Notes for Script Directory @ Theatre w/Anatoly

Notes for 215 and NOTES for 413

Notes in THEMES pages

2008 : web and video

... how to use web2.0 for cyber-students.

Drama classes at Lul Theatre? 2010?

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

The problem: the webpages were nothing more than my notes for classes -- therefore they are in addition to what I say in classroom... in addition to plays and critical reading in the textbooks. So, the pages are complimentary, not self-contained. Not books. Period.
This directory has no students or instructors pages yet (like in other textbooks in order to make them "user-friendly"), maybe I could use this (notes) and FAQ pages?

intro * Links

Featured Pages, New

The real challenge is Beckett & After: the Postmodern, the Death of Modernity

The 20s must be seen as a crisis of the high modernity with the "avantguarde" various movements -- futurism, dada, expressionism, formalism.

Could I use Film&Drama Class for THR215 Dramatic Literature? With films/video -- but without touching film aesthetics.
Very radical (and dangerous) move: I keep woring on "themes" and now in film600 directory -- study via "emotional theory"...

See SHOWS directory for more plays!

I began to place WRITE banners in this directory, because the only other place to go for more on philosophy is my nonfiction pages.

SHOWS: 12th Night

I place a lot of new flash banners, but I don't know, if and how they work, connecting to my own pages. FILM, for example. But how to direct them to the right pages? Should I use PLAYS directory to support this SCRIPT pages?
Link with SHOWS pages for the dramatic analysis samples!

Formalism & Structuralism (some) + Bakhtin.

[ This new "menu" (above) is to serve as another "redirector" (narrative) to collect the recommended to the topic webpages. ]

Summary

"To separate this primitive and all-powerful Dionysian element from tragedy, and to construct a new and purified form on the basis of an un-Dionysian art, morality, and conception of the world -- this is the tendency of Euripides as it is now clearly revealed to us." The Birth of Tragedy

[ drama? ]

Questions

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Modern Drama *

* Cherry Orchard Notes *

Dramlit for Actors = emphasis on character(s). Sampling monologues. Line-by-line analysis, dramaturg's POV -- what is not fully covered in acting classes?

Actor & Script

First, they must know the body of classic works.

Second, how to READ a play.

HOW to make it (reading) "personal" = interpretation is required.

"Continuety" of themes and ideas from the Greeks to the present.

THR413 = Director & Script:

Prerequisit for THR331 Stage Directions (connect the pages)

#3 Idea (Aristotle)

#2 Hero (How to work with Actors)

#1 Action ( )

"Writing" (new) last segment = pages (list)

Many pages are for cyber-use only (not in class-reading) 2006:

Bakhtin, Genre Formation Bart KEUNEN for Drama Genre Page: Genre in Stagematix *

He who cannot be a good follower cannot be a good leader. -- Aristotle

... somewhere, long ago, I lost direction with my webpages. { vtheatre.blogspot.com }

"Notes" in directories/sub-directories 215, 413 and "documents"!

Script Directory Notes

"Shaw -- Pygmalion"

2002: THR215 Dramatic Literature (Bedford Intro to Drama). Selection of titles is a direction already. If no required reading from the period (like MEDIEVAL DRAMA, for example, than more theory -- Church and Theatre, Religious traits of drama, Theology -- in The Book of Spectator). In DrmaLit we must return back to the same key-play (Hamlet) to compare for changes. Use 200X files for extended terminology (to start as if I teach the core aesthetics). Return to the basics (Aristotle) to make sure that drama definitions are "drilled-in" (more quizes?)
How much video I could/should use? As a starter and for home-viewing (scenes in classes). If you don't know after this course how to break down the play, they will suffer for the rest of their lives. Scene-by-scene and line-by-line. (They do not understand that one single course can "make or break" their professional future). More in depth could be done on acting-directing pages about the script (first part everywhere). Most unfortunate: they read next to nothing, when it comes to plays. The textbooks I use (number of scripts) are the MINIMUM students need to know before they get their BA in theatre. How much help can I expect from other classes: Theatre History, costume and set design, some English courses. Not only the texts, but the critical reading (theory) -- methods! Overall problems: lack of analytical skills (American and video-culture problems).
The worse case scenario: when they think that they know how to do the analysis.
I ask them to keep the textbooks and the notes for the future use (some do).
The best classes: when I manage to link the themes, conflicts, problems in plays with their lives (they start SEE it, understand -- and think). Why else to study drama? I should keep moving the pages into THEMES directory. From "Present into Past" or "Past as Present"? Do we really study for one purpose only -- The Future?
[ I really would like to bring in a narrator, like Chekhov, but somehow I do not hear his voice. Maybe because each page has its own author? With the directing and acting pages it was easy. Could it be that I am on wrong track and the narrators are the great characters -- Hamlet? There must be a dialogue over the eternal issue -- life and death theme and so on. Pirandello style? Oedipus and Hamlet? Ophelia and the Three Sisters's talk? Mother Courage's thoughts about life? ... I thought that my philosophers from Theatre Theory directory will help, but they are silent. ]
From the past...
Fall Y2K: organize the search thematically (family, man and society, hero, etc. -- see new directory "Themes")
Make it into comperative literature structure; each next playwright has to be compare with the past (Playscript Analysis).
Start with TODAY and THEM, the students.
Actiality, urgency -- let them see that the play they read are about THEM!

Require their comments on the papers in the archives of the previous class!
THR413 Playscript Analysis -- This is the 20th century drama. I better start with the postmodern! That's where we are.
Make it an investigation of the century, going back to Chekhov and Ibsen.

The textbook is $80 this year! (THR413)
List all online plays I have: Hamlet, 12th Night, Cyrano, 3 Sisters, Inspector General, The Importance of Being Earnest, Mikado (Who else is in public domain? Place the links, see htmlgears). Which titles to use in addition to the textbooks?
Separate DramLit (Shakespeare Logo) and Playscript (Chekhov) TEXTS (questions-answers section on each page). Most obvious is two different textbooks, also, the sillybus!
Add THEMES listing and start the pages in this new directory!

One-acts Webcast 2006 (?)
PS
I have to get to the hard copies and retype the lost pages...
Ironic, I work on drama pages and 200x Aesthetics files even, when I do not teach those classes!
Selection of titles (can't cover everything), criteria: 1. importance to me, 2. relevance to current issues?
NB
I need some texts in Russian and now I place them on my pages. If you can read, turn your windowes --> bar: view -- encoding -- Russian (windows).
Next: PLAYS directory
Next updates: new * 2007 dramlit notes : theatre blog (bottom) ... this is old directory, which gave birth to "215 pages", themes, even "doc" and 413 sub-directory.
And this is in addition to PLAYS and WRITE directories.
SHOWS and filmplus.org/thr [ theatre theory ]
How to connect them in useful manner?
... and?
O'Neill in Africa?
From theatre

[History] Periods : 1 * 2 * 3 * 4

What a piece of work is a man. How noble in reason, how infinite in faculty. In form, in moving, how express and admirable. In action, how like an angel. In apprehension, how like a God. The beauty of the world. The paragon of animals. And yet to me, what is this quintessence of dust? [ Hamlet : Theatre Before and After ]

2008 -- 4th spring fest 2008