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by: Skylar Considine


Marketplace > Texas A&M University > Theater Arts > THAR 101 > INTRO WEST THEATRE DRAMA
Skylar Considine
Texas A&M
GPA 3.89

Roger Schultz

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Roger Schultz
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This 34 page Class Notes was uploaded by Skylar Considine on Wednesday October 21, 2015. The Class Notes belongs to THAR 101 at Texas A&M University taught by Roger Schultz in Fall. Since its upload, it has received 63 views. For similar materials see /class/226211/thar-101-texas-a-m-university in Theater Arts at Texas A&M University.

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Date Created: 10/21/15
January 21 2011 The fine arts 0 Created without regard to utility 0 Created for intellectual and emotional purpose 0 Not practical or physical purpose 0 Deals with illusion and recalled images 0 Deals with recreation of life nature Alexander dean 0 Art is an artist interpretation of life expressed in a way that is universally recognized and understood 0 Artists expression interpretation of the truth of human existence ultimate reality actual existence what it means to be 6 principles common to successful art 1 Unity adherence to a certain subject 2 Coherence logical progression 3 Selectivity and emphasis choosing the most important and dwelling on it 4 Proportion relative amount of time or space for selected and emphasized elements 5 Rearrangement positioning of the emphatic idea 6 lntensification through technical devices recreation made more compelling dynamic and exciting Jan uarz 24m 2011 Traditional View 1 0 Art is composed ofa cu r plus a tcclu39 39 n1 Marian Gallaway The aesthetic triangle 1 Experience concept idea image 2 Median sculpture music dance 3 Beholder viewer audience Aristotle o llTo imitate is instructive to the human race and from imitation we derive pleasure o Pleasure derived from imitation o Skill of performers bad ass actor not Nicholas cage 0 llLearning is among our greatest pleasures January 26m 2011 What is drama poetrytheatre o an imitation in which the agents are presented as doing and experiencing in person 0 Distinguishes between narrative form and dramatic form Narrative form 0 Describes action 0 Virtual past Dramatic form 0 Represents action 0 Virtualpresent o What takes place Dramatic action 0 A protagonists desires and a antagonist opposition o ProtagonistgtgtgtgtMotivationgtgtgtgtactiongtgtgtgtgtCONFLICTltltltltactionltltltltMotivationltltltantagonist Samuel Taylor Goleridge 0 Participation in action empathic response emotional identification EMPATHY Herbert Sidney Langfield o Detachment from the illusion o Subjective detachment Perfect balance between participation in illusion and detachment from illusion January 31 2011 John Dolman JR 0 The vicarious experience through someone else 0 Everyone nurses suppressed longing for human experience that he has not had himself never expects to have does not really want to have 0 In the theatre he is able to satisfy these longings vicariously Aristotle s qualitative elements 0 Plot Character Thought Diction Music Spectacle lnseparable variables symbolism reciprocal Plot 0 The arrangement of incidents the action of poetry drama 0 Structure 0 Discovery 0 Reversal o Suffering 0 Utility sense of wholeness organic quality deanunitycoherence 0 Plot structure Aristotle o Complication o Denouement 0 Plot structure Gustav Freytag o Divided into 5 parts I Consisting of rising and falling action preceded by balance of forces Exposition Complication Climax Resolution 41bme Conclusion Februarzz 2011 Types of plots 0 Climatic late point of attack 0 Episodic early point of attack 0 Cyclic circular ends where it begins Aristotle s qualitative elements 0 Plot 0 Character 0 Agents of action 0 Qualityofagents 0 Thought o The message or theme 0 Diction o The language of action 0 Music 0 The sound of the action 0 Spectacle John Dietrich 1 Motivational forces 0 Basic human drives Situation Social interaction OOO Character complex February 7mamp Style 0 Manner of presentation Genre 0 Point of view 0 Perspective 0 Tragedy I Melodrama 0 Comedy I Farce Tragedy o 1The appeal is the process not the outcome 0 2Possesses a unity of action a sense of wholeness o Probable and necessary action 0 3Capitalizes on discoveries and reversals o Ignorance knowledge 0 Prosperitymisery o 4Focus on the tragic hero 0 An evil man miserygtgtgtprosperity gtgtmost un tragic An evil man