glossary Flashcards
dramatic structure
Includes the broad categories of representational and presentational or non-realistic drama and their relationship to linear and non-linear narrative structures. Structure, techniques and conventions are relevant to chosen drama form or style’s approach. This includes approaches to structure as follows:
• episodic structure: the action of a drama is broken into smaller scenes often with the rapid development of narrative elements. These scenes move between settings, and groups of characters.
• Well-made Play: expanding on the work of Aristotle’s poetics, this structure featured a careful construction of an exposition, a rising conflict that increases in complexity and dramatic tension, a climax close to the end of the play, a denouement in which key events are ‘explained’ or unpacked for the audience, and a conclusion that may include a life ethic or moral for the audience.
audience theory
A broad field of study that explores both the role of audience in drama as well as
techniques, skills and processes used by actors and non-actors to shape audience
relationships with the action, with one another and their emotional distance from
the action of the event. Research on personal, social, cultural and other qualities
of audiences that explain particular responses to drama contributes to a wider
understanding of audience theory informing decision making in drama.
critical framework
A way of analysing and viewing social, cultural or dramatic elements in terms of its
impact on particular members of society. It provides tools with which to consider
the values central to a phenomenon and the impact of those values in particular
members of society
forces
The various influences, pressures and stimuli in a period or era that brought about
change or maintained continuity. These forces may include political, economic,
social, cultural, conflict, religious, environmental, group pressures and identity.
The relative impact of forces refers not only to the forces themselves, but also the
degree, scale or pace of change or the continuity of the status quo during the
period.
form
Is a broadly inclusive term: it includes the genres (different types of drama) such
as live theatre, radio, television and film drama, opera, puppetry and mime.
Drama forms also refer to the structure of drama where aesthetic principles and
practical choices shape the drama resulting in a focus on tragedy, comedy,
tragic-comedy, farce, melodrama, or history. Describes the manner in which the
focus of a drama event is approached.
metonymic design
Sometimes called “selective realism”, the process of selecting a single object to
stand in for a complete setting (for example, a padded chair for a lounge room).
This approach simplifies scene change processes and adds to the imaginative
dimension of design. Metonymic designs may include elements of fusion (where
simple objects complement one another) or contrast (where the objects don’t
match and seem to contradict one another). Contrast is used to encourage the
audience to view both objects carefully to discover the meaning and intended
effect.
narrative
• fragmented time: Breaking up the narrative into parts that shift between
pasts, presents and futures in non-chronological order but still enable the
audience to piece together an understanding of what has happened.
• leaps of time: shifts in the dramatic action ignoring the logical sequence and
challenging the audience to create the sequence in their own mind.
• linear narratives: Narrative where the events take place continuously and
sequentially from beginning to end.
spatial awareness
The perceptions of and control of movement within the performance space as well
as audience space. Spatial awareness helps an actor to move efficiently and
effectively on stage knowing the whereabouts of other actors, sets, props, the
limits of the stage and lighting as well as maintaining their movements within the
same proportion of the stage even when the size of the stage changes in different
venues
style
style in drama refers to the distinctive identifying elements of particular
dramatic texts. There are three dimensions of style: historical, performance
and personal style.
• historical style: refers to the distinctive uses of language, approaches to
subject matter, themes, characterisation and dramatic action that can be
linked to particular times and contexts. For example, Theatre of the Absurd,
Theatre of Realism.
• performance style: refers to the ways of approaching dramatic text in
performance. – Two major performance styles are representational and
presentational styles.
personal style: the distinctive use of voice, posture, gesture and body that can
be associated with a particular actor or director. Style can be observed in
performances, direction, design, and the application of conventions to
dramatic texts.
