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DRAMA

DRAMA. READING DRAMA. WHAT IS A PLAY?. a play is a written document script text prompt book. WHAT IS A PLAY?. it is written to be seen , performed collaboration script actors director set designers costumer designers makeup artists lighting & sound engineers.

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DRAMA

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  1. DRAMA READING DRAMA

  2. WHAT IS A PLAY? • a play is a written document • script • text • prompt book

  3. WHAT IS A PLAY? • it is written to be seen, performed • collaboration • script • actors • director • set designers • costumer designers • makeup artists • lighting & sound engineers

  4. DRAMA & FICTION, POETRY SIMILARITIES • elements • Plot, Characterization • Structure, Atmosphere • Theme, Symbolism, POV

  5. DRAMA & FICTION, POETRY DIFFERENCES • interaction • written to be performed • 1st & foremost • to be read & studied, too • quick exposition (engaging) • one sitting – • can’t be stopped, picked up later • (as a paperback) • not rewound, watched again

  6. DRAMA Page vs. Stage • Reading Drama vs. Watching Production • to study the language • to ascertain the nuance of the language • to pay careful attention to detail • word choice • symbolism • allusions • re-read parts • make connections • get clarity • close examination

  7. DRAMA HOW TO READ A PLAY

  8. I. LISTEN TO THE LINES • Careful Reading – • feel the tone of the language • listen for emotion behind the lines • passion, love, assurance • anger, fear, defiance

  9. I. LISTEN TO THE LINES • Performance Reading – • read the lines out loud • read them with others • act out scenes in class • see the work performed

  10. II. VISUALIZE THE SCENE • “Scene” = Staging • see the action on a stage • a production in your mind’s eye • read like an actor/director

  11. II. VISUALIZE THE SCENE TYPES of STAGING • (a) proscenium arch • proscenium arch • arch over which the curtain hangs • apron • space between the foot of the curtain & the floodlights • upstage • toward the back

  12. II. VISUALIZE THE SCENE TYPES of STAGING • (a) proscenium arch • downstage • toward the apron • 4th wall • the “missing” wall • the audience’s perspective • flats • canvas-covered frames/backdrop

  13. II. VISUALIZE THE SCENE TYPES of STAGING • (b) theatre-in-the-round • aka, arena staging • audience sits around the stage • raised • no 4th wall • perhaps more intimate setting • greater immediacy • feel as if part of the action

  14. II. VISUALIZE THE SCENE TYPES of STAGING • (c) Theatre of the Absurd • lack of traditional staging, plot, character, action • can keep or remove or both all of the above

  15. III. ENVISION THE ACTION • DRAMA = • “not a medium of words • BUT • of people moving around onstage using words” 

  16. III. ENVISION THE ACTION • Thus • non-verbal elements – • movement • gesture • Setting • so read imaginatively • like an actor/director

  17. III. ENVISION THE ACTION • stage directions: • cues for • gestures • movements • facial expressions • tone of voice • written by the playwright • detailed • sparse • written by editors (SHK)

  18. IV. C/C DRAMA ON FILM • filmed productions • live productions recorded • BBC SHK • movie adaptations • more movie than play • Hollywood versions

  19. IV. C/C DRAMA ON FILM • C/C Questions: • What has been cut/added (characters, scenes, subplots)? • How does the characterization of the role/s differ from your original? • Do you agree with the casting? • Do camera actions (zoom, close-ups, reactions shots) focus your attention on certain characters or add to the appreciation or understanding of certain scenes?

  20. IV. C/C DRAMA ON FILM • C/C Questions: • Is the setting faithful to the script or have liberties been taken? • Would the play make a better movie or stage production? • Does the film version enhance your understanding of the play? • How would the playwright react to the filmed version?

  21. IV. C/C DRAMA ON FILM • C/C Questions: • As the director, what decisions would you make in terms of • pace, costuming, • setting, casting, • characterization, • costume design?

  22. V. CRITICAL QUESTIONS • Main Conflict • resolved • How? • Subplots • What are they? • How do they enhance the main plot?

  23. V. CRITICAL QUESTIONS • Traditional Dramatic Structure (see below) • Exposition • Complication • Climax • Dénouement • Resolution

  24. V. CRITICAL QUESTIONS • Protagonist • character analysis • tragic error/fatal flaw • hero or anti-hero • Minor Characters • flat, expository function • foil to main characters • oppose, contrast, criticize • help develop main char.

  25. V. CRITICAL QUESTIONS • Time & Setting • integral • Can it be changed? • Title • clue to understanding • What would yours be?

