as the base for almost all designs.
● Specific meanings are associated with specific makeup
colors, such as indigo for ghosts and evil characters.

Different Kinds of Make-Up -

Straight Make-Up:

● Straight make-up is used when the actor's natural appearance

is close enough to the character being played that no
alteration needs to be made.
● The primary purpose of straight make-up is to compensate for
the normal conditions of performance: distance and strong
lighting.

Character Make-Up:

● Character make-up is used when the

character is substantially different in
appearance from the actor playing the
part.

42
 ● The most common difference is age, but temperament, health,
race, and even sex can be convincingly changed with skillfully
rendered character makeup.
● A very complete make-up will often include hairpieces such as
wigs, moustaches, beards, or eyebrows; as well as changes to
the teeth and hands.
● Other special character makeups include monsters, animals,
and likenesses of famous people.

Character makeup -

Prosthetic Make Up

● Most make up is done with some form of grease paint, coloured

pigments suspended in an emulsified oil
base.
● But sometimes face painting is not
enough.
● For more drastic changes and for close-
ups, some form of three-dimensional
make-up is often employed.
● The original form of 3-D make-up was
nose putty, but today the profession has
gone far beyond this simple solution.
● Beginning with the Planet of the Apes
films, foam latex appliances have
become the standard technique for
making radical changes to the face.
● It is a time-consuming and costly process, but the results are
stunningly realistic.

Process

● The typical steps in applying character makeup

are as follows:
● First, a base colour is applied with a foam latex
sponge.
● In the old days greasepaint came in toothpaste-
type tubes and was very oily and messy.
● Today's version is a "cream stick" which is much
neater and easier to use.

43
 ● Some actors prefer a water-based pancake product.
● The base acts as a kind of medium into which the later layers
of detail work can be blended.
● The base also establishes the complexion of the character.
● Then, the contours of the face are modelled in highlight and
shadow: lighter and darker versions of the base.
● Next, lines, folds, and wrinkles are modelled with a brush using
even stronger highlight and shadow
colours.
● Then skin texture may be added with a
stencil-like black plastic sponge.
● Next the make-up is powdered to "set" it,
that is to absorb excess oil to keep it from
smearing.
● The powder also helps absorb sweat while
the actor works under lights.
● A once-over with a damp sponge removes
surface powder particles and brings out the colour.
● Finally, details such as eyeliner, lip colour, and hair greying are
added.

Make-Up Artists -

● As with the other technical areas, there are

those who primarily design the make-up
and those who apply it.
● In practice, most do both.
● Like the other areas make-up can be
designed ahead of time, but unlike them, it
must be created anew at the time of each
performance.
● Historically actors have done their own
make-up, and some in the theatre still do so
today.
● Film and television are so extensively unionized that actors
normally are not allowed to do make-up in those media.
● Professional make-up artists may be members of the Society of
Makeup Artists (SMA) and/or Make-Up Artists & Hair Stylists
local to the IATSE.

44
COSTUMES
Costumes in drama theatre play an essential role in establishing the
setting, conveying character traits, and enhancing the overall visual
experience for the audience. They serve as a powerful tool for
storytelling, helping to transport the audience to different worlds,
time periods, and social strata.

Types of Costumes -

There are four main types of costumes used in

drama theatre:

1. Historical Costumes: These costumes are

designed to accurately reflect the
clothing styles of a particular historical
period. They may be based on research
of historical documents, paintings, and
artefacts.

2. Fantastical Costumes: These costumes are designed to

represent characters or creatures from
the imagination. They may be inspired by
mythology, folklore, or science fiction.

3. Dance Costumes: These costumes are

designed to be functional and
aesthetically pleasing for dancers. They
may be made from lightweight materials
that allow for freedom of movement.

4. Modern Costumes: These costumes are

designed to reflect the current fashions
of the time. They may be used in plays
that are set in the present day or in
plays that deal with contemporary social
issues.

45
Uses of Costumes -

Costumes are used in drama theatre to achieve a variety of

purposes, including:

● Establishing the Setting: Costumes can help to establish the

time period, location, and social milieu of a play. For example, a
play set in medieval England might feature costumes that are
based on historical research, while a play set in a futuristic
world might feature costumes that are based on science fiction
concepts.
● Conveying Character Traits: Costumes can also be used to
convey character traits. For example, a wealthy character
might wear expensive and fashionable clothing, while a poor
character might wear worn and tattered clothing. Costumes
can also be used to indicate a character's occupation, social
status, and personality.
● Enhancing the Visual Experience: Costumes are an important
part of the visual experience for the audience. They can help to
create a sense of atmosphere and mood, and they can also be
used to highlight certain aspects of the play. For example, a
costume that is brightly coloured and eye-catching might be
used to draw attention to a particular character, while a
costume that is dark and sombre might be used to create a
sense of mystery or suspense.
● Promoting Emotional Impact: Costumes can also be used to
promote emotional impact. For example, a costume that is torn
and bloody might be used to evoke feelings of fear or sadness,
while a costume that is bright and cheerful might be used to
evoke feelings of joy or happiness.

