writing voices telling stories
authorial: reflecting the playwright's affinity of writing the character, how the character speaks; the way the dialogue is usually written by the author.
LANGUAGE
Its use presupposes a speaker or voice, (real or imaginary) and listener; a voice not mediated by another voice: speak or listen to speech; write or read text; think
STORY
Social activity, audience-focused, true/fictitious, a narrative/to narrate, entertainment, instruction
MODE & GENRE
Purpose of writing: expository, narrative, descriptive, persuasive, technical, poetic Specific settings, roles, events, and values that define individual genres and their subgenres.
DIEGESIS
The storyteller, the narrator speaks, monophonic
Diegesis is a basic and significant element of dramaturgy throughout the history of the stage.
Author(s): Brian Richardson. Point of View in Drama: Diegetic Monologue, Unreliable Narrators, and the Author's Voice on Stage. Comparative Drama , Fall 1988, Vol. 22, No. 3 (Fall 1988), pp. 193-214
#2 MIMESIS / DRAMATIC
Represented personages, characters speak, polyphonic
#3 HYBRID
- Keywords: presentational, representational, stage, properties, word scenery, symbolic
From playwright to audience, we focus on what happens in between
Setting and Space
Styles of Theatre:
representational: audience accepts what unfolds onstage as reality (realistic setting, evocative of truth, passive audience)
presentational: audience is forced to be aware of theatre as form of performance (use of narrator, asides, surreal characters, stage props, special effects etc. Must use their imagination, Part of the creation of a reality Suspension of disbelief)
Performance Space:
Layout and application— actors, acting; audience and watching; transitions between scenes
Time and Space in Theatre:
consistent realities: Settings that establish modes of interaction between characters and their world that are kept consistently throughout the telling to create meaning.
inconsistent realities: Settings that mix modes of interaction so that the story's episodes jump inconsistently from one reality to another to create a sense of absurdity.
Stage and Spectacle:
Stage: position of distance between actors and audience
Spectacle: something that is seen (sight; greek; opsis). stagecraft. WHat dyou want them to see when the action is unfolding
Breaking Setting down: 4 dimensions
period: story's place in time (modern etc)
duration: story's length through time (starts 1950, ends 2020, 70 years through time)
location: story's place in space (house to market to house)
level of conflict: story's position on history of human struggles
STAGE PROPERTIES: Included in the beginning of the script by the playwright: setting and props
INDIRECT CHARACTERISATION: A means of revealing the characters’ personalities or state of mind. Provide more information to the audience.
WORD SCENERY: The scenery can also be conveyed by the characters in their speech (monologue/dialogue)
SYMBOLIC SPACE: When the stage is deliberately set up to be more than a functional background or enhance the atmosphere.
Week 3
Character vs Characteristics
Character Arc
Their situation and flaws will lead to their conflict
transformational: myth of the hero, the journey template, from zero to hero
Positive+negative: less dramatic compared to transformational, no need epic journey, but requires character to change from positive to negative outlook or vice versa.
flat/static:
Dramatic Conflict: forces of antagonism: inner (self vs self), personal (self vs other), extra-personal conflict (self vs nature, society, system)
the greater the value of desire > the greater of risk
what is the one single moment that starts it all, how to start, to end. Characters: How do they sound like and how they reveal themselves.
Objects of Desire: unearthing (maybe unconscious: the things they hide are what we look for), what you desire the most, no matter the risk; getting closer to true character core, not about wants anymore, it's about needs
The Spine: writing the monologue, setting the structure of the story.
What is Sherrif Hassan's object of desire
PROTECT
wanted to feel autonomy in NYPD (safety as an unconscious factor?),
also wanted to be an integral part to better change lives and influence those around him (society)
AFFIRMATION
external: assimilated and desired to become a full identity—of his physical appearance, adopt religion, language, culture.
SAFETY
needs acceptance from other people > unconscious desire : self acceptance being proud of who he is.
MONOLOGUE
Single character aware that other character is listening and reacting.
Converting character’s conceptualisation to develop and transform action/speech and intention
Beginning introducing character, information characterisation
Climax vulnerable inner thoughts, core of conflict
Ending arrive at the 4revelation, shift in character
Static/frozen: Unchanging Text is delivered in the same way, highly specialised, not due to change in anytime soon (the sermon of religious texts, the flight directions)
Formal: minute changes, but depends on environment of where speech is delivered, in context of legal proceedings, tendencies to obey and use certain rules and abide to the game of communication.
consultative uses more specialised diction and more reserved tone
very observable difference between casual and intimate
Rhythm: punctuation/pace and stress patterns, the delivery of lines, says a lot about the character and the environment they're in.
Diction: word choice with feelings
what goes on in the head is usually egocentric (preservation of the self), different facets of the self. NO self-censoring, no limits to what the thoughts are capable of.
The stronger the struggle, the more truth comes out of their speech. (will still be intentional and self-censorship), but the extreme stress can warp the motivation to achieve utilitarian responses
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