Arts & Humanities Cheat-sheet



EAST CARTER HIGH SCHOOL

Arts & Humanities “Cheat-sheet”

|Visual Arts |

|Concept: |What is it? |

|Elements of Art |Line, Shape, Form, Texture, Space (perspective), Color* (light, color theory* & color |

| |schemes), Value & Intensity |

|Principles of Design |Balance, Movement, Rhythm, Contrast & Variety, Emphasis & Proportion, Unity, Pattern & |

| |Repetition |

|Media (two-dimensional) |Paint, Chalk, Charcoal, Graphite, Fabric, Yarn, Paper, Ink, Pastel, Fiber, Photography, |

| |Computer-generated design/image, |

|Media (three-dimensional) |Clay, Wood, Glass, Metal, Stone, Plaster |

|Art Processes (two-dimensional) |Drawing, Painting, Fiber Art, Print-making, Animation, Photography, Graphic Design, |

| |Computer-generated design/imaging |

|Art Processes (three-dimensional) |Textiles, Fiber Art, Ceramics, Sculpture, Architecture |

|Subject Matter |Representational – portrait, still-life, scape |

| |Non-representational – abstract, non-objective |

|Purposes for Art |Ceremonial – ritual, celebration, worship |

| |Expression – communicate emotions, feelings, beliefs, ideas |

| |Narrative – tell stories, both historical & fictional |

| |Functional – objects used in everyday life |

| |Persuasive – promote ideas, philosophies, or products |

| |Lascaux Cave – Lascaux, France |

|Art History (Pre-History-Ancient Greece) |“Los Manos” - Cave – Latin America |

| |Stonehenge – England |

| |Ancient Sumeria: |

| |Tell Asmar Statues |

| |Sandstone Carving – King Hammurabi |

| |Cuneiform |

| | |

| |Ancient Egypt: |

| |The Great Sphinx |

| |Pyramids of Giza |

| |Burial Mask of Tutankhamun |

| |Bust of Nefertiti |

| |Hieroglyphics |

| | |

| |Ancient Greece: |

| |The Acropolis (architecture) – Athens, Greece |

| |Discus Thrower – Myron |

| |Kore Statues |

| |Venus de Milo |

| |Nike of Samothrace – “Winged Victory” |

| | |

| |Middle Eastern: |

| |Judaism |

| |Temple of Solomon (architecture) |

| |Roman Empire: |

|Art History (Roman Empire-Medieval Era) |Christianity |

| | |

| |Middle Eastern: |

| |Islam |

| |Temple architecture – “Dome of the Rock” – Jerusalem |

| |Arabesques |

| |Minaret |

| | |

| |Asian: |

| |Hindu – Pampapati Temple |

| |Taj Mahal |

| |Buddhist – Liurong Temple |

| |Pagoda |

| |Stupa |

| |Chinese & Japanese printmaking, ink & brush paintings, calligraphy |

| |Atmospheric perspective vs. linear perspective |

|Art History (Renaissance, Baroque, Roccoco, & Neo-classical) |Jan Van Eyck – Mariage of Arnolfini |

| |Leonardo Da Vinci – paintings: “Mona Lisa” “The Last Supper” |

| |Michelangelo – sculpture: “David” “The Slaves” painting – Sistine Chapel |

| |architecture – techniques of ancient Greeks & Romans (arch, vault, dome, stress & |

| |counter stress, atrium-style houses) |

| | |

| |Baroque: |

| |Trompe l’oeuil |

| |Rembrandt (Dutch) – chiaroscuro |

| |Vermeer (Dutch) |

| |Carravaggio (Italian) |

| | |

| |Roccoco (late Baroque): |

| |Developed in France |

| |Ornate, pastel colors |

| |Playful, witty themes |

| | |

| |Neo-classical: |

| |Jacques Louis David (French) – French Revolution |

| |Thomas Jefferson (American) – architecture, ideas from newly independent USA |

| |Romanticism: |

|Art History (Romanticism, Realism, & |John Constable – British Landscapes |

|Impressionism/Post-Impressionism) |Francisco Goya – Spanish court painter, examined violence, greed, & foolishness of |

| |society |

| | |

| |Realism: |

| |Gustave Corbet – attention on common man |

| |Edouard Manet – industrial age city & people, bridged age between Realism & |

| |Impressionism |

| | |

| |Impressionism: |

| |Claude Monet – capture light as a moment of time |

| |Vincent Van Gogh – bright colors & line to express emotions and movement |

| |Mary Cassatt – domestic social scenes of women & children |

| |Edgar Degas – paintings of ballerinas |

| |George Seurat – pointillism |

| |Pierre Auguste Renoir |

| |Paul Gauguin |

| |Auguste Rodin – sculptor |

| | |

| |Post-Impressionism: |

| |Henri Toulouse-Lautrec – paintings, posters advertising products & businesses around |

