2008 +
* 215 Dramlit * 413 Playscript filmplus.org/plays filmplus.org/thr anatoly.vtheatre.net/dramaturg
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![]() Fall 2003: Modern Drama: Selected Plays from 1879 to the Present Walter Levy, Pace University ISBN: 0-13-226721-7 Prentice Hall Paper; 985 pp Published: 10/21/1998 This page both for my actual and virtual students... and just surfers. Student Papers (Samples) Open Directory I recommend you study drama for its applications; I direct and write plays. I study dramatic structure in order to understand even simple feelings why do I like or dislike this or that movie. We are surrounded by dramatic messages and we have to understand their meanings. Go beyond "good and bad" into "wrong and right" land. Drama is the most sofisticated kind of literature, because at the end the texts will have many other languages to express it on stage. If the subtext concept is difficult in novel, in theatre it's even more so! Live Free = Think Free! What am I to do with this ancient page? Archive? Summary2003 "Modern Drama" (textbook THR413): "This comprehensive and balanced anthology offers a collection of 25 works of modern and contemporary drama from the 1870s through the early 1990s. Features twenty-five plays that often demonstrate a significant breakthrough in maturity of expression and style for each playwright — important leaders in the development of modern and contemporary drama."QuestionsFlash banners, links -- how to use the webpages; go to FAQ pages!Notes![]() ![]() Mikado ![]() Tragedy : case-study
AmDrama: 3 + 3 = (O'Neill - Williams - Miller) + (Albee - Shepard - Mamet) and Kushner and others
The Live Theatre: An Introduction to the History and Practice of the Stage by Hugh Hunt; Oxford University Press, 1962 - Chapter One: THE INGREDIENTS OF THEATRE
- Chapter Two: THE RITUAL THEATRE THE THEATRE OF ATHENS
- Chapter Three: RITUAL IN PERFORMANCE SOME PROBLEMS OF PRODUCING GREEK PLAYS
- Chapter Four: THE SECULAR THEATRE NEW COMEDY AND THE ROMAN THEATRE
- Chapter Five: THE PAGEANT THEATRE LITURGICAL PLAYS AND THE RELIGIOUS CYCLES
- Chapter Six: A PLEA FOR PAGEANTRY SOME PROBLEMS OF PRODUCING MEDIEVAL MYSTERY PLAYS
- Chapter Seven: THE PROFESSIONAL THEATRE THE STROLLING PLAYERS AND THE PUBLIC THEATRES
- Chapter Eight: POETIC ACTION SHAKESPEARE'S STAGE-CRAFT AND CONTEMPORARY PRODUCTION
- Chapter Nine: THE THEATRE OF ILLUSION THE INDOOR PLAYHOUSES AND THE RESTORATION THEATRE
- Chapter Ten: ARTIFICIAL ACTING THE PERFORMANCE OF RESTORATION COMEDY
- Chapter Eleven: THE GROWTH OF ILLUSION THEATRE DURING THE EIGHTEENTH CENTURY
- Chapter Twelve: THE MATERIALIST THEATRE MELODRAMA AND SPECTACLE
- Chapter Thirteen: THE THEATRE OF ACTUALITY THE BIRTH OF REALISM
- Chapter Fourteen: THE CONFUSION OF STYLES THE THEATRE OF THE EARLY TWENTIETH CENTURY
- Chapter Fifteen: THE NEW CONTINENTIAL AND AMERICAN THEATRE
- Chapter Sixteen: REVOLUTION IN THE THEATRE BRITISH THEATRE TODAY
- Chapter Seventeen: CREATIVE INTERPRETATION THE SEARCH FOR A PHILOSOPHY
- Chapter Eighteen: THE PRACTICE OF THEATRE
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FAQ
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Well, some subjects I had to move to Theatre Theory (advanced pages somewhere between directing, writing, research and everything else).
Next THR215 DramLit is in Fall 2004 *
This page is supposed to serve as a map for pages on DRAMA. I have a similar guide-page for DIRECTING -- Directing Directory. Acting Pages Guide...Classes:
Dramatic Literature is the first class developed as web-able, see THR215. Follow the links in the online syllabus. The pages will be updated to serve the needs of THR413 Playscript Analysis course I teach, too.[ All my web-textbooks have actors as the main target, and -- directors. ]After 2004 THR413 Playscript will have a playwrighting segment (last three weeks) -- writing scenes. I started a new page -- writer!Playscript Analysis
This class starts where Dramatic Literature ends: The High Modernity. This is upper division (400 level) writing intensive course. I recommend to take DramLit first, or some English classes in criticism. It will help if you got some philosophy also. If you never heard of "The Poetics" by Aristotle, it will be difficult for you to study modern theories (see 200X Aethetics for the basics). There are a list of plays you must be familiar with before getting in this class; check the class-page for more details.Live Students: If you believe (as I do) in self-education, go through Dramlit pages, read plays, take tests and come to see me.
"Dr. Hennequin, in his "Art of Playwriting," mentions the following different kinds of plays: tragedy; comedy; drame, or Schauspiel; the society play, otherwise known as the pièce, or the emotional drama; melodrama; spectacular drama; musical drama; farce comedy, or farcical comedy; farce; burlesque; burletta; comedietta. And he further subdivides comedy into ancient classic comedy, romantic comedy, comedy of manners, and comedy drama.
