DRAMATURGY AS A WEAVING-TOGETHER: "The word text, before
refer-ring to a written or spoken, printed or manuscripted text, meant
'a weaving together'. In this sense, there is no performance
which does not have a 'text'. That which concerns the text (the
weave) of the performance can be defined as 'dramaturgy', that
is, drama-ergon, the 'work of the actions' in the performance."
Eugenio Barba and Nicola Savarese. "Dramaturgy." A Dictionary
of Theatre Anthropology: The Secret Art of the Performer. Trans.
Richard Fowler. New York: Routledge, 1991. 68.
The dramatic poet, as well as the epic, represents external events, but he
represents them as real and present. In common with the lyric poet he also
claims our mental participation, but not in the same calm composedness;
the feeling of joy and sorrow which the dramatist excites is more
immediate and vehement. He calls forth all the emotions which the sight of
similar deeds and fortunes of living men would elicit, and it is only by
the total sum of the impression which he produces that he ultimately
resolves these conflicting emotions into a harmonious tone of feeling. As
he stands in such close proximity to real life, and endeavours to endue
his own imaginary creations with vitality, the equanimity of the epic poet
would in him be indifference; he must decidedly take part with one or
other of the leading views of human life, and constrain his audience also
to participate in the same feeling. [S]
I do not want to dublicate the pages in 200X Aesthetics or in 215 DramLit on the basics of Grammar of Drama. Besides, the "Elements of Drama" is covered in the most textbooks. Best is to look at the glossaries and see how much do you know about composition, exposition and etc. The purpose of this new page is to enter the new subdirectory -- but how different is Part I in DramLit and Playscript Analysis?
[ In short, better take 200X, 215 + (THR121 Fundamentals of Acting) -- and only then THR413 Playscript Analysis. Better for you (and for me).
I broke 215 in three main parts: elements of dramatic language, evolution of drama (historical periodization) and theory (methodology of analysis).
The same three-act structure I use in THR413 Playscript Analysis.
Plus, the fourth part (applications): 215 -- writing monologues, 413 -- scenes.
Writing assignments: 200 words post after reading each play. Midterm (Outline, 1st Draft, Final), Final (and/or the Scene -- the same three stages or rewrites), texts.
"Modernism" -- A major cultural and artistic movement dominating the Western world from approximately 1890 to 1940, depending on the country, modernism is now recognized as one of the most creative periods in human history, worthy of being discussed alongside Periclean Athens and the European Renaissance. No art was left untouched, and most were transformed by this international movement.
Whatever the actualities, modernism perceived itself as warring against continuity, tradition, and a sense of the past. In many ways, modernism styled itself as an arrogant repudiation of the past: Filippio Marinetti, the leading Italian futurist, for instance, proposed that museums be utterly destroyed so that the new century could escape the burden of the past.
These displacements, however, did not occur without battles of one kind or another. The premiere of Stravinsky's Rite of Spring in Paris in 1912 quite literally led to a riot in the theater.