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The Mind as a Work of Art > 6 - Theater & Literature > Flashcards

6 - Theater & Literature Flashcards

1
Q

theater & storytelling in the narrative triad

A
  • between acting and narration (narrative and performing arts)
  • static and dynamic (can be acted out)
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2
Q

two ways of conveying stories and when are those used (just terms and usage)

A

Narration = Literature
Acting = Theater

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3
Q

Narration

A
  • story told my narrator (voice)
  • he is external/not part of story
  • characters are described in words (by narrator) -> using third person
  • talking about past tense
  • (long) monologue
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4
Q

Acting

A
  • character speaks -> own voice -> part of the story
  • character is embodied (no verbal description, it is visible) -> first person perspective
  • present tense
  • dialogue (theater represents conversation)
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5
Q

Plato - combining narration

A

mixed; narrated story and talking characters

proactive; narrater uses different voice for each character -> monologue and dialectic

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6
Q

personal consequentiality

A

story has consequences for person; often having complications component

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7
Q

fictionality is an …

A

… art-specific function
- conversation (factual) to theater (fictional) -> recreation of conversation
- storytelling (factual) to literature (fictional) -> developing literally forms
-> fictionality is art specific (learning through others)

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8
Q

levels of telling a story

A
  1. description = facts, no story
  2. event sequence = causally linked event sequence
  3. narration = involves characters, affecting each other, causally linked, experientially of a character
    (contemporary view; not q story when there is no character)
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9
Q

semantics

A

the meaning of words -> conceptual categories

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10
Q

syntax

A

rules for word combinations -> purely about the parts of speech (not caring about meaning) (ex. singular and plural for a word)
-> contains intrinsic narrative (whig did what to whom)

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11
Q

MAWA - syntax/semantics

A

semantics first, no syntax -> has build in storytelling structure later

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12
Q

phonology

A

sound properties of language
-> phoneme = syllables
-> applied to single words

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13
Q

prosody/intonation

A
  • sentence level
    1. linguistic prosody; stressed words within sentence & intonational melody (rising and falling pitch; statement or question)
    2. affective/emotional prosody; expression of emotion via voice (applied to whole sentence)
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14
Q

language vs speech

A
  • language is semantics and syntax
  • speech used to externalize language (using voice) -> speech = one part of language
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15
Q

origin of language - theories

A
  • gestural: language began as gesture (later replaced by speech)
  • vocal: language began as vocalization
    + prosodic: speech evolved from vocal expressions of emotion
    + syllabic: speech evolved from visual-facial communication (lip smacking); opening/closing mouth -> speech
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16
Q

2 major components of a story

A

plot + character

17
Q

the narrative arc

A

Beginning …
1. Establisher; present elements of story
2. complication; introducing protagonist

Middle …
3. attempt; protagonist overcoming complication
4. climax (drops suddenly)

Ending …
5. resolution/outcome

-> series of causally related events
-> two dimensions; timeline & emotional intensity/protagonist emotion (tension)
-> somewhat a problem solving cycle

18
Q

types of central conflict

A
  • person vs nature
  • person vs person, person vs society or person vs self (most common ones)
  • person vs technology
    -> we can learn from those stories (storytelling as route for vicarious learning); connecting to own experience
19
Q
  1. plot classification (based on valence at ending)
  2. prospectives (classify plot based on beginning)
A
    • positive valence -> happy ending
    • negative valence -> sad ending
    • hopeful beginning -> thriving story
    • negative beginning -> coping story
20
Q

valence beginning/end … story types

A
  1. striving + positive outcome = rise/fall/rise
  2. coping + positive outcome = fall/rise
  3. striving + negative outcome = rise/fall
  4. coping + negative outcome = fall/rise/fall

[story’s are told retrospectively, but are told from beginning to end -> convey causal structure]

21
Q

narrative thinking

A
  • everyday cognitions (we are own protagonists in our life, having goals and need to cope) -> it is ongoing (not storytelling)
  • internal narrative, future events
22
Q

autobiographical narrative

A
  • communicate narrative about past events -> told story (plot is fully established)
    -> retrospective
23
Q

mental time travel

A

past; retrospective; episodic memory

future; prospective; episodic future thinking

24
Q

episodic future thinking

A
  1. simulation - mental representation of future
  2. intention - setting goals
  3. planning - organize steps to achieve goal
  4. prediction - analyze outcome dependent on taken way
25
Q

4 conceptions of self

A
  • ecological self: fundamental, we exist in environment/world as entity
  • interpersonal self: personas; different interactions require different feelings of self
  • extended self: beyond presence,mental time travel (simulation/projection)
  • conceptual self: socially defining categories (conceptual self, defunded by society)
    -> the self is very multifaceted
26
Q

1) egocentric vs 2) allocentric

A

1) internal self reference, own eyes
2) external reference, the other (perceiving others)

27
Q

others-as-self (egocentrically) and it’s benefit

A

perceiving others is processed as perceiving oneself (jumping into that’s person brain)
= mentalizing (intersubjectivity; understanding others)
(think about what others think/belief)

-> predict behaviors of others (especially in relation to self)

28
Q

two systems of causal inference (how did it happen? vs why did she do so?)

A
  1. scientific mode: physical explanations -> forces; applied to any object & humans -> folk physics
  2. narrative mode (MAWA): intentional explanations, emotions/beliefs/intentions of person -> folk psychology
29
Q

self-as-other (producing others egocentrically)

A
  • representing another person using own body -> acting
    = personal mimicry (predicting others egocentrically (replacing ourselves with others))
  • everyday role play (adjusting to situation) -> having own personas or pretend to be someone else at times (proto-acting; evolved but personal mimicry)
    -> united vocal imitation and gestural imitation
30
Q

proto acting

A
  • mostly quotations in conversation (quotation verbs)
    ~ impressionist; multiple characters, one at a time
    ~ ventriloquist; one character in dialogue with self (in exchange, back and forth)
    ~ storyteller; multiple characters in dialogue
31
Q

mentalizing vs mimicry - summarized

A

mentalizing - conceptual - perceiving others as self

mimicry - production - producing self as others

32
Q

3 aspects of self & other (social dramas)

A
  • everyday role playing
  • proto-acting
  • dramatic acting
33
Q

theatrical thinking

A

= social behavior as dramatic performance
- relates to display thinking -> social behaviors displayed to people around -> using different personas (variants of self)

(stagecraft having static (background and such) & dynamic (posture and such) aspects)

34
Q

impression management

A
  • the impression that is fostered before them; matters are what they appear to be
    -> let people see the role we playing as we see (form is social display thinking)
35
Q

1) scripts
2) friends/foes -> theater as analogy for social life

A

1) protocols of (social) interactions
2) friends as supporters, antagonist as obstacle (social drama) -> both present in life

36
Q

Acting is an ___ function

A

art-specific

37
Q

misrepresentation

A
  • licensed = allowed to pretend, everyone is aware; actors representing themselves as someone else
  • unlicensed = impostor, not aware that person is playing someone else
    -> every day role playing
38
Q

double consciousness (audience)

A

perceiving the actor in real world & perceiving the character in storyworld
-> character and actor at same time and in same body (when viewing theater)

39
Q

actor getting into character (2 ways)

A
  1. gestural acting:
    - externalize character; mimicry of their gestures -> outside in (surface first approach) [traditionally used more]
  2. psychological acting:
    - internalize character; self-identification, getting into characters mind -> inside out (inside first approach) [yields better performance ]

-> narrative gestures affect emotional/partial circumstances while acting

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