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Dramatic structure large file
Dramatic structure large file
Dramatic structure large file
Dramatic structure large file
Dramatic structure large file
Dramatic structure large file
Dramatic structure large file
Dramatic structure large file
Dramatic structure large file
Dramatic structure large file
Dramatic structure large file
Dramatic structure large file
Dramatic structure large file
Dramatic structure large file
Dramatic structure large file
Dramatic structure large file
Dramatic structure large file
Dramatic structure large file
Dramatic structure large file
Dramatic structure large file
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  • 1. Dramatic StructureDramatic Structure
  • 2. What is dramatic structure?What is dramatic structure?  A Map of a playA Map of a play  What are the parts?What are the parts? – In writing? Intro Body ConclusionIn writing? Intro Body Conclusion – In Performance? Intro Development ResolutionIn Performance? Intro Development Resolution
  • 3. Components of a playComponents of a play  Theme- the moral or lesson a play teaches. ForTheme- the moral or lesson a play teaches. For instance Goldilocks theme is- Don’t use otherinstance Goldilocks theme is- Don’t use other people’s stuff!people’s stuff! – Major Dramatic Question- the question that must beMajor Dramatic Question- the question that must be answered in order for the play to conclude. Example:answered in order for the play to conclude. Example: Will Goldilocks get caught?Will Goldilocks get caught? – Universality- Themes should apply throughout timeUniversality- Themes should apply throughout time and to many different cultures and societies.and to many different cultures and societies. – Concept- A statement of what the artist (or reader) feelsConcept- A statement of what the artist (or reader) feels the play is about as well as their take on it. Example-the play is about as well as their take on it. Example- Goldilocks is a fun story where children learn good lifeGoldilocks is a fun story where children learn good life lessons through humor. Notice this statement is alessons through humor. Notice this statement is a combination of theme and how I think it should becombination of theme and how I think it should be performed (fun-humor).performed (fun-humor).
  • 4. Components of a playComponents of a play Plot- the events of the story in order. Ie. The threePlot- the events of the story in order. Ie. The three bears went for a walk, then Goldilocks triedbears went for a walk, then Goldilocks tried their porridge…their porridge… – Intro- Where characters are introduced and theIntro- Where characters are introduced and the conflict is foreshadowed.conflict is foreshadowed. – Development- The ups and downs of theDevelopment- The ups and downs of the problem.problem. – Resolution- where the problem gets solved andResolution- where the problem gets solved and normalcy returns.normalcy returns.
  • 5. ThemeTheme  Theme- the lesson, the moral?Theme- the lesson, the moral?  Let’s talk about the themes of commonlyLet’s talk about the themes of commonly known shows:known shows: – Trifles- The little things matter. Or Women areTrifles- The little things matter. Or Women are good problem solvers.good problem solvers. – Titanic- Big ships sink too. Or Love isTitanic- Big ships sink too. Or Love is everlasting.everlasting. – Ed- Friendships survive allEd- Friendships survive all
  • 6. Themes should be UniversalThemes should be Universal  What is Universality? Across time, place, andWhat is Universality? Across time, place, and language barriers.language barriers. – Why should themes apply universally? The story ofWhy should themes apply universally? The story of Oedipus is 2500 years old yet the lesson still affects allOedipus is 2500 years old yet the lesson still affects all of us.of us. – Examples? Romeo and Juliet? All children’s storiesExamples? Romeo and Juliet? All children’s stories – Exceptions? Some stories can’t cross cultural barriersExceptions? Some stories can’t cross cultural barriers because of different belief systems. For instance, inbecause of different belief systems. For instance, in some African tribes women are given as brides.some African tribes women are given as brides. Modern feminist theory in America would not agreeModern feminist theory in America would not agree with this. And if that were the theme, then the playwith this. And if that were the theme, then the play would not relate to its’ audiencewould not relate to its’ audience
  • 7. ThemeTheme  What is a Concept?What is a Concept? – An underlying current driving the production.An underlying current driving the production. – Shakespeare redone- R&J Modern? TheShakespeare redone- R&J Modern? The Leonardo DiCapprio version certainly wasLeonardo DiCapprio version certainly was conceptually unique.conceptually unique. – Trifles? How would you produce Trifles?Trifles? How would you produce Trifles?
