Drama

Question 1

Primary and secondray text

Answer 1

Primary text: dialogue that takes place between dramatic figures

Secondary text: stage directions, not spoken parts which people that see the play have no access to

Question 2

how are dramatic text different from narrative texts

Answer 2

Presentness
Plurimedial
Collective and ephemeral process

Question 3

explain the Absolute nature of Dramatic texts

Answer 3

No mediating communication system, no narrator = absulute in it self.
we don’t have someone who tells us thoughts of dramatic characters.

	* No narrator (only Chorus in ancient drama.)

	* No inner toughts (sometimes use of monologue/or soliloquy  for this)

	* Information is pervided tough: Interpersonal dialogue form

Question 4

what is the Collective and ephemeral process of drama

Answer 4

Collective = we go to the theater together

Ephemeral: no performance is like the one before

Question 5

explain phisters graph for drama, how does it differ from his graph over narrative texts

Answer 5

external communication system:

s4 and R 4 emperial author and scutual reader

s3 and r3 implied reciever and author

Mediating communication system (no S2 narrator in drama and no fictional adresse)

S2 = fictional narrator
R2 = fictional adressee

Internal communication system
S/R = fictional characters

Narrative function transferred to internal communikation system by means of the type of questions and answers from S/R1 designed to inform the audience more info about protagonist then protagonist self.

Question 6

Monologue:

Answer 6

Dialogue by single character. addressed to no one, used to express thoughts. (other characters are on stage)

Question 7

Soliloquy:

Answer 7

only one character on stage talking

Question 8

Aside

Answer 8

character says something to either other character or audience which character C cannot here.

Question 9

Line by line

Answer 9

exchange: specific kind of dialogue. Every character speaks only one line

• Can create a monotony effect. (monotone)

Question 10

Report by messenger

Answer 10

recount events that happens before the action that currently takes place. Its about something in the past

Question 11

Viewing of the walls:
Teichoscopy or teichoscopia

Answer 11

characters tells other character = this and this is happening right now but off stage (present time)

Question 12

Discrepant awareness:

Answer 12

The audience knows more than the characters on stage.

Question 13

Dramatic irony:

Answer 13

ironic contradiction created when internal and external communications system conflict with each othe

eg: romeo is looking a juliet, he thinks she looks as tough she is still sleping. He is here a victom of irony - the audience knows she looks alive because she is alive. So its ironic. Note romeo is not the perpretrator of dramatic irony but the victim.

Question 14

How do you (esprecially in exposition) make sure the audience know what they need to know

Answer 14

The characters ask questions

Question 15

Classical three unities from Aristotle’s

Answer 15

1. The unity of action: A play should have one main action it follows with no or few subplots.
   2. The Unity of place: A play should cover single physical place, should not attempt to compress geography.
   3. Unity of time: The action in a play should take place over no more than 24 hours (so that the audience can follow and understand)

Question 16

Mythos

Answer 16

myth is a hole of e certain magnitude.
Plot must be complete and hole, and have recognizable with clear beginning middle and end.

Question 17

Catharsis

Answer 17

Efter at have set en tragedie skal publikum gennemga en rennelse, after arousing pitty and fear.

It’s a form of solutions to why people want to be entertained by watching horrible events (having a good cry)

Question 18

Dramatic Arc: by Gustav Freytag

Answer 18

1. Expostion: inciting moment
   2. Rising action/or complication (steigerung)
   3. Climax (following this is the peripety (turning point)
   4. Falling action or reversal
   5. Denoument (comedy - solution) or catastrophe (tragedy)

Question 19

Open form/Closed form

Answer 19

not all plays rely on classical unities of dramatic arc.
Open form = godot

Question 20

Tragedy:

Answer 20

• Mimesis or imitation of serious heroic and complete action
  
  • Protaganist fortune turn from good to bad
  • Action incites pity (elos) and fear (phobos)
  • We empathise with the suffering of hero and their recognition (anagnorisis) of mistake/guilt.
    Introduction of catharsis

Question 21

Comedy:

Answer 21

• `Ordinary people of the middle or lower classes as flat types with stereotypical behavior (comdia del arte)
  
  • Characters reveal short coming, make mistakes, are frustrated by failure
  • Action marked by stock elements = mistaken identity, surprising turn
  • In general poetic justice prevails in the end = person we empathize with have happy ending.

