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The Thirty-Six Dramatic Situations is a descriptive list which was first proposed by Georges Polti in 1895 to categorize every dramatic situation that might occur in a story or performance. [1] Polti analyzed classical Greek texts, plus classical and contemporaneous French works. He also analyzed a handful of non-French authors.
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.
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.
About 3 decades later, Horace Hayman Wilson published the first major English survey of Sanskrit drama, including 6 full translations (Mṛcchakatika, Vikramōrvaśīyam, Uttararamacarita, Malatimadhava, Mudrarakshasa, and Ratnavali).
Drametrics, or computational dramaturgy, applies mathematical and computational methods to analyze dramatic texts, combining traditional dramaturgical analysis with digital humanities techniques. This methodology allows dramaturgs to discover structural patterns, character relationships, and dramatic rhythms through computational tools like ...
Dramatic theory attempts to form theories about theatre and drama. 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 ...
Postdramatic theatre, thus, strives to produce an effect amongst the spectators rather than to remain true to the text. Lehmann locates what he calls 'the new theatre' as part of 'a simultaneous and multi-perspectival form of perceiving'; this, he argues is brought about, in large part, by a reaction to the dominance of the written text. [2]
Hyperdrama is a dramatic performance generated by playscripts written in hypertext. The performance is noted for its split narrative with scenes branching to play simultaneously in an expanded performance space. The audience is mobile, able to follow actors and watch scenes as each individual chooses.