| |Paris |

|Art History (Modern & Contemporary European Art) |Salvador Dali – surrealism |

| |Pablo Picasso – cubism |

| |M.C. Escher – famous for his tessellations* |

| |René Magritte & Henri Matisse |

|Art History (Modern & Contemporary American Art) |Georgia O’Keefe – large abstractions of natural forms |

| |Frank Lloyd Wright – architecture |

| |Dorothea Lange – photographs of the Great Depression |

| |Ansel Adams – photographs of Western American landscapes & nature |

| |Alfred Steiglitz – photography |

| |Andy Warhol – Pop Art (Celebrities & mass production) |

| |Jackson Pollock |

| |Jacob Lawrence – paintings that reflect the African-American experience |

|Music |

|Concept: |What is it? |

|Elements of Music |Rhythm – beat or pulse of music |

| |Melody – Organized pitches |

| |Form – structure of the composition |

| |Timbre – tone color (why people’s voices sound different, same thing with instruments) |

| |Harmony – more then one pitch at a time |

| |Tempo – speed of the composition |

| |Dynamics – loud and softness of a composition |

|Purposes of Music |Ceremonial – music created or performed for rituals or celebrations. |

| |Recreational – music for entertainment |

| |Artistic expression – music created with the intent to express or communicate one’s |

| |emotions, feelings, ideas, experience |

|Music History (Renaissance, Baroque, & Classical) |Renaissance – Palestrina, polyphony & counterpoint, new form of musical entertainment: |

| |the opera |

| |Baroque – Bach/Fugue, Handel/oratorio |

| |Classical – Mozart & Hayden, Beethoven transitions to next time period |

|Music History (Romanticism) |Tchaikovsky/Ballet |

| |Wagner/Opera |

|Music History (20th Century) |20th Century – Impressionism/Post-Impressionism, Debussy, Ravel-symbolism in music |

|Music History (Modern & Contemporary) |Modern – Stravinsky-influence on Russian Ballet |

| |Contemporary – Gershwin – jazz in classical musical forms; Copland – integrated national |

| |American idioms into his music; Ellington – led and shaped jazz styles in American music.|

|Drama |

|Concept: |What is it? |

|Elements of Drama |Literary – plot (exposition, character, setting, conflict, rising action, suspense, |

| |climax, falling action, denouement or resolution, conclusion), theme, language & style, |

| |dialogue, stage directions |

| |Technical – scenery, sound, lighting, props, make-up, costumes |

| |Production/Performance – acting, character analysis, empathy, breath control, projection,|

| |verbal expression, non-verbal expression, blocking |

|Purposes of Drama |Share the human experience – to create social change, to express or communicate universal|

| |themes, to interpret information, ideas, and emotions |

| |Pass on tradition and culture – narratives, storytelling, folktales, religious rituals |

| |and ceremony, worship |

| |Recreational – for fun and entertainment of an audience, an escape from reality |

| |Artistic expression – to show off one’s talents and express oneself creatively through |

| |the interpretation of a role and the production of a well-known play or dramatic work |

|Drama History (Ancient Egypt & Ancient Greece) – 2600 B.C.-100s |Ancient Egypt (2600-1000s B.C.): |

|B.C. |Passion plays telling stories of Egyptian gods and pharaohs |

| | |

| |Ancient Greece (1200-100s B.C.): |

| |Held festivals in honor of Greek gods and goddesses with dance and music competitions |

| |that eventually evolved into theatrical competitions |

| |Two types of plays – tragedies and comedies |

| |Important Greek playwrights: |

| |Sophocles |

| |Aeschylus |

| |Euripedes |

| |Aristophanes |

| |Menander |

|Drama History (Roman, Medieval, & Japanese) – 500s B.C.-1600s |Roman Theatre (400 B.C.-100s B.C.): |

| |Copied stories from the Greeks, most plays were lewd comedies, historians refer to this |

| |period as the decline of theatre |

| |Roman playwrights: |

| |Plautus |

| |Terence |

| | |

| |Medieval Theatre (1100-1500s): |

| |Heavily restricted and almost outlawed by the Catholic Church until towards the end of |

| |the Middle Ages when the Church began to use drama as a means for worship |

| |Mystery plays – drama depicting scenes and events from the life of Jesus taken directly |

| |from scripture |

| |Miracle plays – dramas that portrayed the lives of saints and martyrs |

| |Morality plays – drama that used allegorical characters to portray the soul’s struggle to|

