AD_7

PRELIMS

Opus, Opera

Opus, Opera

____ means Work, _____ means many works

Composer, Lyricists

Operas are usually associated with the Composer

_____: One who writes or composes music
_____: One who writes the lyrics, are usually not as recognized as compared to the
Composer, whose name is prominently associated with the Opera

TRUE

Opera is the highest and noblest of all Performing Arts (T/F)

TRUE

Operas and Operatic Productions are usually calendared events (T/F)

TRUE

• Popular in most important cities
• Where culture and the arts are highly promoted by the state or popular
amongst people as a form of entertainment
(T/F)

TRUE

• Wealthy Cities usually have an Opera House (T/F)

TRUE

• As wealth usually equate with acquired social status
• Acquired Social Status equates to acquiring a highbrow expressions of Cultural
Taste
• Cultural Taste equates with being wealthy, and elitist

(T/F)

TRUE

OPERA
• By the 19th century, it became a popular form of entertainment
amongst the working class

(T/F)

TRUE

• Stories in the beginning were based on mythology, or based on
chivalric, and noble Royal origins
• By the last quarter of the 19th century, stories were based on reality
and day to day struggles, which resonated to the working class

(T/F)

TRUE

TRUE

• Operas were performed and written in the language of the
composer's birth origins. Most historic and operas in the standard
repertoire are written and sung in:
• Italian
• French
• German
• Russian

(T/F)

Grand Opera

• Usually characterized by expensive productions requiring many talented soloists of
various voice ranges
• A full production requiring full orchestra, and ballet
• Settings can be very exotic making props and costumes expensive

Comic Opera

• Opera Buffa, Opera Comique, Singspiel, Zarzuela usually light form of Opera
• Incorporates spoken dialogue
• Lighter trained voices
• Can be produced cheaply or on a budget
• More popular to the general public

Opera House

is described as the cultural soul of a community, most opera
houses are strategically and centrally located

• Should be prominent
• Highly accessible
• Becomes a venue for great Architectural Expression

TRUE

• Designing an Opera House is the highest achievements in Architecture

(T/F)

TRUE

• Opera Houses are Grand, Majestic pieces of Architecture
• Expressed in a variety of Architectural Languages
• Baroque, Neo-Classical Revival, Beaux Arts, Bauhaus, Brutalists, and even Contemporary

(T/F)

Front of House

• Where all the social interaction takes place
• As operas a cultural highlights of a community, people attend with a
heightened expectation

TRUE

• Social interaction occur even before people are allowed inside the
auditorium

(T/F)

Grand Lobby

Usually, spacious, highly ornamented, Imposing

Grand Staircase

• Can accommodate many people accessing upper floors simultaneously
• Decorative, can serve as a Focal Point, Dramatic

Upper Lobbies

Lobbies are found in all tiers, with most lobbies having a view below of the Main Lobby

Box Office

• Office where tickets are sold or collected
• May contain a cashier's office, ticketing office
• Serves as well as information counter and Programme Booth

Cloak room

• Found in most temperate climates
• In the Philippines this can be a Left Baggage Storage

Dining Facilities

• Some Opera Houses have light dining or cocktails served prior to performance or during
intermissions
• Cocktail or Refreshment bar per Lobby area

Sound and Light Locks

• Anterooms or Vestibules located between lobbies and auditorium or
amphitheatre
• Corridors leading to the private boxes or entrances

TRUE

Though the Horseshoe shaped amphitheatre is still the most popular
form of seating as it provides intimacy and close distance from the
audience to the stage

(T/F)

FALSE

• Audible and Visual Distance is crucial as you cannot be too far so as not to
hear and see the action properly
• Visible angle of the upper tiers is defined by the width of the proscenium


(T/F)

TRUE

Seats are defined by location

(T/F)

Parterre

• Also called Orchestra
• In some theatres, the Orchestra is the lower portion of the _______, where the seating is
below the stage floor

FALSE

Mezzanine is not usually referred to as the Royal Box

(T/F)

Gallery

In older theatres these are the highest or topmost seats available

Boxes, Dress Circle, Loge

• These are small, private seating area usually reserved for a limited number of
patrons, 5 to 8 people
• Located nearest the stage

Royal Box

• Grand box located mostly in the centre rear of the auditorium, with clear view to most
audiences
• Some Grand _____ _____ are located either to the immediate left or right of the stage

TRUE

Boxes are not favoured today as they give poor viewing experience, unless stage
production is angled towards the boxes, or performance is a musical recital, where
view of the recitalist is crucial.


