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Comps > Step 4B - Explore the event's genre(s) through artistic domain categories > Flashcards

Step 4B - Explore the event's genre(s) through artistic domain categories Flashcards

1
Q

Recording/Collections

A

go for integral performances; can design an analytical performance context; gathering a collection of similar items

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2
Q

go for integral performances

A

video recordings help get overall flow of performance through time, seeing sound production, watching movements and relationships, observing creation of visual objects; audio recordings useful for transcribing patterns

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3
Q

can design an analytical performance context

A

video recordings idea for getting feedback from others later, for analyzing specific techniques, for clear documentation of specific movement for the future; also for transcription

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4
Q

gathering a collection of similar items (source and content)

A

Unseth (2008) - collecting proverbs (group, suggest topics)

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5
Q

Music in an event

-Shape of event through time (sources)

A

Shelemay (2001), Apel (1972), Nettl (1956)

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6
Q

Shelemay (2001)

A

definition of phrase: brief section of music, analogous to a phrase of spoken language, that sounds somewhat complete in itself, while not self-sufficient

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7
Q

Apel (1972)

A

definition of strophic: “stanzas sung to same music, contrast song with new music for each stanza [through-composed]”

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8
Q

Nettl (1956)

A

litany-type = one short phrase reiterated throughout

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9
Q

Music in an event

-Performance Features Categories (source and content)

A

Apel (1972) - texture = horizontal and vertical relationships of musical materials, comparable to the weave of a fabric

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10
Q

Music in an event

-Content (source)

A

Richards (1972)

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11
Q

Richards (1972)

A

melody’s shape and rhythm can be influenced by stress, linguistic tone, part of speech, discourse features, and the like

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12
Q

Music in an event

-Underlying Symbolic systems (source and content)

A

Apel (1972) - meter = underlying pattern of beats, by which time span of a piece of music or a section thereof is organized

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13
Q

Drama in an event

-shape of event through time (sources)

A

McKee (1997), McLaughlin (1997)

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14
Q

McKee (1997) - drama, shape of event through time

A

structure = “a selection of events from characters’ life stories that is composed into a strategic sequence to arouse specific emotions and to express a specific view of life”

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15
Q

McLaughlin (1997) - drama, shape of event through time

A

dramatic intensity curve = shows rise and fall of action across time of the play

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16
Q

Drama in an event

-participant organization (sources)

A

Ball (1984), Kirby (1972), McLaughlin (1997), Petersen (2010); Barber, Collins, and Ricard (1997)

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17
Q

Ball (1984) - drama, participant organization

A

director helps make more meaningful; “helps the actor choose an objective and then encourages him to play it with all his heart”

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18
Q

Kirby (1972) - drama, participant organization

A

example of nonmatrixed performer = Japanese kabuki theater, stagehands moving props, seen but ignored by audience

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19
Q

McLaughlin (1997) - drama, participant organization

A

breaking the fourth wall; audience and performers interact, acknowledge one another’s presence

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20
Q

Petersen (2010) - drama, participant organization

A

example of Jula granddaughter imitating deceased grandfather and visitors could address her as if she were he

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21
Q

Barber, Collins, and Ricard (1997) - drama, participant organization

A

example of fourth wall broken in both dimensions—play Orphan do not glance from Ghana, audience members even come on stage to interact

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22
Q

Drama in an event

-performance feature categories (sources)

A

Schechner (2006), Frakes (2005)

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23
Q

Schechner (2006) - drama, performance features categories

A

Brechtian acting (interprets role, but stays outside of it in terms of commenting on it—quotes the character rather than being the character); both Brechtian and codified emotion is “displayed” rather than “experienced”

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24
Q

Frakes (2005) - drama, performance features categories

A
  • strength/volume—must be loud enough for everyone to hear; “explosive” volume in shouts; “expulsive” volume releases air from lungs gradually to prolong sentence (like singer holding longer note)
  • tempo/rate/pace includes consideration of speech of speaking words but also of length of silence between words
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25
Q

Drama in an event

-Content (source)

A

McLaughlin (1997)

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26
Q

McLaughlin (1997) - drama, content

A

dramatic premise influences structure of play in terms of cause and effect, e.g., “greediness leads to loneliness”

27
Q

Drama in an event

-Underlying symbolic systems (sources)

A

Greenwald, Schulz, and Pomo (2001); Hatcher (1996); Tillis (1999)

28
Q

Greenwald, Schulz, and Pomo (2001) - drama, underlying symbolic systems

A
  • climactic plots most common; exposition + series of minor crises to turning point/resolution; may have subplots or secondary stories with smaller crises/resolutions; basic structure is action-reaction or cause-effect
  • cyclic plots remain unresolved, characters in same place at end as beginning; mostly found in Bali and some modern Western theater
29
Q

Hatcher (1996) - drama, underlying symbolic systems

A

“the cornerstone of dramatic engagement [for a climactic plot] is suspense”

30
Q

Tillis (1999) - drama, underlying symbolic systems

A

frame is overall purpose of event; lets audience know how to interpret it

31
Q

Dance in an event

-general research thoughts (sources)

A

Sklar (1991); Sklar (2000); Sklar, Kealiinohomoku, Coorlawala, & Shay (2001)

32
Q

Sklar (1991) - dance, general

A

participation helps understand what others are experiencing; dance = embodied cultural knowledge; choose research carefully so can reflect on why you experience phenomena the way you do