prosperitygtgtgtgtgtgtmisery moves us but its just Perfect man prosperitygtgtgtgtgtgtgtmisery odious and disgusting 000 The intermediate kind of personage I A man not preeminately just an virtous 0 Where misfortune is brought upon himself not by vice or depravity but some error in judgement o Hamartia missing the mark the tragic flaw o Hubris swollen excessive pride 0 5 The form determines the effecr o Tragic rhythm growth maturity declines suzzanelanger o The tragic hero I Is tested to the limits I Relinquishes power I Accepts the inevitable I A sense of fulfillment lifted above defeat o 6 Posseses universality o Is transcendent o lnvolves a choice 0 Put us in touch with infinity the metaphysical o llTragic heroes are wrapped in the mystery of their communion with that something beyond which we can see only through them and which is their source of their strength and their fate alike Northup Frye February 91 2011 o 7 Provides catharsis o Emotional purging cleansing for the audience 0 Intellectual enlightenment audience 0 Emotional P an C and intellectual enlightenment of characters 0 EPC and or IE for audience characters and actor o 8 Tragedy is honest 0 Examination of naked individual in a world governed by natural laws and metaphysical forces Larger stronger beyond human comprehension Attempt to understand life and relationship to these forces Commitment to metaphysical belief Excercising free will when confronted with choice assuming responsibility of choice OOOOO Choice leads to suffering which is followed by perception provides emotional inteelectual aesthetic insight into existence Comedy 0 Based on a comic premise o The happy idea 0 Suspension of logic an probability 0 Comedy involves friction 0 Friction produces discomfort 0 Comedy capitalizes on change of direction 0 Quickly unexpectedly but logically in the world of the play 0 Sense of preparation and release 0 Freud on comedy 0 Catharsis through sublimation o Laughter I Is a realease of aggression hostility anger I Is the gratifaction of suppressed desires I Is a form of venting o Replaces aggression o Fulfills desires I Is acceptable social behavior I Aggression hostility and anger are not Exam 2 Notes 1022013 75200 PM September 30th A midsummer night s dream Theseus amp Hippolyta Hermia amp Lysander o Helena amp Demetrius Green World Oberon amp Titania o PUCk Mechanicals Bottom Aethetic Triangle Director Medium gt beholder gt experience In the middle of triangle director designer actors stage director is in charge of all of it Theatre Artist s 7 Steps Commitment Analysis o Research o Incubation Selection Implementation o Evaluation Experience Beholder All aesthetic aspects of production Coordinate everything on stage Unify the production Create production Directorial Concept ProductionDirectorial Concept o Director s readinginterpretation of play o Based on the knowledge of 0 Text 0 Audience 0 Talent Shared embellished enhanced refined 0 Venue 0 Money Collaboration of the Production Team A Setting Options o actual historical setting of the play o another historical setting of the play o contemporary setting of the play o neutraluniversal setting of the play Artists amp the A Triangle Medium Experience Beholder The Actor s Tools Medium o Voice 0 Body 0 Mind o SpiritSoul How did those actors get there Some call it Paradox The Paradox of Acting o InternalExternal o EmotionalTechnical o CharacterPersonality NOT mutually exclusive NOT mutually related InternalExternal o Internal actors 0 Work from the inside gt outside o External actors 0 Work from the outside gt inside TechnicalEmotional o Emotional acting o Advocate the feeling of the part Emotion Rely on impulse amp inspiration Ruled by the heart Work to become the character 0 Rely on inspiration o Technical acting o Advocate understanding the character Ruled by the head Work to present the character Rely on a carefully prepared plan 0 O O O O O CharacterPersonal o Character Acting o Adjusts personality to fit the character 0 Eliminates recognizable features of self creates a new self o Personal Acting o Adjusts character to fit the personality 0 Capitalizes on recognizable features of self creates character within self The Illusion of the First Time Quote William Gillette Constantin Stanislavsky o The Magic IF What would I do IF I were the character In these given circumstances 0 ACTION start with this Why Because it is the easiest thing in the world to do Actions 1St gt Beliefgt Feelings o Gives us SENSE OF TRUTH Feelings 1St gt Unbelievable Actions