  26. V. CRITICAL QUESTIONS • Theme • Genre • Comedy or Tragedy • Tragic-Comedy • unimportant • Realistic Presentation • theatrical devices • lighting, music, costuming, • real/surreal settings

  27. DRAMA DRAMATIC STRUCTURE

  28. PLOT • story • Aristotle’s “fable” • beginning, middle, end

  29. ARGUMENT • “agon” • the heart of the dramatic story • the CONFLICT surrounding the ARGUMENT • creates Tension & incites interest • the 2 sides of the argument • the “pro” and “con” • = Protagonist, Antagonist

  30. PROTAGONIST • HERO or HEROINE • 1 person or many

  31. ANTAGONIST • VILLAIN • 1 person, group, or • force • (supernatural, natural)

  32. DRAMATIC STRUCTURE • establish a conflict • develop both sides of the argument • reach a credible conclusion • (Rogerian Method)

  33. (1) POINT of ATTACK • the starting point from which the dramatist leads the audience into the Plot • opening scene • begun at the beginning • characters & audience find out at the same time • in medias res • begun “in the middle of things” • reveal events that have already taken place (Exposition) • begun toward the end • reveal events that have already taken place (Exposition)

  34. (2) EXPOSITION • the revelation of facts, circumstances, & past events • essential facts @ characters or conflict • revealed • through minor chararacters • through jumping right into the action

  35. (3) RISING ACTION • the building of interest through COMPLICATION of the Conflict • “Complication” • moving the Protagonist & Antagonist toward confrontation

  36. (4) CLIMAX • the “high point” of the action • the showdown between the Protagonist & Antagonist • the TURNING POINT • point of no return • 1 event or series of events

  37. (5) FALLING ACTION • the unraveling of the Plot • events fall into place • the Conflict moves toward Resolution

  38. (6) DENOUEMENT • the “untying” of the knot • the play’s conclusion, explanation, or outcome of the Action • the end of the play (go home!) • wedding, lovers’ kiss, song • death, pieta • CATASTROPHE – • the Denouement of a Tragedy • often with the death of the Hero/Heroine

  39. DRAMATIC STRUCTURE FREYTAG’S PYRAMID of TRAGEDY

  40. EXPOSITION of ANTIGONE • Sophocles: (c.495 BC –c.405 BC) • only 7 of his 120+ plays survive • (Theban trilogy) • Oedipus the King, Oedipus at Colonus, Antigone • Electra, Ajax • Philoctetes • Women of Trachis(The Trachiniae)

  41. EXPOSITION of ANTIGONE • Sophocles: (c.495 BC –c.405 BC) • born in Colonus • (near Athens) • studied under Aeschylus • (master of Greek tragedy)

  42. EXPOSITION of ANTIGONE • Sophocles: (c.495 BC –c.405 BC) • themes: • no questioning the justice of the gods • assumed a divine order that humans must follow • protagonists: • strong-willed • prideful • lack of self-knowledge • end tragically b/c of such traits (hubris)

  43. EXPOSITION of ANTIGONE • Antigone • 3rd play in the trilogy • written 1st • 442 BC

  44. EXPOSITION of ANTIGONE • King Laius of Thebes & his descendents= cursed by Apollo • Oracle of Delphi • Apollo’s oracle • warns that Laius’ son will kill him • Laius abandons Oedipus to die in the mountains

  45. EXPOSITION of ANTIGONE • Oedipus survives • later meets & kills his father (unbeknownst to either) on road to Thebes • solves the Riddle of the Sphinx & becomes king of Thebes • unwittingly marries his mother (Jocasta) & has children • later discovers his incest (& patricide), blinds self, leaves Thebes

  46. EXPOSITION of ANTIGONE • Creon, Jocasta’s brother, becomes king & guardian of Oedipus’ 2 daughters • Antigone • Ismene • Oedipus’ 2 sons vie for throne • Polynices • Eteocles

  47. EXPOSITION of ANTIGONE • Polynices = • driven out of city but returns w/army • Polynices & Eteocles • kill each other in the ensuing battle • Creon • becomes king • Antigone • opens w/Antigone & Ismene • discussing Creon’s 1st decree

  48. FOLLOW-UP of ANTIGONE • Exposition • opening scenes • Chorus • the Sentry • Conflict • Protagonist (hero/heroine) • Antagonist (villain)

  49. FOLLOW-UP of ANTIGONE • Climax • too early • Catastrophe/Denouement • What is it?

  50. FOLLOW-UP of ANTIGONE • Themes • clash w/authority, rules, norms, traditions • politician vs. anarchist • *public policy vs. individual conscience • gender conflict • male vs. female

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