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The Kwik Kwak (also called as crick crack) structure involves three elements: the narrator, the protagonist, and the audience. [1] The story itself is considered a performance so there is a synergy among the aforementioned elements. [1] In the story, the narrator may draw attention to the narrative or to himself as storyteller. [2]
Dramaturgy is the study of dramatic composition and the representation of the main elements of drama on the stage. The term first appears in the eponymous work Hamburg Dramaturgy (1767–69) by Gotthold Ephraim Lessing .
Story structure or narrative structure is the recognizable or comprehensible way in which a narrative's different elements are unified, including in a particularly chosen order and sometimes specifically referring to the ordering of the plot: the narrative series of events, though this can vary based on culture.
Drama is the specific mode of fiction represented in performance: a play, opera, mime, ballet, etc., performed in a theatre, or on radio or television. [1] Considered as a genre of poetry in general, the dramatic mode has been contrasted with the epic and the lyrical modes ever since Aristotle's Poetics (c. 335 BC)—the earliest work of dramatic theory.
The dramatistic pentad forms the core structure of dramatism, a method for examining motivations that the renowned literary critic Kenneth Burke developed. Dramatism recommends the use of a metalinguistic approach to stories about human action that investigates the roles and uses of five rhetorical elements common to all narratives, each of which is related to a question.
Drama is defined as a form of art in which a written play is used as basis for a performance. [1]: 63 Dramatic theory is studied as part of theatre studies. [2] Drama creates a sensory impression in its viewers during the performance. This is the main difference from both poetry and epics, which evoke imagination in the reader.
[7] Konstantin Stanislavsky, director of the Moscow Art Theatre. Brecht ensured that his practices would expose his audiences to the repercussions of Nazism and the social injustices that came with it. [7] He wanted to reveal the conceptual similarities between reality itself and the theatre, rather than presenting a climactic catharsis of ...
[4] Later, Stanislavski further elaborated what he called 'the System' [5] with a more physically grounded rehearsal process that came to be known as the "Method of Physical Action". [6] Minimising at-the-table discussions, he now encouraged an "active representative", in which the sequence of dramatic situations are improvised. [7] "