o Gives us CLICHES Levels of Text 0 Text o Context 0 The 9 o Subtext o Intentional Text October 7 Guest Speaker Justin A Miller Instructional Asst Professor Technical Director The Designer o What is the role of the designer 0 Works collaboratively with the director amp production team to develop shape embellish enhance and refine the director s production concept into a unified design concept that will serve the play and enhance the audience s experience Collaboration is key A good designer is first and foremost a good communicator n Verbal communication o Know what they are talking about a Visual communication o Research images paintings ect What are the skills required a Drawing a Painting a Model building a Drafting a Visual vocabulary a Research a Problem solving a Computer basics How does this relate to a real show Production meetings begin months in advance with the director designers producers shop managers to talk through logistics and concept How does the production concept guide the designer s choices o The production concept is an interpretation of the play and the means to express it o A place for designers to start o Research on the history of the play past productions and myths are still important relevant research o The production concept comes in many forms 0 an acting style o a theme 0 a period 0 a setting 0 an art movement 0 a painting 0 a prop Production concept to design concept 0 through communication and collaboration between the director designers and sometimes producers a design concept is developed No Exit Production Concept 0 Hell is other people Environment is comfortable Hellish and fiery imagery is conspicuously absent 0 No frightening images 0 Design as performance Design elements perform as a character Environment is polluted by the confessions of the character What is the design process Always start with the event What elements are specifically called out What elements are implied What elements do you as a designer want What elements are icing October 9 Theatre The Beginnings Robert Edmund Jones The Dramatic Imagination o Flying Hawk o Abydos Passion Play Primitive Dramatic Rituals o Glorify a God or Hero o Educate o Influence events through Sympathetic Magic Greek Theatre Athenian 5th Century BC There is much that is uncertain here o City Dionysua 2 Basic Theories o Dithyrambic Theory 0 Comes from Aristotle o Gradual evolution 0 Dithyramb circle chorus praise of Dionysus Tagoi and Satyr Thespis a chorus member becomes the 1St actor Aeschylus a playwright adds the 2nd actor o Rhapsodic Theory 2 creative leaps The rhapsode the singing poetstoryteller Thespis a rhapsode becomes the 1St actor Aeschylus a playwright adds the 2nd actor Greek Tragedy o Form of Tragoidia goat songquot o Tetralogy 4 o Trilogy 3 o Satyr play 1 Play Structure o Prologue o Parados entrance of chorus o Episode o Staismon o Strophe o Antistrophe o Exodos exit of the stage The Performance Space o Theatron the seeing place where you go to see the play Koilon where you go to sit the audience space Orchestra dancingperforming place Skene back of orchestra the scene building Proskenion the coveringfront of the skene Theatron Koilon Orchestra Proskenion Skene October 14 Characters Oedipus Jocasta Creon Uncle and brother in law Teiresias Messenger Herdsman scene at end of play Play Structure Chorus 0 0 Prologue Parados Episode Stasimon o Strophe o Antistrophe Exodos Actor Provideestablish mood Commentary Socialethical standards Spectacle o Provide rhythm Traditional Interpretation o Oedipus archetypal tragic hero 0 Man of position Not preeminently virtuousevil Possesses a tragic flaw hamartiahubris Goes from Ignorance to knowledge Prosperity to misery o Sees his error when it is too late 0 O 0 Our lives are in the hands of fate Our lives are determined by the Gods Schultz Reading o Oedipus is not a victim of his fate o Monotheism vs Polytheism o Dikea think of Garden of Eve or paradise the world was originally a good place o Gods predict they do not preordain c From beginning Oedipus makes choices AND o Assumes the responsibility for his actions October 16 How do we know re Shakespeare o StratfordLondon city Records o Henslowe s Diary 0 Henslowe was a competitor of Shakespeare o Stationers Register o Master Office of the Revels Records Shakespeare s uniqueness o Essentially unaware of his greatness o Not a university man Few who don t think he is among Greatest Versatility o Tragedy 0 Comedy 0 ChronicleHistory Aristotle s Qualitative Elements Plot Character