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1. Group 2 Lesson 2 Drama

2. WHAT IS DRAMA? “DRAMA IS A COMPOSITION VERSE OR PROSE INTENDED TO PORTRAY LIFE OR CHARACTER OR TELL A STORY USUALLY IVOLVING CONFLICTS AND EMOTIONS THROUGH ACTION AND DIALOGUE AND TYPICALLY DESIGNED FOR THEATRICAL PERFORMANCE.”

3. PLAY PLAY IS A COMPOSITION DESIGN TO TELL STORIES, PERFORM SITUATIONS, EXPRESS EMOTIONS, ANALYZE AND ADVOCATE IDEAS. DRAMATIC PERFORMACE DRAMATIC PERFORMANCE INVOLVES AN INCRATE PROCESS OF REHEARSAL BASED UPON ON IMAGERY INHERENT IN THE DRAMATIC TEXT.

4. STAGE STAGE IS THE PLATFORM ON WHICH PLAYS AND OPERAS PERFORMED. PLAYWRIGHT A WRITER OF PLAYS

5. ELEMENTS OF DRAMATIC LITERATURE PLOT ACTION AND CONFLICT PLOT IN DRAMA AS IN FICTION, IS AN ORDERED CHAIN OF PHYSICAL , EMOTIONAL OR INTELLECTUAL EVENTS THAT TIES THE ACTION TOGETHER.

6. CHARACTER A PERSON CREATED BY THE PLAYWRIGHT TO CARRY THE ACTION, LANGUAGE, IDEAS AND EMOTION OF THE PLAY. SETTING SETS AND SCENERY IN THE TE IN OF A PLAY, THE SETTIN IS USALLY DESCRIBED THE OPENING STAGE DIRECTIONS.

7. DICTION IMAGERY STYLE AND LANGUAGE THEIR DIALOGUE MAY REFLECT THE DETAILS OF THEIR DEEPEST THOUGHTS ABOUT THEIR LIFE. TONE AND ATMOSPHERE TONE IN DRAMA AS IN OTHER LITERATURE, SIGNIFIES THE WAY MOODS AND ATTITUDES ARE CREATED AND PRESENTED

8. SYMBOLISM AND ALLEGORY AS IN FICTION AND POETRY, DRAMATIC SYMBOLS REPRESENTS MEANING OR SIGNIFIES BEYOND THE INTRINSIC IDENTITY OF THE SYMBOL ITSELF. SUBJECT AND THEME PLAYWRIGHTS DO WRITE THEIR PLAY WITH DESIGN TO DRAMATIZED IDEAS ABOUT THE HUMAN CONDITION , WHICH EXPLORE TO CONSTITUTE THE PLAYS SUBJECT.

9. KINDS OF PLOT MAIN PLOT FOCUS ACTION OF THE TEXT. SUB PLOT AN EVENT THAT EITHER DIRECTLY OR INDIRECTLY AFFECTS THE MAIN PLOT. SINGLE PLOT ONE PLOT WAS DESIGNED FOR THE TEXT. DOUBLE PLOT TWO DIFFERENT BUT RELATED LINES OF ACTION GOING ON AT THE SAME TIME.

10. GUSTAV FREYTAG (1816-1895) GERMAN CRITIC HE COMPARES A REGULAR PLAY PATTERN OF A PYRAMID IN WHICH THE RISING ACTION LEADS UP TO THE POINT OF CRISIS OR CLIMAX AND IS FOLLOWED BY THE FALLING ACTION.

11. STAGES OF A PLAY FIRST STAGE SECOND STAGE THIRD STAGE OR FINAL STAGE

12. PYRAMIDS OF A PLAY’S STAGE BY GUSTAV FREYTAG (1816-1895) FIRST STAGE THIRD STAGE SECOND STAGE

13. DECORUM THE FITTING OF THE LANGUAGE TO DRAMATIC CIRCUMSTANCES. ACCENTS A VOCAL STRESS OR EMPHASIS GIVEN TO A WORD. DIALECT ALANGUAGE OR GROUP OF LANGUAGES WITH DISTINGUISIHING CHARACTERISRICS BUT RELATED IN THEIR ORIGINS.

