2009 : I have to redesign pages for online teaching?

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Brecht: "Unhappy the land that is in need of heroes." GRAMMAR OF DRAMA: part I

"Before and After Shakespeare" (Hamlet, first read) Read 200X Files on Aristotle and The Poetics


SHOWS: 12th Night

Summary

Part I. Craft
Part II. Art
Part III. Theory
Part IV. Play

Questions

Confusing? You have to wait until I will work out this new vertical hierarchy (subdirectories 215 and 413 with their subdirectories) -- "deep structure"!

Notes

"The intimation is that the poet is incapable of composing until he has become unconscious and bereft of reason." The Birth of Tragedy Shrew04 Aristotle's Six Parts of a Tragedy : 1. Plot 2. Character 3. Thought (theme, idea) 4. Diction (Language) 5. Music (sound) 6. Spectacle

Dramaturg (Devils) and Dranaturgue (Don Juan) -- we need these pages in every shows sub-directory.

DRAMATURGY AS A WEAVING-TOGETHER: "The word text, before refer-ring to a written or spoken, printed or manuscripted text, meant 'a weaving together'. In this sense, there is no performance which does not have a 'text'. That which concerns the text (the weave) of the performance can be defined as 'dramaturgy', that is, drama-ergon, the 'work of the actions' in the performance." Eugenio Barba and Nicola Savarese. "Dramaturgy." A Dictionary of Theatre Anthropology: The Secret Art of the Performer. Trans. Richard Fowler. New York: Routledge, 1991. 68.

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playwright group [for myself?]

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Part One: Architecture of Drama

Dramatic Composition, Plot, Story, Character...

Playscript Analysis: Craft

The dramatic poet, as well as the epic, represents external events, but he represents them as real and present. In common with the lyric poet he also claims our mental participation, but not in the same calm composedness; the feeling of joy and sorrow which the dramatist excites is more immediate and vehement. He calls forth all the emotions which the sight of similar deeds and fortunes of living men would elicit, and it is only by the total sum of the impression which he produces that he ultimately resolves these conflicting emotions into a harmonious tone of feeling. As he stands in such close proximity to real life, and endeavours to endue his own imaginary creations with vitality, the equanimity of the epic poet would in him be indifference; he must decidedly take part with one or other of the leading views of human life, and constrain his audience also to participate in the same feeling. [S]
I do not want to dublicate the pages in 200X Aesthetics or in 215 DramLit on the basics of Grammar of Drama. Besides, the "Elements of Drama" is covered in the most textbooks. Best is to look at the glossaries and see how much do you know about composition, exposition and etc. The purpose of this new page is to enter the new subdirectory -- but how different is Part I in DramLit and Playscript Analysis?

[ In short, better take 200X, 215 + (THR121 Fundamentals of Acting) -- and only then THR413 Playscript Analysis. Better for you (and for me).

Dramatic Literature

2005: Plyascript Analysis
I broke 215 in three main parts: elements of dramatic language, evolution of drama (historical periodization) and theory (methodology of analysis).

The same three-act structure I use in THR413 Playscript Analysis.

Plus, the fourth part (applications): 215 -- writing monologues, 413 -- scenes.

Drama Writing assignments: 200 words post after reading each play. Midterm (Outline, 1st Draft, Final), Final (and/or the Scene -- the same three stages or rewrites), texts.

Shaw -- Pygmalion

PS

[ I'll come back to this page when I fix the subdirectory ]

see 413, which is the next level of Grammar of Drama!

NB

homework
Hamlet
Next: Part Two
[ updates? Fall 2003 ]
Chekhov-3-Sisters
Modernism in European Drama: Ibsen, Strindberg, Pirandello, Beckett Essays from Modern Drama Edited by F.J. Marker and Christopher Innes * University of Toronto Press 1998. "Modernism" -- A major cultural and artistic movement dominating the Western world from approximately 1890 to 1940, depending on the country, modernism is now recognized as one of the most creative periods in human history, worthy of being discussed alongside Periclean Athens and the European Renaissance. No art was left untouched, and most were transformed by this international movement. Repudiating the Past

Whatever the actualities, modernism perceived itself as warring against continuity, tradition, and a sense of the past. In many ways, modernism styled itself as an arrogant repudiation of the past: Filippio Marinetti, the leading Italian futurist, for instance, proposed that museums be utterly destroyed so that the new century could escape the burden of the past.

These displacements, however, did not occur without battles of one kind or another. The premiere of Stravinsky's Rite of Spring in Paris in 1912 quite literally led to a riot in the theater.