33
Q

Sklar (2000) - dance, general

A

new trends (updating article from 10 years earlier) = sociopolitical agendas; movement as way of knowing, “somatic mode” and “proprioception” (from stimuli within own body)

34
Q

Sklar, Kealiinohomoku, Coorlawala, & Shay (2001) - dance, general

A

know your own background (Kealiinohomoku); move as a way of thinking (Sklar); be honest about dualities/hybridities (Coorlawala); don’t ignore what popular dances can tell us (Shay)

35
Q

Dance in an event

-shape of event through time (source)

A

Giurchescu & Kröschlová (2007)

36
Q

Giurchescu & Kröschlová (2007) - dance, shape of event

A

example of hierarchical segmentation of dance constituent segments (total dance form; part; strophe; section; phrase; motif)

37
Q

Dance in an event

-participant organization (source)

A

Guest (2005)

38
Q

Guest (2005) - dance, participant organization

A

concepts in relationships among dancers (awareness; addressing; transient relationships; retained relationships; canceled relationships)

39
Q

Dance in an event

-performance feature categories (sources)

A

Hackney (2000); Guest & Curran (2008); Maletic (2004); Mindspark website

40
Q

Hackney (2000) - dance, performance feature categories

A

movement initiators and body motion (breath; head-tail; core-distal; homologous; homolateral; contralateral)

41
Q

Guest & Curran (2008) - dance, performance feature categories

A

ideas of what to observe to get “big-picture” happenings (e.g., constant/still; traveling; direction; turning; jumping; rotations; connection to ground; gestures; etc.)

42
Q

Maletic (2004) - dance, performance feature categories

A

phrasing (quality of energy/intensity)—learn types that are valued or used most commonly within culture or individual performer’s style; types include even, increasing/impact; decreasing/impulse; increasing-decreasing; decreasing-increasing; accented; vibratory; resilient (elasticity, buoyancy, weight)

43
Q

Mindspark website - dance, performance feature categories

A

kinesphere/dimensions of movement

44
Q

Oral Verbal Arts in an event

-general (sources)

A

Bauman & Braid (1998); Unseth (2010); Unseth (2006); Franklin (2009)

45
Q

Bauman & Braid (1998) - oral verbal arts, general

A

performances become cohesive unit through entextualization; can become decontextualized (lifted out of context) and recontextualized through new intertextual links created by new performers in new context

46
Q

Unseth (2010); Unseth (2006); Franklin (2009) - oral verbal arts, general

A

recommended for exploring forms/meanings of various kinds of oral verbal arts

47
Q

Oral Verbal Arts in an event

-shape of event through time (sources)

A

Longacre (1996); Longacre (2006)

48
Q

Longacre (1996) - oral verbal arts, shape of event

A

temporal form of narrative: stage; inciting incident; mounting tension; climax of tension; release of tension

49
Q

Longacre (2006) - oral verbal arts, shape of event

A

example of narrative poetry discourse strophes (Psalm 18)

50
Q

Oral Verbal Arts in an event

-underlying symbolic systems, analyze a narrative (sources)

A

Longacre & Hwang (2012); Dooley & Levinsohn (2000); Longacre & Levinsohn (1978); Renkema (1993); Grimes (1975); Longacre (1996)

51
Q

Longacre & Hwang (2012) - oral verbal arts, underlying symbolic systems

A

excellent resource for exploring types and levels of detail for narrative discourse analyses

52
Q

Dooley & Levinsohn (2000) - oral verbal arts, underlying symbolic systems

A
  • recommended introductory text for learning discourse analysis methods
  • need” a fairly complete picture of the text world, and of the external contextualization”
  • thematic development; “continuities and discontinuities” fall within domains of time, place, action, and/or participants
  • look for mainline material (use similar tense, aspect, and/or mood of verbs)
53
Q

Longacre & Levinsohn (1978) - oral verbal arts, underlying symbolic systems

A

need grammatical analysis; complete text transcription; understand context and relationships involved in narrative

54
Q

Renkema (1993) - oral verbal arts, underlying symbolic systems

A

grammatical devices of cohesion (e.g., substitution, ellipsis, reference, etc.)

55
Q

Grimes (1975) - oral verbal arts, underlying symbolic systems

A

supporting material to mainline includes participant info, setting info, explanatory info, collateral info, and evaluative info

56
Q

Longacre (1996) - oral verbal arts, underlying symbolic systems

A

overall schematic development (same temporal form as listed above under “shape of the event through time”)

57
Q

Visual Arts in an event

-space (source and content)

A

Lauer & Pentak (2002)

58
Q

Lauer & Pentak (2002) - visual arts, space

A

visual unity (integrated message so parts are in harmony: proximity; repetition; continuation; controlled chaos)

59
Q

Visual Arts in an event

-participant organization

A

creator, manipulator, experiencer

60
Q

Visual Arts in an event

-performance feature categories (source)

A

Feldman (1992)

61
Q

Feldman (1992) - visual arts, performance feature categories

A

line = “the path made by a pointed instrument: a pen, a pencil, a crayon, a stick. A line implies action because work was required to make it”

62
Q

Visual Arts in an event

-content (source)

A

Lester (2003)

63
Q

Lester (2003) - visual arts, content

A
  • to analyze message of image, include “visual cues of color, form, depth, and movement within the image”
  • possible perspectives for critical analysis of visual messages: personal, historical, technical, ethical, cultural, critical
64
Q

special issues in visual arts

A

frame-purpose/intention of artist

Comps (15 decks)

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