14. Kinds of character PROTAGONIST - HEROIN ANTAGONIST - VILLAIN ROUND CHARACTER - DYNAMIC FLAT CHARACTER - UNDEVELOPED

15. FORMS OF CHARACTER REALISTIC CHARACTERS ARE NORMALLY ACCURATE IMITATIONS OF INDIVIDUALIZED MEN AND WOMEN. NON REALISTIC CHARACTERS STRIPPED OF SUCH INDIVIDUALIZING TOUCHES. SYMBOLIC CHARACTERS REPRESENTS AN IDEA, A WAY OF LIFE, MORAL VALUE OR SOME OTHER ABSTRACTION. STEREO TYPE CHARACTERS ALSO KNOWN AS STOCK CHARACTERS.

16. KINDS OF PERSPECTIVES ASIDE THE WORDS SPOKEN BY AN ACTOR AND SUPPOSED TO BE HEARED BY THE AUDIENCE BUT NOT BY THE OTHER ACTORS. SOLILOQUY A SPEECH MADE BY AN ACTOR WHILE ALONE ON THE STAGE, REVEALING HIS THOUGHTS TO THE AUDIENCE.

17. CONVEYORS OF TONE VOICE TONE STAGE GESTURES TYPES OF SYMBOL UNIVERSAL SYMBOL GENERALLY UNDERSTOOD BY THE AUDIENCE OR READER REGARDLESS ON THE CONTEXT OM WHICH THEY APPEAR. PRIVATE SYMBOLS DEVELOP THEIR IMPACT ONLY WITHIN THE CONTEXT OF A SPECICFIC PLAY OR EVEN A PARTICULAR SCENE.

18. SUGGESTED PLAY’S SUBJECT LOVE RELIGION HATRED WAR AMBITION DEATH ENVY

19. TYPES OF DRAMA TRAGEDY A DRAMA IN WHICH A CHARACTER IS BROUGHT TO A DISASTROUS END IN HIS OR HER WITH A SUPERIOR FORCE. MELODRAMA A TERM APPLIED TO ANY LITERARY WORK THAT RELIES ON IMPLAUSIBLE EVENTS AND SENSATIONAL ACTION FOR ITS EFFECTS. COMEDY IT IS A WORK INTENDED TO INTEREST, INVOLVED AMUSE THE READER OR AUDIENCE IN WHICH NO TERRIBLE DISASTERS OCCURS AND THAT ENDS HAPPILY FOR THE MAIN CHARACTER. FARCE A PLAY THAT THAT IS CHARACTERIZED BY BROAD HUMOR, WILD ANTICS AND OFTEN SLAPSTICK, PRATFALLS OR THE PYHSICAL HUMOR.

20. CLASSIFICATION OF SUPERIOR FORCE THE GOD(S) FORTUNE SOCIAL FORCE UNIVERSAL VALUES SELF

21. REQUIREMENTS OF TRAGEDY THE PLAY MUST CONSERN A SERIOUS SUBJECT. THE LEADING CHARACTER MUST BE A GREAT FIGURE. THE INCIDENTS MUST BE ABSOLUTELY HONEST AND WITHOUT THE ELEMENT OF COINCIDENCE OR CHANCE. THE BASIC OF EMOTIONS ARE THOSE OF PITY AND FEAR IN THE FINAL ANALYSIS, THE PROTAGONIST MUST DEFEAT, BUT BEFORE THE DEFEAT MUST COME ENLIGHTENMENT.

