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Both "blocking" and "block" were applied to stage and theater from as early as 1961. [2] The term derives from the practice of 19th-century theatre directors such as Sir W. S. Gilbert who worked out the staging of a scene on a miniature stage using a block to represent each of the actors. [3]
a dramatic technique in which a line is said by one character to him or herself or to the audience. The line is unheard by the other characters onstage. Audience People watching a drama. Avenue Staging the staging of a performance with the audience placed on two sides, as though the performance space is a street.
Hotseat: The student is interviewed in character. By putting the character from a scene, event or story on the "stand", students can further explore their understanding of the content. Other students in the class prepare questions that explore the character and their conflicts. Students are encouraged to write open-ended questions.
Another major difference in drama is that it is not possible to 'go inside the character's head' in the way possible in a novel, meaning this method of character exposition is unavailable. Still another is that in drama, a character usually can be seen and heard and need not be described.
Stock characters from Commedia dell'Arte — which gave each character a standard costume, so easily identifiable — continued across many types of theater, dramatic storytelling, and fiction. A stock character is a dramatic or literary character representing a generic type in a conventional, simplified manner and recurring in many fictional ...
Metatheatre, and the closely related term metadrama, describes the aspects of a play that draw attention to its nature as drama or theatre, or to the circumstances of its performance. "Breaking the Fourth Wall" is an example of a metatheatrical device.
Stichomythia (Ancient Greek: στιχομυθία, romanized: stikhomuthía) is a technique in verse drama in which sequences of single alternating lines, or half-lines (hemistichomythia [1]) or two-line speeches (distichomythia [2]) are given to alternating characters. It typically features repetition and antithesis. [3]
In classical drama, the epitasis (Ancient Greek: ἐπίτασις) is the main action of a play, in which the trials and tribulations of the main character increase and build toward a climax and dénouement.