| |achieve salvation (important morality play: Everyman) |

|Drama History (Renaissance & Neo-classicism) – 1500–1600s |Renaissance (1500-early 1600s): |

| |Commedia dell’arte – troupes of actors began roaming on wagons from city to city, |

| |transforming their wagons into stages and performing in town squares for the |

| |entertainment of the general public, utilized “stock” characters or general character |

| |types |

| |Under the reign of Queen Elizabeth II, English society flourished, especially the |

| |theatrical arts |

| |By 1576, began building great theatre houses in and around London: The Swan Theatre & The|

| |Globe Theatre |

| |William Shakespeare (1564-1616) – important English playwright, wrote many important |

| |sonnets and plays, to name a few: Hamlet, The Tragedy of Romeo and Juliette, Macbeth, |

| |Much Ado About Nothing, A Midsummer Night’s Dream |

| | |

| |Neo-classicism (correlates to baroque in music and visual arts): |

| |Followed the rules of classical drama as set forth by Aristotle in his work The Poetics |

| |French tragedian playwrights: |

| |Pierre Corneille (1606-1684) – most famous play, Le Cid (1635) |

| |Jean Racine (1639-1699) – most famous play, Phèdre (1677) |

| |Molière (1622-1673) – French playwright commissioned by King Louis XIV to write and |

| |perform comedies for his court, famous for his use of satire, wrote many famous plays, to|

| |name a few: The Imaginary Invalid, Tartuffe, The Misanthrope, The Bourgeois Gentleman |

|Drama History (Romanticism & Realism) – 1700- early 1900s |Romanticism (1700-1800s): |

| |Heavy use of melodrama, began to use music to heighten the emotional experience of |

| |theatre-goers |

| |First American drama to receive a professional performance – The Prince of Parthia (1765)|

| |by American Thomas Godfrey |

| |Uncle Tom’s Cabin – play adaptation of the book (1852) by Harriet Beecher Stowe |

| | |

| |Realism (1860-early 1900s): |

| |Stern break from melodrama to focusing on the real, and often darker side of life (more |

| |tragedy and sadness), emphasis on “truthful portrayal” of real life |

| |Henrik Ibsen (1828-1906) – “master of realist drama” his plays were often very |

| |controversial because of unflinching subject matter that was often considered “taboo” by |

| |Victorian society; important plays A Doll’s House (1879) and Hedda Gabler (1890) |

| |Anton Chekhov (1860-1904) – famous play, Uncle Vanya (1897) |

| |George Bernard Shaw (1856-1950) – famous plays include Man and Superman (1903), Pygmalion|

| |(1912), and Heartbreak House (1919) |

|Drama History (Modern & Contemporary) – 1800-1900s |Difference between “opera” and a “musical” – in opera all dialogue from beginning to end |

| |is sung, in a musical you have a mixture of spoken and sung lines of dialogue as well as |

| |dancing |

| |Some famous operas: |

| |Carmen (1875) by Georges Bizet |

| |The Marriage of Figaro (1786), Don Giovanni (1788), and The Magic Flute (1791) by Wolgang|

| |Amadeus Mozart |

| |La bohème (1896) and Tosca (1900) by Giacomo Puccini |

| | |

| |Operetta – means “little opera”; more like a musical in that there is both spoken and |

| |sung lines |

| |Famous operetta writers and composers: |

| |Franz Lehar – The Merry Widow (1905) |

| |W.S. Gilbert & Arthur Sullivan –H.M.S. Pinafore (1878), The Pirates of Penzance (1879), |

| |Iolanthe (1882), and The Mikado (1885) |

| | |

| |Musical theatre – style of theatre that evolved from the operetta form as well as |

| |“vaudeville” and “minstrel shows”; brings together all four art forms; music, dance, |

| |visual art, and drama |

| |Important American composers & playwrights of musicals: |

| |Rogers & Hammerstein – well-known for musicals such as Oklahoma! (1943), South Pacific |

| |(1949), The King and I (1951), and The Sound of Music (1959) |

| |Irving Berlin – well known for composing songs for musicals such as Annie Get Your Gun! |

| |(1946) |

| |Steven Sondheim – well known for composing songs for West Side Story (1957), Gypsy |

