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THEA HIST 1 Week One Notes

by: Naomi Davis

THEA HIST 1 Week One Notes 3320

Marketplace > Texas State University > THEA > 3320 > THEA HIST 1 Week One Notes
Naomi Davis
Texas State
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First week info for ya!
Kevin Gates
Class Notes




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This 3 page Class Notes was uploaded by Naomi Davis on Friday September 2, 2016. The Class Notes belongs to 3320 at Texas State University taught by Kevin Gates in Fall 2016. Since its upload, it has received 6 views. For similar materials see HIST THEA 1 in THEA at Texas State University.


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Date Created: 09/02/16
3320 HISTORY OF THEATRE I Notes by Nay th nd (For the week of the 29 -the 2 ) “It’s okay if you only save one person. It’s okay if it’s you.” “ Every great work of art is an act of rebellion. Not every rebellion is a work of art. “ I. Preliminary Thingies (check the syllabus too) 1. The written text = skeleton/blueprints 2. Any “Acting Edition” is a cut primarily for stage directions 3. Plays are different from their productions thereof. 4. Point of attack is however close to the inciting incident. Does the play start early? Or does the inciting incident come later? II. Dramatic Action – Question, problem, or theme that forms the central focus of the play. 1. Builds through: A. Purpose – what do the characters want? B. Passion – what would they do for it? C. Perception – What do we (as an audience) learn? 2. Internal consistency – establish what’s possible in the world of the play 3. How to organize the dramatic action: A. Cause to effect - R and J/ Domino effect B. Character – (Woyzeck) A brick wall/Scene specific piece C. Theme – Angels in America III. Aris(HOT)le – 384-322 B.C. And his views from 335-323 B.C. in The Poetics 1. What is tragedy? (His answers are in order of his preference to importance) These are also focusing on how to write a play. He thought the structure and words were of the upmost importance. A. Plot – (Mythos/Fable/Story) Couse/effect, Beginning middle And end, Order of incidence 1. EXPOSITION (given circumstances) INCITING INCIDENT (action in motion) RISING ACTIONS (complications) CLIMAX/CRISIS (culmination of conflict) FALLING ACTION/DENEAUMENT (unraveling of events) 2. Freytag’s Triangle (see below) B. Character – in which include physical, biological, societal, psychological, and moral levels 1. Good or fine 2. True to type 3. True to Life 4. Consistent (which isn’t always true) 5. “A play can exist without character but not plot” –A 6. Revealed through: A. What the character says, stage direction, What other characters say or don’t say, what Other characters do or don’t do, subtext, (unspoken motives) asides, and soliloquies 7. Types: A. Protagonist – (Little mermaid) Fights conflict B. Antagonist – (Ursula) Opposes Protag. C. Confident – (Flounder) Protag. Tells stuff D. Raissoneur – (Scuttle/Sebastian) Spits truth/ Author’s voice E. Foil – (Triton?) Contrasts protag. C. Thought – where something is proved to be or not to be/general maxim enunciated 1. Dianoia – capacity for/result of discursive thinking 2. Themes, ideas, and overall meaning. A. How characters respond to situations 2 B. Ideas associated with sympathetic and unsympathetic characters C. Conflicts and resolutions D. Key speeches E. Symbols F. Overall meaning – does it matter? Multiple interpretations, which meaning does the playwright strive to convey, how will you support your meaning with text? D. Diction – primarily studied in epics v. lyric poems 1. Lexis – vocabulary/set of all the words in a language A. What is a command, prayer, statement, threat, question, answer, etc? E. Music – Everything that comes through the ear. Medium of imitation. Term whose sense everyone understands. Can be diction and song, can be noises. F. Spectacle – All visual elements 1. Emotional attraction, but is least artistic 2. More of art of stage machinist than on that of poet 2. Important Aristotle terms A. Hubris – Pride. Greatest sin for the Greeks. Think Oedipus B. Hamartia – Miscalculation. Not the tragic fall in itself C. Peripateia – reversal of fortune D. Anagnorisis – recognition (OH SNAP) E. Pathos – Suffering F. Tragic hero – good/virtuous, but not exponentially good, Whose downfall is brought about by error, not through vice or Depravity IV. Necessary conditions for theatre to exist: 1. Detached view of human issues 2. Aesthetic sense 3. Producers 4. Society which appreciates 5. Beyond subsistence level V. Why theatre? 1. Mimetic 2. Theories about theatre’s origins: Dance, Storytelling, or Ritual 3. All human cultures have rituals A. Special Activities inherently different from daily routine Usually lined up to tradition/routine B. Formalism (handshake), tradition, disciplined invariance, rule governance, sacral symbolism, performance 3


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