(T/F)

TRUE

• Previously seating in boxes was highly regarded due to:
• Boxes were privately owned

• Those seated in boxes can be viewed and seen by most people
• You can show of your bling
• You can show of how Beautiful you are
• You can entice would be admirers

(T/F)

Stage

• Considered part of the Front of House
• The highlight of a performance is what is happening
• designed to accommodate actors and props

Centre Stage

Area where most performance is done

Downstage

The area closest to the orchestra pit

Upstage

The rear area of the visible stage

Stage Left and Stage Right

The right or left visible part of the stage

Apron

The concave portion of the stage jutting over the orchestra pit

Proscenium

Is the part of the Theatre Stage in front of
the curtain

Orchestra Pit

• Located in front of the Stage
• Where orchestra or musicians are seated
• Located below the stage floor but conductor must be visible to the
performers
• Access is through a back trap door, leading below the stage

Back of House

TRUE

Most modern Opera Houses have back stages that are three times the
size of the Auditorium

(T/F)

Rehearsal Rooms

• Wide enough and mimics the dimensions of the stage
• Can be reconfigured to replicate the production as needed

Workshops

Used for repair, retouching, temporary storage

Front of the House

Areas that are accessible to
the audience and are directly
involved in their experience
of the performance. These
spaces are designed to
accommodate, welcome, and
entertain the audience
before, during, and after a
show

Lobby

The large, open area near the
entrance of a building that serves
as a transitional space between
the exterior and interior. They
visually appealing and functional,
often reflecting the building's
overall style and providing a first
impression for visitors

Foyer

A transitional space between the lobby and the
auditorium. The foyer may serve as a gathering area
and often includes displays, posters, or information
about the theatre and its productions.

Ticketing / Box Office

The area where tickets are sold and distributed. It’s
typically located near the entrance of the theatre.

Auditorium

The room designed for
performances, where a
substantial number of people can
gather to listen and watch. It
typically features seating
arranged to provide a good view
of a stage or performance area,
along with acoustics and other
design elements aimed at
enhancing the audience's
experience.

Back of the House

Areas that are typically
not visible to the
audience. These spaces
are essential for the
production and support
of performances.

Wings

The areas to the immediate left and
right of the stage, hidden from the
audience's view. The wings are
used for storing props, set pieces,
and for performers and crew to
wait for cues.

Dressing Room

Private or shared rooms where
performers change into their
costumes, apply makeup, and
prepare for their roles. Dressing
rooms may include mirrors with
lights, costume racks, and seating.

Green Room

A lounge area where performers
can relax before or after their
performances, or while waiting
for their turn on stage. It's
usually close to the stage for
quick access.
Some theatres contained
several green rooms, each
ranked according to the status,
fame, and salary of the actor.

Trap Room

An area beneath the stage that
can be accessed through trap
doors in the stage floor. It’s used
for special effects, such as
making actors or props appear
and disappear.

Fly Tower

The space above the stage
where scenery, lighting, and
curtains can be raised or
lowered. The fly system, a series
of pulleys and counterweights,
allows for quick scene changes
by moving large set pieces and
backdrops in and out of view.

Grid / Rigging

The structural framework above
the stage that supports lighting,
scenery, and other equipment.
The grid is where rigging for the
fly system is attached.

Scene Dock

in a theater is a
large storage area located
adjacent to or near the stage.
It is used to store sets,
scenery, props, and
sometimes large pieces of
equipment that are not
currently in use on stage.

Light and Sound Booth

Area where the lighting (color,
intensity, focus) and audio (sound
effects, volume) of the performance
are being adjusted accordingly

Orchestra Pit

is a recessed area
between the stage and the
audience where musicians
perform during theatrical
productions. It provides a space
for the orchestra, helping to blend
their sound with the performance
on stage while keeping them out
of sight, which enhances the visual
focus on the actors.

Scenic Shop

A workshop where sets and scenery are
constructed, painted, and sometimes stored.
This area is often equipped with tools and
materials for building large set pieces.