Thought Diction Music Spectacle Shakespeare s Public Theatre Partially enclosedcovered space 0 Not really an outside or inside theatre Stage was covered with ShadowRoofHeavens 2 pillars 2 US doors Trap doors Discovery space Area above October 21 Hamlet Characters Hamlet 0 Horatio o Rosencrantz amp Guildenstern Claudius UncleStep Father Gertrude Mother 2nd Family Polonius Laertes Ophelia 3rd Family Fortinbras AC Bradley Shakespearean Tragedy Essentially the expression of Character Convulsive Reaction to Evil in a Good world THE FORCE Characteristics of ST An Earthly conflict Great sense of probable and necessary action Produces exceptional calamity Catastrophe has universal effects InspiredInstigated by Rational Man the thinkingploting individual 0 Rational Man amp Tragic Hero position conspicuously good someone who tries to do the right think wants what is good nobility of mind a consuming passion a fundamental tragic trait hamartia extraordinary suffering Ultimate enlightenment Shakespearean Tragic Action World equilibrium disturbed by evil Ultimate power reacts violently Indiscriminate thrust to restore equilibrium Calamity out of proportion with violation Leads to 0 An overwhelming sense of waste Hamlet according to Shultz It s a tragedy O Revenge tragedy Via Esponage spying amp Metatheatre drama within a drama o The Form of Hamlet 0 Play is a series of scenevignettes The arrangement execution and o The characters functions as O O O O O Playwrights Directors Actors Audience 1022013 75200 PM Theater 101 Master Harrold and the Boys Hally s family owns a shop and watches over his two black servants Sam and Willie as they work there Since it is a slow day they practice ballroom dancing Hally is very close to the two men and they are fatherfigures to him because his father is an alcoholic crippled man who spends most of his life in the hospital The three reminisce on old times and recall a fond memory of Sam taking Hally kite flying and Sam later explains that he could not stay because it was for whites only when they got into a fight about racism Hally learns to appreciate their love for ballroom dancing because they don t collide and are at ease Hally wishes his life could be like their dance but sinks into the reality of the miserable life that he lives and takes it out on Sam and Willie He finally apologizes and they plan to fly kites again The Crucible The Importance of Being Earnest 91 1 The Nature of Fine Arts a Created without regard to practice utility b Created for intellectual aesthetic and emotional stimulation and enjoyment c Deals with illusion and recalled images or imaginationrecreation of life and nature d Artist s externalization of his own experiences and observations 2 Alexander Dean a Founder and Director at Yale School of Drama b Art llAn artist s interpretation of life expressed in a way which is universally recognized and understoodquot given a slight background and experience c Develop a taste for it art like people who smoke or drinkdon t like it at first but develop a taste 3 Why are there some things that always seem to last a Dean s 6 Principles common to successful art 39 Unityadherence to a single subject about one thinglocation Coherence logical progressiongo from A to B to C with a logical and organic qualities B happens as a result of A iquot Selectivity and Emphasis choosing the most important and dwelling on it iv Proportion relative amount of time and space for selected and emphasized elements v Intensification through technical devices recreation made more 1 Compelling 2 Dynamic 3 Exciting vi U I quot 39Uthe 39 39idea viI Traditional View Art is composed of 1 Conceptidea 2 Technique Execution b Marian Gallaway i The Aesthetic Artistic Triangle 1 ExperienceConcept Idea Image 2 MediumScupture Dance Music Etc 3 BeholderViewer Audience ii Experience 1 An idea so powerful or exciting that makes the artist unable to rest until they share it with the world 2 quotI had to say it It was something I had to sayquot Harper Lee on TKAMB 3 Like a scorpioncan t deposit the poison elsewhere it sinks into their own body An artist s ideas are like poison in their own body and had to put it somewhere else and share it with the world iii Mediumsculpture dance music 1 Sculpturestill form in space 2 Dancestill and moving form in time and space 3 Musicmoving form in time 4 Literatureabstract form of words 5 TheaterDramaStill moving sound word forms in both time and space most complex because it has all forms 6 The Medium tells the quottruthquot 7 