... It must not be inferred, however, that it is unimportant for the playwright to be reasonably certain as to the proper classification of his work. On the contrary, one of the principal sources of failure is the "romantic" mingling of the genres" in drama, the variation in the same piece from true comedy to mere farce, and vice versa; from comedy to melodrama; from character stress to strictly plot emphasis, As has been pointed out, this does not mean to say that farce and comedy, farce and melodrama, melodrama and tragedy, comedy and tragedy, may not be combined in successful plays. But such blendings are full of risk, except where managed with the utmost skill. Nothing is more confusing to the spectator than an abrupt and awkward shift of emphasis or key. Yet s ch an effect is only too easy for the playwright who has ill considered his characters, and who accordingly is prone to slip into conventional grooves of story-telling."
http://www.oldandsold.com/articles18/play-writing-16.shtml
"QUESTIONS AND EXERCISES
1.From all the sources at your command, make as full a list of kinds of plays as you can.
2. Adopt some general scheme of grouping and place each kind in a suitable category.
3. In a sentence or two, describe the essential nature of each. Try to differentiate each kind from others akin to it.
4. Without forcing, try to find a play that illustrates each kind, but remember that many popular and entertaining plays overlap as to kind. We are now trying to differentiate types with technical accuracy, not condemning plays as worthless because they contain technical defects. They would be better plays technically had their authors observed more carefully these well-known laws—that is the viewpoint to take in trying to fulfill this assignment.
5. After you have succeeded in completing this table as well as possible, copy it in a note book, being careful to leave room for additions.
6. In a considerable number of plays point out the passages embodying exposition, characterization, conflict, situation, complication, increased suspense, crisis, contrast, connotative dialogue, humor of plot and of character, surprise, climax, dénouement, and the expression of the theme.
7. It is now time to be about writing your full-length play. Reread this volume, note-book in hand. Decide on a theme or a foundation incident, outline your plot, sketch the grouping of characters, develop your characters by description for your own guidance, determine on their relative prominence, and assign the space to be given to each act. Before beginning the actual writing, however, study carefully the next two chapters and leave the material gathered for the longer piece of work until you shall have labored faithfully at the writing of several one-act plays, both adapted and original. Take plenty of time to revise and re-revise; study the stage-books of successful modern plays; and lay your work aside to cool." Play Writing - Kinds Of Plays ( Originally Published 1915 )
Play Writing - The Characters
CyberChekhov"The playwright's source of material is life. From what he sees of his fellow beings in all manner of circumstances, he selects those traits of character which to him seem significant and adapted to his purpose. By a process of combination and condensation he achieves his figures, letting them develop always in strict accord with logic. If he hopes to make them in any sense credible and real, he will draw them solely from his own personal experience. And, above all things, if he have the gift to do it, from curtain to curtain throughout his drama he will make them live."
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Support Pages
Each websites has reference page like References.[ also, see new subdirectories "215" and "413" ]
Books, Glossary, Tests, Exams
Each site has BOOKS and GLOSSARY pages. Each class has posted student papers, you can see for yourself what I consider a "good paper."
Script Glossary/Dictionary isn't a hyper-text yet.I make pages online and view them with MS Explorer; if you're using Netscape, you have to wait when I'll learn its HTML tricks. There are some Java scripts on my pages; I didn't write them -- and, yes, they fail too often (click off the errors messages).
Webmasters & Links
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I do not have any web-policy. I myself (usually) ask for a permission from other webmasters before placing their links on my pages (not anymore). Most of the times it's reprociprical: I ask to place a link to my page. I visit each website I link to (to check its content and traffic). There are sites which are new or not maintained -- and I avoid exchange, because it turns into dead links and I can't know it till somebody reports on dead links within my pages.[ see vtheatre.net/web and filmplus.org/web ]The only way to exchange links with me is to submit your URL at Submit Your Link page.
If you want immidiate response (if you are in my class), use my faculty email address (on each page at the bottom, but I'm removing it now, when I see it). Use guestbooks for BB messages, they are on front pages of my websites (right table).
I use web for my work. I have no hobbies.
This service page is my new attempt to organize Lab Theatre with Anatoly, if you have ideas and suggestions, please email. The pages are full of error, typos and mistakes, let me know when you see them.
Each site has NEW page for updates.
Copyright: since I have no control over how my pages are used, I have to leave it to your own will.
[ if you see "Summary" "Questions" "Notes" on your right, the pages are updated in 2003 ]
script.vtheatre.net/413 PLAYS and Theatre Theory
Fall 2004 -- THR215 Dramatic Literature (Bedford)
Play Writing - The Dialogue:
QUESTIONS AND EXERCISES
1. From one of your own plots, describe a situation and give explicit directions for the "business "—all pantomime.
2. From any printed modern play quote a specimen of excellent poetic dialogue. Be sure to choose a play that has had actual stage production.
3. Similarly, give a good specimen of rhetorical dialogue.
4. Similarly, of realistic dialogue.
5. Write two specimens of realistic dialogue based on one of your own plots.
6. Write a specimen of dialogue using either epigram or delicate humor.
7. Write a bit of dialogue intended to reveal character.
8. Write a bit of dialogue intended to advance the plot. Base it on one of your own plots and explain your object in using the dialogue.
9. Cite as many instances as you can of (a) connotative dialogue; (b) connotative pantomime. Preface Overview Table of Contents What's New Feature Summary Supplements PageOut Credits