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amazon.txt (c)2005 * The Compact Bedford Intro to Drama (textbook) *

Summary

Play Analysis 10 (main) Points

1. First impressions: notes of reactions to play on initial reading, including images, colors (be personal).

2. Research: Summarize the most important insights you have gained from your research into your play. Discuss specifically how your research findings will influence your interpretation and/or production of the play. List sources consulted (in bibliographic form).

3. One-sentence statement of action (root action/significant action).

4. Structural Analysis: identify and briefly discuss inciting incident, each major complication (in order), major crisis (turning point), major structural climax, major emotional climax, resolution. Give enough detail in your analysis so that the reader can identify the point in the play that you are talking about and why you consider this the inciting incident, etc. For complications, note the effect of the complication on the action.

5. Brief discussion of theme. State theme clearly and support your choice of theme with evidence from the play.

6. Brief discussion of style of the play. What choices are you making about style for your production? Why?

7. Spine of the play--identify and discuss briefly.

8. Character Analysis--Biography, History (see act.vtheatre.net).

9. Motivational Units: Break your scene into motivational units and number/name the units. Present this portion of the analysis in promptbook format, with starting and ending points of each unit marked; unit analysis should be on page facing page of text.

10. Discuss any particular directorial problems posed by the play and the scene.

NOTES: biblio, references & ect.

mini-Chekhov05: Schiele-kneeled

Notes

2004 case study: The Taming of the Shrew + Oedipus Rex
Syllabus
THR215 DramLit
M. Chekhov -- Acting One: Fundamentals

LMDA dramaturgs *

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Dramatic Literature 2007

2004: Sophocles + Shakespeare + Chekhov + Beckett

2005 Fall -- THR215 Dramatic Literature :

Part 1. Oedipus

Part 2. Hamlet

Part 3. Chekhov (Cherry Orchsrd) and high modernism

Part 4. Postmodern: Becket

Part 5. Writing

Main script.vtheatre.net & 2005 THR215 * Antiquity I * Modern Times II * High Modern (Realism) III * Postmodern (Absurdism) IV * V *
anatoly.vtheatre.net/playwright
I. II. III. IV.

Practical Points to Keep in Mind While Working with a Script
* Discovering structure in a script is discovering how each part fits with another into the whole and how each part serves some functional motive.
* Be wary of the "bright idea" analysis approach, reducing the play to one idea or metaphor instead of allowing it to be a complex, fragmented suggestion to the audience.
* Always keep conflict in mind - conflict is what is basic - drama is the process of resolving conflict and dramatic action is the play resolving itself.
* The important perception in dramatic analysis is seeing the conflict inherent in the play.
* Conflict creates characters, they grow out of the conflicts within the play. The desires, the wants, of the characters produce the spines of the characters.
* All elements in a dramatic production should exist to make the conflict visible in time and space.

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2005 by vtheatre.net. Permission to link to this site is granted. print.google.com + scholar.google.com

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