22. CATHARSIS OF ARISTOTLE A PURIFYING OR THE REVEALING OF THE EMOTIONS. REQUIREMENTS OF MELODRAMA IT TREATS OF A SERIOUS SUBJECT. THE CHARACTERS ARE MORE LOOSELY DRAWN THAN IN TRAGEDY. IT IS EPISODIC AND THE MOST EXCITING INCIDENTS POSSIBLE ARE BROUGHT INTO THE PLAY. THERE MAY BE AN EMOTION OF PITY, BUT IN ORDERS ON SENTIMENTALITY. THERE IS NO REAL ENLIGHTENMENT EVEN IN DEFEAT, AND IN MOST INSTANCES THE PROTAGONIST DOES WIN IN HIS BATTLE .

23. Kinds of comedy HIGH COMEDY VERBAL WIT. LOW COMEDY ASSOCIATED WITH PHYSICAL ACTION AND IS LESS INTELLECTUAL. ROMANTIC COMEDY INVOLVES A LOVE AFFAIR THAT MEETS WITH VARIOUS OBSTACLES BUT OVERCOMES THEM TO END IN BLISSFUL UNION.

24. REQUIREMENTS OF COMEDY TREATS ITS SUBJECT IN LIGHTER VEIN EVEN THOUGH THE SUBJECT MAY BE SERIOUS ONE. PROVOKES WHAT CAN BE DEFINED AS “THOUGHTFUL LAUGHTER.” IS BOTH POSSIBLE AND PROBABLE. GROWS OUT OF CHARACTER RATHER THAN THE SITUATION. IS HONEST IN ITS PORTRAYAL OF LIFE.

25. REQUIREMENTS OF FARCE HAS ITS OBJECT RIGHTIOUS LAUGHTER AND ESCAPE. ASK THE AUDIENCE TO ACCEPT THE CERTAIN IMPROBABILITIES, BUT FROM THAT POINT PROCEEDS IN LIFE LIKE MANNER. IS DOMINATED BY SITUATION RATHER THAN CHARACTER, AND CALLS FOR LITTLE OR NO THOUGHT. MUST MOVE EVERY RAPIDLY IN AN EPISODIC MANNER AND IS BELIEVABLE ONLY FOR THE MOMENT.

26. TEST OF A PLAY’S GREATNESS BY HAROLD HOBSON AN INTENSE EXPERIENCE IN A FREE MIND. TRANSLATED WITH ECSTACY. EFFECTIVE THEATRICAL TERMS.

27. PRINCIPLES OF THEATRE ART BY WILLIAM P. HALSTEAD, HARRY D. ALBRIGHT AND LEE MITCHELL THE INTENSITY OF THE PLEASURE AT THE MOMENT OF PERCEPTION. THE DURATION OF THAT PLEASURE IN RETROSPECT. THE QUALITY OF PLEASURE UPON WITNESSING A SECOND PERFORMANCE. THE QUALITY OF THE AFTER IMPRESSION. COMPARISON OF THE PLEASURE WITH THAT CAUSED BY SIMILAR COMPOSITIONS.

28. FIVE QUESTIONS TO ATTEST A PLAY’S CLAIM TO GREATNESS BY JOSEPH MERSAND POSSESS UNIVERSALITY OF APPEAL IN TIME AND SPACE? CREATE LIVING CHARACTERS IN CONVINCING SITUATIONS? STIR, MOVE, ENRICH OR TRANSFORM US? EXPRESS ITS THOUGHT IN BEAUTIFUL OR APPROPRIATE LANGUAGE? TEACH LIFE’S MEANING AND STRENGTHEN OUR OWN HAND IN FACING LIFE’S PROBLEMS?

29. Criticism approaches LITERARY CRTICISIM A SYSTEMATIC STUDY AND EVALUATION OF LITERARY WORKS. BIOGRAPHICAL CRTICISIM BEGINS WITH THE SIMLPE BUT CENTRAL INSIGHT THAT LITERATURE IS WRITTEN BY ACTUAL PEOPLE AND THAT UNDERSTANDING AN AUTHOR’S LIFE CAN HELP READERS MORE THOUROUGHLY COMPREHEND THE WORK. CULTURAL CRITICISM AN APPROACH TO LITERATURE THAT FOCUSES ON THE HISTORICAL AS WELL AS SOCIAL, POLITICAL AND ECONOMIC CONTEXTS OF WORKS.