Art is quottruthquot The greater the quottruthquot the greater the work of art iv BeholderViewer audience 1 Someone else receiving the idea 2 Art is incomplete without beholder 3 The effect the art has on the beholder with the medium in the key of the artist s success 4 If artst doesn t have control of the medium the art will not have the effect the artist intended quotTo imitate is instinctive to the human race and from clever imitation we all derive pleasurequot Aristotle 39 We learn through imitation Development of speech through imitation iquot Curiosity through imitation iv Learn through imitation and observation v Positive reinforcement allows for positive and learning imitation and self concept vi Playwright sees behavior we d like to haveexpress as human beings and gives it to us as an imitation 4 Aristotle believes pleasure is derived from a Accuracy of imitation b c Skill of performance Learning is llour greatest pleasure 5 What is poetrydramatheater g i llAn imitation in which the agents are presented as doing and experiencing in personquot ii Distinguishes between narrative and dramatic form Narrative form i Describes action ii Virtual past iii What someone tells us took place Dramatic Form i Represents action ii Virtual present iii What takes place instantaneous iv True dramatic form happens only in the live theater Dramatic Action i A protagonist s desire and antagonist s opposition 1 Protagonist Antagonist ii I ALLiUII LUIIfliLL ALLiUII Samuel Taylor Coleridge i The willing suspension of disbelief ii Agree to not not believe iii Appreciate the representation even though you know it isn t real you agree to believe Participation in Illusion i Empathetic Response Physical response motor or kinesthetic action Oooh Aahh Edge of the Seat Etc Emotional Identificationfeel the anger or sadness of actors Add the two above togetherEmpathy 2 Reciprocal or symbioticeach leads to the other v The more you get into the play the more you enjoy it Detachment from the Illusion i Subjective attachment Sidney Langfield ii Aesthetic Distance 1 Balance between participation in illusion and detachment from illusion a Need to distinguish between play world and real world b Can t worry about actors instead of characters c Participating too much destroys the illusion 1 Plot I ii iii iv v vi Aristotle s Qualitive Elements Discovery Reversal Suffering Unity The probable believable in general sense The necessary believable in specific sense b Plot StructureGustav Freytag i ii iii iv c i ii iii d Types 2 Character i b Dram Plot Structure Structured Divided in 5 Parts Consisting of rising and falling action Action preceded by a balance of forces Balance of Forces 1 Exposition 2 Complication 3 Climax 4 Resolution 5 Conclusion A Brander Matthews Structured into 5 parts Consisting of rising action Action preceded by tension 1 Exposition C 2 Complication 3 Climax 4 Resolution 5 Conclusion of Plots ClimacticquotLate point of attackquot Episodicquot Early point of attackquot CyclicquotCircular ends where it begins Agents of Action people who carry out action Quality of agents basic moral goodness of agentsaction Action determines character atic Action John DietrichMotivational Forces 1 Basic human drives needs 2 Situation 3 Social interaction interpersonal 4 Character complex totality of existence ex education background age appearance etc 3 Thought a The message theme of action b The ideas behind the action 4 Diction a The languagerhetoric of the action b Word choice c Basic language used 5 Music a The sounds of the action b The temporhythm of the action 922 1 Tragedy a llTragic rhythmquotGrowth maturity decline b Tragic hero i Tested to the limits ii Relinquishes power iii Accomplishes inevitable iv Sense of fulfillment c Possesses universality i In the transcendent ii Involves a choice cruciblesacred vs secular law iii Puts us in touch with the infinitythe metaphysical iv lltragic heros are ramped in the mystery of the communion with something beyond which we can see only through them and which is their source of their strength and fate alikequot Northup Frye d Tragedy provides catharsis catharsis i Emotional purgingcleansing for audience ii Intellectual enlightment understanding for audience iii Emotional purgingcleansing andor intellectual enlightenment for character iv Emotional purgingcleansing andor intellectual enlightenment for audience character actor e Tragedy is honest i Is the examination of naked individuals in a world governed by natural laws and metaphysical