For those of you who don't have the final questions

Name _
Submit electronically to melanieaway@hotmail.com by 4p on 6/8/08
Best of luck!
Answer any twenty-five questions. Answer each question with a maximum of two to three sentences. Answer more questions for extra credit. You don't get extra for long-winded, wordy answers. Keep answers short and sweet.

1) Describe the problem of hierarchy for the designer.

2) What are the problems with the “static categories” of theater jobs?

3) What does the door represent? Why is the door different on stage compared to the screen?

4) Were there doors in Ancient Greek Theater?

5) How do image and sign translate differently in theater?

6) In Two Gentlemen of Verona, explain if Crab the dog represents image, sign, or both?


7) What creates spectacle on stage.

8) What kind of projections do not function well on stage and why?

9) What is a metaphor and why is it important?

10) The poem "Stopping By Woods On a Snowy Evening," By Robert Frost, contains an example of a complex metaphor. What is the significance of the last line “And miles to go before I sleep” being stated twice?

13) What is George Tsypin’s training outside of theater, and how does that influence his set design?

14) What materials are essential in a George Tsypin design?

15) Give two examples of how danger has been incorporated in George Tsypin’s work?

16) Explain Julie Taymor's use of the ideograph on stage. Use specific examples.

17) Explain what Julie Taymor means by "double image." How does this create a connection between the audience and performer?

18) Eiko Ishioka's creed is art must be original, timeless, and revolutionary. Use examples from Mishima, The Fall, or The Cell to explain what she means.

19) What are the architectural elements of theatrical stage design that Josef Svoboda calls the "space in space."

20) Robert Wilson believes that the essence of theater is architectural. Explain. Use specific examples from his work.

21) How is George Tsypin an alchemist of the stage?

22) If a "negative theology" is knowing God by describing what God is not, How is Richard Foreman's theater a "negative theology" of the theater. Give a specific example?

23) Aldolphe Appia introduced an anti-illusionistic stage design aesthetic by building what on stage? What did his revolution overturn in traditional scenic design?

24) Give an example of color projection (warm colors) and color recession (cool colors)

25) Name a color and it’s complementary.

26) Explain (or draw) each of these types of perspective: 1, 2 & 3 points perspective. (Scan your drawing and insert into document)

27) What is forced perspective?
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28) How can a gradient of tones suggest volume in a drawing?

29) Use shading to draw a ball labeled with the following parts: 1) specular 2) specular -edge transfer 3) shadow-edge transfer 4) shadow. (Scan your drawing and insert into document)

30) Explain what "motivated lighting" means in stage lighting design or in film lighting.

31) Elevation, Section and Plan views are oriented to the x,y,and z axis. Explain how each of these three views help communicate the designer's ideas.

32) Metapatterns, according to Gregory Bateson are the patterns of patterns. Using examples of some of the designers discussed in the course name some metapatterns in their work.

33) What is the importance of collaboration in theater?

34) Explain what Filmmaker Werner Herzog means by an "ecstatic truth" in his Minnesota Declaration.

35) What is the "theater of the oppressed" according to Augusto Boal?


36) What did you get from the class?