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| The entire play takes place in a single location and unfolds as one continuous action |
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In a full-length play
Like segments or chapters of a book
Accomodate changes in time, setting, character or mood |
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| These are what Acts are divided into |
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| Acts and scenes are examples of these, which are understood and accepted by the audience because they are familiar techniques |
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| Location, explained at the beginning of the play |
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| Struggle between characters |
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| Secondary action that reinforces or contrasts with the main plot |
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| The main character (the central or primary personal figure) of a literary piece of writing and whom the events of the narrative's plot revolve and with whom the audience is intended to share the most empathy |
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| The character that is the enemy or rival of the protagonist |
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| A character who contrasts with another character (usually the protagonist) in order to highlight various features of that other character's personality, throwing these characteristics into sharper focus |
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| Playwright's instructions about how the actors are to move and behave |
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| Plot is divided into three essential parts |
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| 3 Parts of Pyramidal Pattern |
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Rising Action
Climax
Falling Action |
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| Complication creates conflict for the protagonist leading to tension that builds to the climax |
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| The 2nd major division when the action reaches a final crisis |
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| A turning point that has a powerful effect on the protagonist |
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3rd part of pyramidal pattern
Tensions are diminished in the resolution (denouement) of the plot's conlicts and complications |
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| Layout of Pyramidal Pattern |
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| Exposition -> Rising Action -> Climax -> Falling Action -> Denouement |
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| 1 of Athens' greatest playwrights, wrote 123 plays, used 3 actors instead of traditional 2, increased chorus size from 12 to 15, first to use painted backdrops for scenery, told a complete story in a single play |
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| 3 of Sophocle's Surviving Plays |
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| Oedipus the King, Oedipus at Colonus, Antigone |
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| 4 of Sophocle's Tragedies |
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| Philoctetes, Ajax, Maidens of Trachis, Electra |
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| Written to be performed by actors on a stage |
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| Derived from Greek word dran meaning "to perform", "to do" |
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| Written to be read rather than performed, focused on literary art |
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| Democracy in ancient Greece |
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The free and equal right of every person to participate in a system of government often practiced by electing representatives of the people by the people
Greeks did not consider everyone equal though (slaves and women not) |
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| Greek drama presented at festivals honoring him, wine and fertility god, son of Zeus, killed allegedly by Zeus' jealous wife, life cycle and seasonal change |
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| 1st recorded winner of best tragedy contest in 534 B.C., wrote and performed his play, where the word thespian came from |
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| Group of singers/dancers who interact and respond to the actor-usually about 12 to 15 men |
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| 1st monologue of the play |
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| Formed a collective character who expressed opinions, gave advice, expressed author's point of view, standard for judging characters |
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| Seeing place, origin of the word theatre |
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| Origin of word scenery and scene, also where actors would rest or go to change costumes when not on stage |
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| Dancing place where the chorus entered and exited through the parados |
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| Usually concerned with politics or art, questions of war and peace, or persons or practices disliked by author |
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| Choral ode in which the chorus responds to and interprets the preceding dialogue |
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| Presents courageous individuals who confront powerful forces within or outside themselves with a dignity that reveals breadth and depth of the human spirit in the face of failure, defeat and even death |
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| Protagonist's character trait that leads directly to disaster |
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| Purgation of the emotions of "pity and fear" |
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| The point when the hero's fortunes turn in an unexpected direction |
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| Dramatic Irony or Tragic Irony |
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| Moments in the plot when what seems to be turns out to be radically different from what actually is |
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| Born on Stratford-on-Avon on April 23, 1564 |
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| Dramatize stories from the Bible |
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| Based on the lives of saints |
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| Present allegorical (symbolic) stories in which virtues and vices are personified to teach salvation |
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| 3 Categories of Shakespeare's Plays |
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| Tragedies, comedies and histories |
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| Focus critically on vices by ridiculing them so they can be avoided or corrected |
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| Maintaining an adequate wardrobe was one of the greatest expenses of theatre |
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| All members were male until 1661 |
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| A speech directed only to the audience, it allows the audience in the character's thoughts |
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| A speech delivered while an actor is alone on the stage, reveals a character's state of mind |
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| Modern Drama Back History |
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| Industrial revolution, workers lived near factories which created large audiences seeking entertainment |
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| A literary technique that attempts to create the appearance of life as it is actually experienced |
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| Literally means "music drama" |
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| Grounded in scientific outlook, understand human behavior in terms of cause and effect, verified by five senses |
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| More extreme version of realism, character determined by environment, plays dealt with bad social conditions like poverty, disease, prostitution and illegitimate children |
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| Founded by Konstantin Stanislavsky |
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| Stanislavsky Acting Techniques |
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1. Actor's body and voice trained and flexible to respond to all demands
2. Act truthfully, skilled observer of human behavior
3. Actor should understand character's motivations, goals
4. Actors must become part of the world of the play
5. Actor should concentrate moment by moment as if events were happening the first or last time |
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| Uses conventions, suspense thru meticulous plotting, extensive exposition, tension released |
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