| |(1959), and Sweeney Todd (1979) |

| | |

| |Other important musicals: |

| |Show Boat (1927) |

| |Of Thee I Sing (1931) |

| |Porgy and Bess (1935) |

| |Guys and Dolls (1950) |

| |My Fair Lady (1956) |

| |The Music Man (1957) |

| |Fiddler on the Roof (1964) |

| |Hello Dolly! (1964) |

| |Grease (1971) |

| |Jesus Christ Superstar (1971) |

| |A Chorus Line (1975) |

| |Annie (1977) |

| |Evita (1979) |

| |42nd Street (1980) |

| |Cats (1981) |

| |The Phantom of the Opera (1986) |

| |Rent (1996) |

| | |

| |“Théâtre de l’absurde” – “Theatre of the absurd” – movement in drama in the 1950s and |

| |1960s, started in France, regarded as a response to the horrors of World War II |

| | |

| |Important playwrights and plays from this movement: |

| |Eugène Ionesco (1909-1994, French) – *The Bald Soprano (1950), *The Lesson (1951), *The |

| |Chairs (1952), Rhinoceros (1959) (*use of non-sequiturs) |

| |Samuel Beckett (1906-1989, Irish, lived in France) – Waiting for Godot (1953) |

| | |

| |Other important playwrights and plays: |

| |Tennessee Williams – The Glass Menagerie (1945), A Streetcar Named Desire (1947) |

| |Arthur Miller – Death of a Salesman (1949), *The Crucible (1953) |

| | |

| | |

| | |

| | |

| |William Inge – Come Back, Little Sheba (1950), Picnic (1953), and Bus Stop (1955) |

| |Lorainne Hansberry – first African-American woman to have a play that she wrote produced |

| |on Broadway, 1959’s A Raisin in the Sun |

| |August Wilson – another African-American playwright, wrote Ma Rainey’s Black Bottom |

| |(1984), won a Pulitzer Prize for Fences (1987), and The Piano Lesson (1990) |

| |Neil Simon – wrote memorable comedic plays, the autobiographical trilogy Brighton Beach |

| |Memoirs (1983), Biloxi Blues (1985), and Broadway Bound (1986), also Barefoot in the Park|

| |(1963), The Odd Couple (1965), Plaza Suite (1968), and Lost in Yonkers (1991) |

|Dance |

|Concept: |What is it? |

|Elements of Dance |Time – beat/rhythm of dance |

| |Space – type of space to be used (personal and/or general) |

| |Force (Effort) – the amount of emotion put into a dance (mental effort means they do they|

| |dance because they have to participate for a grade, emotional effort means they put extra|

| |effort into the dance) |

|Choreographic Form |AB |

| |ABA |

|*If you are interested in doing some form of dance for your class|Rondo |

|let me know and I will help you match it to the correct |Call and Response |

|choreographic form. |Theme and Variation (Perfect for ELA class, poetry) |

| |Narrative |

|Purposes of Dance |Ceremonial – dance created or performed for rituals or celebrations. |

| |Recreational – dance for entertainment |

| |Artistic - dance created with the intent to express or communicate one’s emotions, |

| |feelings, ideas, experience |

|Below is a timeline for the history of dance. The basic understanding of society in the time period, influence of geographic location and philosophical |

|beliefs of each historical period is necessary to meet the standard. |

|Ancient and Lineage-Based Cultures |Ritual Dance |

| |Native American Dances (Zuni people and Harvest Dance) |

| |West Africa Culture and dance |

| |African American Dance (Follow the Drinking Gourd) |

|Medieval Period |Christian faith and reason. |

| |Importance of religion appealing to emotions. |

| | |

| |Tarantella Dance |

|Renaissance Period |Reconciles Christian faith and reason. |

| |Promotes "rebirth" of the classical ideal. New freedom of thought. |

| | |

| |Court Dance. |

|Baroque Period |Rejects limitations of previous styles. |

| |Restores power of Monarchy/church. |

| | |

| |Louis XIV |

| |Ballet |

|Romanticism |Revolts against neo-classical order and reason. |

| |Return to Nature/imagination. |

| |Interest in the Exotic and supernatural. |

| | |

| |Ballroom Dancing |

|Realism |Seeks the truth. |

| |Finds beauty in the commonplace. |

| | |

| |Folk and Social Dance |

|Modern and Contemporary |Breaks with or re-defines conventions of the past. |

| |Uses experimental techniques. |

| |Harlem Renaissance. |

| | |

| |Dance – twist, break, punk, modern ballet |

| | |

|Influential People |Fokine, Balanchine, Baryshnikov (Ballet) |

| |Martha Graham and Alvin Ailey (Modern) |

-----------------------

*cross-over with Science!

*cross-over with Math!

*wrote this play as a social commentary or as an allegory for what was happening with McCarthyism and “The Red Scare”)

................
................

In order to avoid copyright disputes, this page is only a partial summary.

Google Online Preview   Download