forces ii Larger stronger beyond human comprehension iii Commitment to metaphysical belief iv Exercising free will when confronted with choice assuming responsibility for choice v Choice leads to suffering which is followed by perception vi Provides emotional intellectual aesthetic insight to existence 2 Comedy a Based on a llcomic premise i The happy idea ii Suspension logic and probability b Involves friction 1 Friction provides discomfiture 2 We laugh because of our point of view c Capitalizes on Reversal i Action builds in one direction then reverses itself 1 Quickly unexpectedly but logically in play world ii Sense of preparation and release d Freud on Comedy i Catharsis of sublimation ii Laughter 1 Is a release of aggression hostility anger etc 2 Is the gratification of suppressed desires 3 Is a form of venting a Replaces aggression b Fulfills desires 4 Is acceptable social behavior a Aggression hostility anger are not e Numerotage and gestalt i Nsense of gradual flow and development 1 The llsnowball effectquot 2 Organic evolution i Git is synergistic 1 Whole is greater than sum of the parts 2 Sense of wholeness 3 Fill things in on our way the square on board NampG grow out of the Archetype of Comedy iv Archetype of Comedy Northrup Frye 1 Young lovers seek eachother 2 Want new life v They are separated by a blocking forces 1 Want to hang on to past vi Ends with marriage and celebration f Comedy Deals with unification g 3 Types of Comedy i Judicious h 1 Didactic 2 Educational 3 Ridicules Vice Situation 1 Laughter for its own sake 2 Situation ComedySitcom Sentimental 1 Heartwarming 2 Tearful 3 Rewards virtue 4 Chick flick 3 Means of Comic Expression StructuralPlot character Verbalquothigh comedy Physicalquotlow comedyquot 1 Three Stoogesbanana peels etc ROMANTIC Dionysian Shakespeare Freedom Variety Imagination Rebellion Innovation Emotion Quest for New NEOCLASSIC Apollonian The Greeks Rules Unity Logic Order Convention Reason Acceptance of Old Exam Review One Spring 2011 Theatre 101 Aesthetic distance balance between participation in illusion and detachment from illusion Artistic triangle 0 Experience concept idea image 0 Median sculpture music dance 0 Beholder viewer audience 0 BEM Beholder Experience median 0 Created by Marian Gallaway Catharsis o emotional purging and cleansing for the audience 0 purifying or figurative cleansing of the emotions especially pity and fear described by Aristotle as the tragic dramas effect on the audience Comedy based on a comic principles 0 The happy idea suspension of logic and probability 0 Often involves friction o Capitalizes on change of direction 0 Quickly and unexpectedly but logically in the world of the play 0 Freud on comedy 0 Catharsis through sublimation to divert the unacceptable drive into a socially acceptable activity 0 Laughter is a release of anger aggression hostility 0 Form of venting Common groundluncommon culture Dramatic action 0 what the character does in order to resolve the life changing problems they have suddenly been faced with o a protagonists desires and an antagonist opposition o protagonistgtmotivationgtactiongtCON FLICTltactionltmotivation Dramatic imgulse Empathv participation in action empathic response emotiona identification empathy Samuel Taylor Goleridge Fine arts 0 Created without regard to utility 0 Created for intellectual and emotional purpose 0 Not practical 0 Or physical 0 Deals with recreation of life and nature Narrative form Describes action 0 Happens in virtual past Dramatic form Represents action 0 Virtual present 0 What really takes place happens on stage 0 When Hallie spits in Sam s eye Genre Pointofview o Perspective 0 Tragedy 0 Comedy lmitative instinct Aristotle u o llTo imitate is instructive to the human race and from the imitation we derive pleasure Mask Motivational forces 0 basic human drives 0 situation 0 social interaction 0 character complex 0 BSSC basic drives situationsocial interactioncharacter complex Ritual E o H 0 Plot structure 0 w I Discovery I Reversal I Suffering I Utility sense of wholeness alexander dean o Aristotle I Complication I Denouement 0 Resolution or catastrophe o Gustav Freytag I Exposition I Complication I Climax I Resolution I Conclusion 0 Climatic I Late point of attack I Tells everyone the current story over a short period does occur over a long period 0 Episodicoccurs over a long period and explains previous history of story through dramatic form 0 Cyclic ends where it begins Qualitative elements 0 Plot Character 0 Agents of action 