Step 4B - Explore the event's genre(s) through artistic domain categories Flashcards
Recording/Collections
go for integral performances; can design an analytical performance context; gathering a collection of similar items
go for integral performances
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
can design an analytical performance context
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
gathering a collection of similar items (source and content)
Unseth (2008) - collecting proverbs (group, suggest topics)
Music in an event
-Shape of event through time (sources)
Shelemay (2001), Apel (1972), Nettl (1956)
Shelemay (2001)
definition of phrase: brief section of music, analogous to a phrase of spoken language, that sounds somewhat complete in itself, while not self-sufficient
Apel (1972)
definition of strophic: “stanzas sung to same music, contrast song with new music for each stanza [through-composed]”
Nettl (1956)
litany-type = one short phrase reiterated throughout
Music in an event
-Performance Features Categories (source and content)
Apel (1972) - texture = horizontal and vertical relationships of musical materials, comparable to the weave of a fabric
Music in an event
-Content (source)
Richards (1972)
Richards (1972)
melody’s shape and rhythm can be influenced by stress, linguistic tone, part of speech, discourse features, and the like
Music in an event
-Underlying Symbolic systems (source and content)
Apel (1972) - meter = underlying pattern of beats, by which time span of a piece of music or a section thereof is organized
Drama in an event
-shape of event through time (sources)
McKee (1997), McLaughlin (1997)
McKee (1997) - drama, shape of event through time
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”
McLaughlin (1997) - drama, shape of event through time
dramatic intensity curve = shows rise and fall of action across time of the play
Drama in an event
-participant organization (sources)
Ball (1984), Kirby (1972), McLaughlin (1997), Petersen (2010); Barber, Collins, and Ricard (1997)
Ball (1984) - drama, participant organization
director helps make more meaningful; “helps the actor choose an objective and then encourages him to play it with all his heart”
Kirby (1972) - drama, participant organization
example of nonmatrixed performer = Japanese kabuki theater, stagehands moving props, seen but ignored by audience
McLaughlin (1997) - drama, participant organization
breaking the fourth wall; audience and performers interact, acknowledge one another’s presence
Petersen (2010) - drama, participant organization
example of Jula granddaughter imitating deceased grandfather and visitors could address her as if she were he
Barber, Collins, and Ricard (1997) - drama, participant organization
example of fourth wall broken in both dimensions—play Orphan do not glance from Ghana, audience members even come on stage to interact
Drama in an event
-performance feature categories (sources)
Schechner (2006), Frakes (2005)
Schechner (2006) - drama, performance features categories
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”
Frakes (2005) - drama, performance features categories
- 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
Drama in an event
-Content (source)
McLaughlin (1997)
McLaughlin (1997) - drama, content
dramatic premise influences structure of play in terms of cause and effect, e.g., “greediness leads to loneliness”
Drama in an event
-Underlying symbolic systems (sources)
Greenwald, Schulz, and Pomo (2001); Hatcher (1996); Tillis (1999)
Greenwald, Schulz, and Pomo (2001) - drama, underlying symbolic systems
- 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
Hatcher (1996) - drama, underlying symbolic systems
“the cornerstone of dramatic engagement [for a climactic plot] is suspense”
Tillis (1999) - drama, underlying symbolic systems
frame is overall purpose of event; lets audience know how to interpret it
Dance in an event
-general research thoughts (sources)
Sklar (1991); Sklar (2000); Sklar, Kealiinohomoku, Coorlawala, & Shay (2001)
Sklar (1991) - dance, general
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
Sklar (2000) - dance, general
new trends (updating article from 10 years earlier) = sociopolitical agendas; movement as way of knowing, “somatic mode” and “proprioception” (from stimuli within own body)
Sklar, Kealiinohomoku, Coorlawala, & Shay (2001) - dance, general
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)
Dance in an event
-shape of event through time (source)
Giurchescu & Kröschlová (2007)
Giurchescu & Kröschlová (2007) - dance, shape of event
example of hierarchical segmentation of dance constituent segments (total dance form; part; strophe; section; phrase; motif)
Dance in an event
-participant organization (source)
Guest (2005)
Guest (2005) - dance, participant organization
concepts in relationships among dancers (awareness; addressing; transient relationships; retained relationships; canceled relationships)
Dance in an event
-performance feature categories (sources)
Hackney (2000); Guest & Curran (2008); Maletic (2004); Mindspark website
Hackney (2000) - dance, performance feature categories
movement initiators and body motion (breath; head-tail; core-distal; homologous; homolateral; contralateral)
Guest & Curran (2008) - dance, performance feature categories
ideas of what to observe to get “big-picture” happenings (e.g., constant/still; traveling; direction; turning; jumping; rotations; connection to ground; gestures; etc.)
Maletic (2004) - dance, performance feature categories
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)
Mindspark website - dance, performance feature categories
kinesphere/dimensions of movement
Oral Verbal Arts in an event
-general (sources)
Bauman & Braid (1998); Unseth (2010); Unseth (2006); Franklin (2009)
Bauman & Braid (1998) - oral verbal arts, general
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
Unseth (2010); Unseth (2006); Franklin (2009) - oral verbal arts, general
recommended for exploring forms/meanings of various kinds of oral verbal arts
Oral Verbal Arts in an event
-shape of event through time (sources)
Longacre (1996); Longacre (2006)
Longacre (1996) - oral verbal arts, shape of event
temporal form of narrative: stage; inciting incident; mounting tension; climax of tension; release of tension
Longacre (2006) - oral verbal arts, shape of event
example of narrative poetry discourse strophes (Psalm 18)
Oral Verbal Arts in an event
-underlying symbolic systems, analyze a narrative (sources)
Longacre & Hwang (2012); Dooley & Levinsohn (2000); Longacre & Levinsohn (1978); Renkema (1993); Grimes (1975); Longacre (1996)
Longacre & Hwang (2012) - oral verbal arts, underlying symbolic systems
excellent resource for exploring types and levels of detail for narrative discourse analyses
Dooley & Levinsohn (2000) - oral verbal arts, underlying symbolic systems
- 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)
Longacre & Levinsohn (1978) - oral verbal arts, underlying symbolic systems
need grammatical analysis; complete text transcription; understand context and relationships involved in narrative
Renkema (1993) - oral verbal arts, underlying symbolic systems
grammatical devices of cohesion (e.g., substitution, ellipsis, reference, etc.)
Grimes (1975) - oral verbal arts, underlying symbolic systems
supporting material to mainline includes participant info, setting info, explanatory info, collateral info, and evaluative info
Longacre (1996) - oral verbal arts, underlying symbolic systems
overall schematic development (same temporal form as listed above under “shape of the event through time”)
Visual Arts in an event
-space (source and content)
Lauer & Pentak (2002)
Lauer & Pentak (2002) - visual arts, space
visual unity (integrated message so parts are in harmony: proximity; repetition; continuation; controlled chaos)
Visual Arts in an event
-participant organization
creator, manipulator, experiencer
Visual Arts in an event
-performance feature categories (source)
Feldman (1992)
Feldman (1992) - visual arts, performance feature categories
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”
Visual Arts in an event
-content (source)
Lester (2003)
Lester (2003) - visual arts, content
- 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
special issues in visual arts
frame-purpose/intention of artist