Question 22

Discrepant awareness:

Answer 22

The audience knows more than the characters on stage.

Question 23

how is a play Synesthetic

Answer 23

(visual, acustic, olfactory)

Question 24

How is a play Ephemeral:

Answer 24

each permance is unique and singular

Question 25

Suspension of disbelief:

Answer 25

you know that what you are seeing isn’t real in the theater. Its an act. But we decide to belive its real for a limited amound of time.

Question 26

Chanels for conveing inforamtion:

Answer 26

Visual, acoustic, or. Smell

Question 27

Physicality of drama

Answer 27

No play is the same - there are real people and real bodies, its not like you can just do another take. Also the audience if you sit next to someone who sneezes the hole time that influences your experience

Question 28

Open-air Stage forms:

Answer 28

• Ancient Greece: Anphitheater (semi circle)
  • Middle Ages: Pageants a wagon
  • Renaissance (eraly modern period) : apron stage Surrounded by three sides

Question 29

Stage forms 17th cent.

Indoor:

Answer 29

• Proscenium Arch (pictures frame stage = kukkassse scene) with the invisible fourth wall
  • Other forms include:
  • Theater in the round
  • Thrust stage: publikum 3 sider
• Traverese: publikum hojre og venstre

Question 30

Bertolt Brecht (1898-1956)

Answer 30

• Berliner ensemble
  
  • Verfremdung (alienation effect) - actor can stand outside the character
  • Epic theatre (as oposed to dramatic thatre/montage rather than stringent plot.
    Anti-naturalistic

want to make theater political

Question 31

Samuel Becket (1906-1989)

Answer 31

Irishman living in France, wrote in French

* Shaped theatre of the absurd
* Project the irrationalism, helplesness, absurdity of life in dramatic forms that reject realistic settings, locial reasoning and a coherently evolving plot Uses eddying and pointless dialogue to project the alienation and tragic anguish of human existence.

Question 32

round characters vs flat characters

Answer 32

Round characters:Round characters are like real people.
They have complex, multi-dimensional personalities.
They are capable of growing and changing.
They are often, but not always, major characters.

Flat characters:They have one-dimensional personalities.
They represent or portray one particular characteristic.
They are a type, e.g. the jealous lover, the fool or the grumpy, old man.
They are often, but not always, minor characters.

Question 33

Metatheatrical

Answer 33

meta - theater
theater on theater

Question 34

The absurd definition: Camus (French):

word/universe

humanity

Answer 34

a philosophy based on the belief that the universe is irrational and meaningless and that the search for order brings the individual into conflict with the universe

World/universe: is irrational and meaningless
- Lack of meaning, irrational, arbitrary (no faite, you are here by chance), the universe is indifferent to you, incomprehenceble to you

Humanity: meaning seaking/making creatures which dosent allaine with the universe. And that is absurd.
So the fact that we excist in a world that has no meaning but we seek this meaning.
The anguish of human exsistence. In searching for oder.

Question 35

Theater of the absurd:

Answer 35

• Absurdity
  
  • There is no meaning (with life)
  • Flat characters
  • After WW 2
  • No God
  • Reject realistic setting, or plot
  • Helplessness
    Actions are cyclical (events happen again and again)

Question 36

Alienations effect:

Answer 36

Making the audience aware that they are in a artificial play.
The actor can step out of the role.

Question 37

Phister communication model
se evt. PP to explain

Chanels: olfactory, acustic, visual
Codes: verbal non verbal
Sender: Figure, stage

Information: (durative or non durative)

Answer 37

Pfisters graph: Pluramediality of drama

Repertorie of codes and channels

Chanels for conveing inforamtion: Visual, acoustic, or smell

Clear preference for visual and acustic.

Codes: both verbal and non-verbal

Sender:
Who/what sends us information
Figure: speaks information /
stage: se certain things like props.

Information:
Voice, intonation… (linguistic and paralinguistic) (Paralinguistics arethe aspects of spoken communication that do not involve words.)

Duration: Is the information avalible trough out the play or just briefly on the stage.