Costume Shop

A workshop where costumes are designed,
constructed, altered, and repaired.

Wig shop

Area dedicated to the creation,
styling, maintenance, and
storage of wigs and other
hairpieces used in productions.

Orchestra Rehearsal Studio

Area where members of an orchestra
come together to prepare for a
performance through practice sessions

Rehearsal Studios and Workshops

Area where actors and directors come together to
practice and develop their performances. This space is
typically used for various types of rehearsals, including
blocking, character work, line runs, and scene work

Table Reading

A preliminary rehearsal where the cast
and creative team gather around a table
to read through the script aloud.

1. What is going on the stage

2. Who watches and appreciates the performance
   

There are Two (2) important considerations regarding stage
performances particularly an Opera

TRUE

Opera and any Stage Performance: ballet, symphonic
performances, stage plays, musical theatre, etc. are all
performed and best watched LIVE

(T/F)

TRUE

An Opera Production is dependent on the Capacity of
a Stage, as the Design and Capacity of an Opera House is
dependent on the imagination of the Stage Production

(T/F)

Expense of creating realistic, time specific stage designs

Difficulty in packing and storing props

Intricacies of Staging operas with complicated equipment's and props

More production designers are veering away from traditional
stage designs, this is partly due to:

TRUE

Addressing a younger generation and introducing opera to the
younger set requires a more imaginative means of telling a
story

(T/F)

TRUE

• As a new generation of audiences are becoming more financially and
socially aware, Opera’s need to adapt to a younger generation's
realities and expectations
• Most Generation X, Y and Z are not any more concerned about
etiquette and appearance

(T/F)

TRUE

Most operas today are “set” in a relatable time frame

(T/F)

TRUE

As such the voice is projected naturally through proper
auditorium acoustics and NEVER supplemented by a
microphone

(T/F)

TRUE

Opera is still an art form where the voice is the key player of the
art

Opera is never lip synced

(T/F)

FALSE

The reality of building a Cultural performance facility is high,
and the Return of Investment is guaranteed

(T/F)

TRUE

The size of the backstage can be adjusted depending on the nature
of the performance

(T/F)

Architectural Acoustics

It involves the study of sound within residential
and commercial buildings, focusing on designing
structures to achieve optimal acoustic
performance.

The Purpose of Acoustic Design

- Good acoustic design can serve multiple purposes, including the
following:
 Decreasing stress and anxiety levels
 Preserving hearing
 Aiding in concentration
 Reducing or minimizing hypertension
 Improving speech communication
 Maximizing the enjoyment of musical performances

Sound reflection

refers to sound waves bouncing off
surfaces, in what degree depends on
the material of that surface.

Sound absorption

does the opposite of reflection, it reduces them
by converting sound energy into heat

Diffusion

It scatters sound waves in different
directions and prevents them from
reflecting directly back.

Partitioning

Use sound-absorbing panels or
dividers between workstations to reduce direct sound
transmission.

Zoning

Designate quiet zones for focused work and
collaborative zones for team discussions to control
noise effectively.

Ceiling and wall panels

Install acoustic panels to
absorb sound and minimise reverberation.

Soft furnishings

Introduce sound proof carpet,
drapes, and upholstered furniture for sound
absorption and a softer acoustic environment.

Acoustic furniture

Choose furniture with built-in
acoustic features to disperse sound.

Modular furniture

Opt for flexible, customizable
layouts to adapt to changing acoustic needs.

Phone booths

Provide soundproof booths for private
conversations.

Noise control in HVAC

Ensure HVAC systems
minimise noise, especially in quiet areas.

Strategic placement

Position HVAC vents away from
workstations to minimise direct noise exposure.

Ceiling and wall panels

Install acoustic panels to absorb sound
and reduce reverberation, improving clarity.

Carpeting

Introduce carpet to absorb sound and create a more
acoustically comfortable space.

Reverberation

s to sound what reflection is to light. Also known
as resonance, reverberation refers to the amount of time it takes a
sound to dissipate.

Sound Absorption

is the quality found in
different materials that reduce reverberation
times by absorbing sound energy and reducing
sound levels

FALSE

Buildings without sound absorption are
invulnerable to excessive reverberation

(T/F)