Costume Design Process -

The design of costumes for a drama theatre production is a

complex process that involves several steps, including:

1. Research: The costume designer will research the time period,

location, and social milieu of the play. They will also research
the characters, their occupations, and their social status.

46
 2. Concept Development: The costume designer will develop a
concept for the costumes that is in keeping with the overall
style and tone of the production. They will consider the use of
colour, texture, and silhouette.
3. Sketching: The costume designer will create sketches of the
costumes. This will help them to visualize the costumes and to
communicate their ideas to the director, other designers, and
the costume shop.
4. Patternmaking and Drafting: The costume designer will create
patterns for the costumes. This will ensure that the costumes fit
the actors and that they are constructed correctly.
5. Fabric Selection: The costume designer will select fabrics that
are appropriate for the time period, characters, and style of
the production. They will also consider the practicality of the
fabrics, such as their durability and ease of care.
6. Fitting and Alterations: The costume designer will fit the
costumes on the actors and make any necessary alterations.
7. Accessories: The costume designer will select accessories for
the costumes, such as hats, jewellery, and shoes.
8. Maintenance: The costume designer will oversee the
maintenance of the costumes throughout the production. This
may include cleaning, repairs, and alterations.

Additional Considerations for Costume Design -

In addition to the above, there are a number of other factors that

costume designers must consider, including:

● The budget for the production

● The size and resources of the costume shop
● The time constraints of the production
● The physical abilities of the actors
● The safety of the actors

47
PEOPLE OF THEATRE

Playwrights:
● Authors of plays. They create the script, which serves as the
foundation for the entire production.

Directors:
● Individuals responsible for overseeing the entire production.
They interpret the script, guide the actors, and make creative
decisions to bring the play to life.

Actors:
● Performers who portray characters in the play. They bring the
words of the playwright to life through their interpretation and
acting skills.

Producers:
● Individuals or organizations responsible for the financial and
organizational aspects of a production. They secure funding,
coordinate logistics, and ensure the overall success of the
show.

Designers:
● Artists responsible for the visual and auditory aspects of a
production. This includes set designers, costume designers,
lighting designers, and sound designers.

Stage Managers:
● Individuals who play a crucial role in coordinating all aspects
of a production. They assist the director during rehearsals,
oversee backstage activities during performances, and ensure
the smooth execution of the show.

Technicians:
● Professionals who operate technical aspects of a production,
such as lighting and sound technicians, ensuring that the
technical elements run smoothly during performances.

Crew Members:
● Individuals who assist with various backstage tasks, including
set changes, prop management, and other behind-the-scenes
activities.

48
 Dramaturgs:
● Scholars or professionals who work closely with playwrights
and directors to provide historical, cultural, and literary
context to a production. They assist in script analysis and
research.

Choreographers:
● Individuals responsible for designing and coordinating dance
sequences or movement in a production, especially in musicals
or plays with dance elements.

Casting Directors:
● Professionals responsible for selecting actors for specific roles
in a production. They often work closely with the director to
find the most suitable cast.

Critics:
● Individuals who review and analyze theatrical productions.
Their reviews provide feedback to the artists and help the
audience make informed decisions about attending a show.

Audience:
● The people who attend and engage with the performance.
Their reactions and feedback contribute to the overall
experience of theatre.

IMPROV THEATRE

Improvisational theatre, often called improv, is a form of live theatre where

the performance is created spontaneously without a script. Performers,
commonly known as improvisers or actors, create scenes, characters,
dialogue, and stories in the moment, often based on suggestions from the
audience or predetermined prompts.

Improv relies heavily on collaboration, quick thinking, creativity, and

spontaneity. It encourages performers to trust their instincts, listen
attentively to their fellow performers, and build on each other's ideas to
create a cohesive and entertaining narrative.

There are various forms and styles of improv, ranging from short-form
games with quick scenes and games, popularized by shows like "Whose
Line Is It Anyway?", to long-form formats that involve creating more
extended narratives and exploring deeper character development.

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Besides being a form of entertainment, improv skills are also valuable in
everyday life. They foster better communication, active listening,
adaptability, and the ability to think on your feet, making it a beneficial
tool not just for performers but for anyone looking to enhance their social
or professional skills.

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 THE END

DRAMA BATCH OF 2024

(SHELDON SIR AND AVINASH SIR’S FAVOURITE BATCH)
“You guys are the best actors” ~ Mr. Sheldon Dias

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