30. DECONSTRUCTIONISM AN APPROACH TO LITERATURE WHICH SUGGESTS THAT LITERARY WORKS DO NOT YIELD FIXED, SINGLE MEANINGS, BECAUSE LANGUAGE CAN NEVER SAY EXACTLY WHAT WE INTENDED TO MEAN. FEMINIST CRITICISIM AN APPROACH TO LITERATURE THAT SEEKS TO CORRECT OR SUPLEMENT WHAT MAY BE REGARDED AS A PREDOMINANTLY MADE DOMINATED CRITICAL PERSPECTIVE WITH A FEMINIST CONSCIOUSNESS .

31. FAORMALIST CRITICISM AN APPROACH TO LITERATURE THAT FOCUSES ON THE FORMAL ELEMENTS OF A WORK , SUCH AS LANGUAGE, STRUCTURE AND TONE. GAY AND LESBIAN CRITICISM AN APPROACH TO LITERATURE THAT FOCUSES ON HOW HOMOSEXUALS ARE REPRESENTED IN LITERATURE.

32. GENDER CRITICISM AN APPROACH TO LITERATURE THAT EXPLORE HOW IDEAS ABOUT MEN AND WOMEN WHAT IS MASCULINE AND FEMININE CAN BE REGARDED AS SOCIALLY CONSTRUCTED BY PARTICULAR CULTURES. HISTORICAL CRITICISM AN APPROACH TO LITERATURE THAT USES HISTORY AS A MEANS OF UNDERSTANDING LITERARY WORK MORE CLEARLY.

33. MARXIST CRITICISM AN APPROACH TO LITERATURE THAT FOCUSES ON THE IDEOLOGICAL CONTENT OF WORK OF KARL MARX. MYTHOLOGICAL CRITICISM AN APPROACH TO LITERATURE THAT SEEKS TO IDENTIFY WHAT IN A WORK CREATES DEEP UNIVERSAL RESPONSE IN READERS, BY PAYING CLOSE ATTENTION TO THE HOPERS , FEARS AND EXPECTATIONS OF THE ENTIRE CULTURE.

34. NEW CRITICISM AN APPROACH TO LITERATURE THAT FOCUSES ON EXPLICATION EXTREMELY CLOSE TEXTUAL ANALYSIS. NEW HISTORICISM AN APPROACH TO LITERATURE THAT EMPHASIZES THE INTERACTION BETWEEN THE HISTORIC CONTEXT OF THE WORK AND A MODERN READER’S UNDERSTANDING AND OF THE WORK.

35. POST COLONIAL CRITICISM APPROACH TO LITERATURE THAT FOCUSES ON THE STUDY OF CULTURAL BEHAVIOR AND EXPRESSION IN RELATIONSHIP TO THE COLONIZED WORD. PSYCHOLOGICAL CRITICISM AN APPROACH TO LITERATURE THAT DRAWS UPON PSYCHOANALYTIC THEORIES

36. SOCIOLOGICAL CRITICISM AN APPROACH TO LITERATURE THAT EXAMINES SOCIAL GROUPS, RELATION SHIP AND VALUES AS THEY ARE MANIFESTED IN LITERATURE. STRUCTURALISM AN APPROACH TO LITERATURE THAT EXAMINES HOW LITERARY TEXT ARRIVE AT THEIR MEANINGS RATHER THAN THE MEANING ITSELF.

37. JAQUES DERRIDA DEVELOPED THE METHOD OF DECONSTRUCTIONISM OF LITERARY CRITICISM AND CHARACTERIZED MULTIPLE INTERPRETATIONS OF A GIVEN WORK.

38. THE END EISLEY AREJOLA ESTPHANIE LEI GAMBE VANESSA SANTIAGO HUMSS 11-4