0 Quality of agents Thought 0 The message Diction o The language of action Music 0 The sound of action spectacle o what we see at the play costumes scenery its what changes the action from narrative to dramatic TPSDMC Storyteller Style 6 principles to characteristic art unity o adherence to a specific subject coherence o logical progression selectivity and emphasis 0 Choosing the most important and dwelling on it proportion 0 relative time or space for selected and emphasized elements rearrangement o positioning of the emphatic element intensification 0 through technical devices recreation made more exciting compelling and dynamic SPRICU Theatrical impulse Tragedy The process is more important than the outcome Sense of wholeness Capltallzes on discoveries and reversals Focuses on the tragic hero 0 Tragic hero I Not preeminentlyjust and virtuous I Types 0 Evllman Misery to prosperity MOST UNtraglc o Evllman Prosperity moves us but is still just 0 Perfect man Prosperity to mlsery Odlous disgusting 0 Need the intermediate kind of personage o Hamartia the tragic flaw o Hubrls swollen pride The form determines the effect 0 Tragic rhythm I Growth and maturity declines I Hero is tested to limits I Relinquishes power Accepts the inevitable I A sense of fulfillment lifted above defeat o Possesses universality o lnvolves a choice o Is transcendent extending or reaching beyond the normal limits of ordinary experience 0 Provides catharsis o Tragedy is honest 0 Larger and stronger than human comprehension o Attempts to understand life and relationship to these forces 0 Vicarious experience 0 Through someone else I Everyone nurses suppressed longings for human experience that he has not had himself never expects to have does not really want to have I In the theatre he can satisfy these longings vicariously 0 JOHN DOLMAN JR Alexander Dean 0 art is an artists interpretation of life expressed in a way that is universally recognized an understood 0 artists expression interpretation of the truth of human existence ultimate reality actual existence what it means to be 0 Came up with 6 principles common to successful art 0 SPRICU acronym John Dolman JR 0 The vicarious experience Gustav Freytag 0 Creator of 5 part plot structure Sigmund Freud 0 Comedy 0 Laughter provides catharsis Athol Fugard 0 author of Harold and the boys Northup Frye o llTragic heroes are wrapped in the mystery of their communion with that something beyond which we can see only through them and which is their source of their strength and their fate alike Marian Gallaway o The aesthetic triangle 0 BEM beholder experience median Suzanne Gallaway o Tragicrhythm o GrowthgtMaturitygtDecline Herbert S Langfield o Explains detachment from the illusion and subjective detachment allowing yourself to realize that although it is a play you can still believe what is happening 0 Describes aesthetic distance Arthur Miller 0 Author of the crucible Oscar Wilde 0 author of The importance of being earnest THAR 101 REVIEW GUIDEiExam 2 Examination will include about 50 objective items multipleguess matching TF quotesID speaker etc will be based 33 on textbook 33 on lectures 33 on plays will expect you to identify theories concepts movements individuals discussed in lecturestextbook will expect you to be familiar with the plot major characters and general themes of each play will expect you to identify the playwright style and genre of each play will expect you to discuss how the plays are illustrative of the basic styles and genres People places concepts terms etc with which you should be familiar in addition to the items on Exam 1 review sh eet 7 steps of creative process The actor The director The designer comic devices the magic if personality acting character acting text context subtext intentional text directorial concept primitive dramatic rituals GREEK THEATRE dithyrambic theory rhapsodic theory satyr tragoidia tetralogy trilogy theatron orchestra skene proskenion hybris hamartia City Dionysi a Elizabethan Shakespearean theatre The Renaissance Mind the Great Chain of Being Renaissance Neoclassic doctrine Commedia dell Arte Dafne Aminta The Mandrake Teatro F arnese Teatro Olympico Hotel du Bourgogne The Theatre AC Bradley re Hamlet Contantin Stanslavsky Robert Edmund Jones Sophocles Shakespeare Moliere Machiavelli Serlio Thespis Tasso Dionysus Schultz re Oedipus the King Schultz re Hamlet Schultz re Tartu e Oedipus the King Hamlet Tartu e A Mid Summer Night 3 Dream


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