  • 8. PlotPlot  The mapping of a play- How the eventsThe mapping of a play- How the events unfoldunfold  Above is a linear, or Aristotlean progression. The eventsAbove is a linear, or Aristotlean progression. The events build and build until a climax and then resolve. In the lastbuild and build until a climax and then resolve. In the last century a cyclical pattern was often usedcentury a cyclical pattern was often used
  • 9. IntroductionIntroduction – Prologue-Prologue- Used originally in Greek theatre, aUsed originally in Greek theatre, a chorus member would speak directly to thechorus member would speak directly to the audience and set up the events and characters.audience and set up the events and characters. – Feather Duster Scene-Feather Duster Scene- When realismWhen realism brought about a distaste for speakingbrought about a distaste for speaking directly to the audience, playwrights oftendirectly to the audience, playwrights often put a maid on stage who would dust whileput a maid on stage who would dust while speaking to herself about the problems inspeaking to herself about the problems in the house and the characters involved.the house and the characters involved. Nifty huh?Nifty huh? – Exposition-Exposition- simply when the audiencesimply when the audience is being fed informationis being fed information
  • 10. DevelopmentDevelopment – Conflict- The problem of the playConflict- The problem of the play – Rising Action- Building of the problemRising Action- Building of the problem – Point of Attack- At the end of the exposition andPoint of Attack- At the end of the exposition and the beginning of the problemthe beginning of the problem – Build- Another term for Rising AcionBuild- Another term for Rising Acion – Point of no Return- The point at which thePoint of no Return- The point at which the antagonist has chosen he must solve the [problemantagonist has chosen he must solve the [problem and cannot rest until he does.and cannot rest until he does. – Climax- The biggest confrontation- where theClimax- The biggest confrontation- where the problem is tackledproblem is tackled
  • 11. ResolutionResolution – FallingFalling Action- Refer to the chart, the play begins at peaceAction- Refer to the chart, the play begins at peace and builds to a climax, but also falls back to peace.and builds to a climax, but also falls back to peace. – Putting the Pieces Back-Putting the Pieces Back- Just another way of sayingJust another way of saying Falling ActionFalling Action – Denouement-Denouement- French from untying- the final resolutionFrench from untying- the final resolution
  • 12. CharactersCharacters  ProtagonistProtagonist.. the central character of a story. Pthe central character of a story. Protagonistrotagonist is the term used by literary critics. In most cases we see the plotis the term used by literary critics. In most cases we see the plot from the point of view of the protagonist, though some storiesfrom the point of view of the protagonist, though some stories have a narrator who is not the protagonist.have a narrator who is not the protagonist.  AntagonistAntagonist.. This is the character who causes or leads theThis is the character who causes or leads the conflict against the protagonist. The antagonist is usually aconflict against the protagonist. The antagonist is usually a villain, but not always. Every story has a protagonist, but somevillain, but not always. Every story has a protagonist, but some stories do not have an antagonist, as some types of conflict dostories do not have an antagonist, as some types of conflict do not require one.not require one.  ConfidantConfidant.. Many stories include a secondary characterMany stories include a secondary character whose main function is to listen to the protagonist. The confidantwhose main function is to listen to the protagonist. The confidant (or confidante, if a woman) may play a part in the character(or confidante, if a woman) may play a part in the character development of the protagonist, but even more often, he givesdevelopment of the protagonist, but even more often, he gives the protagonist an excuse to provide plot information for thethe protagonist an excuse to provide plot information for the reader.reader.
  • 13. More characters…More characters…  FoilFoil.. This is a character, usually a secondary one, who helpsThis is a character, usually a secondary one, who helps us to understand the protagonist or another major character byus to understand the protagonist or another major character by providing a contrast. In the old western movies, the hero wasproviding a contrast. In the old western movies, the hero was always tall and handsome, had a good singing voice, wore aalways tall and handsome, had a good singing voice, wore a white hat, rode a palomino stallion, and was strong and brave.white hat, rode a palomino stallion, and was strong and brave. His sidekick was always short and fat, had a gravelly voice,His sidekick was always short and fat, had a gravelly voice, wore a ridiculous-looking hat, often rode a pinto pony, and waswore a ridiculous-looking hat, often rode a pinto pony, and was weak and timid. Technically speaking, this sidekick was a foilweak and timid. Technically speaking, this sidekick was a foil (as well as a confidant). He made the hero look more heroic just(as well as a confidant). He made the hero look more heroic just by standing next to him.by standing next to him.  NarratorNarrator.. This is the character who tells the story. TheThis is the character who tells the story. The narrator may be a realistic or fictionalized version of the authornarrator may be a realistic or fictionalized version of the author or an entirely imaginary character whom we accept for the sakeor an entirely imaginary character whom we accept for the sake of the story, though we know he is not really the author. Theof the story, though we know he is not really the author. The narrator may be a main character or a minor one, may or maynarrator may be a main character or a minor one, may or may not know all of the facts of the story, and may benot know all of the facts of the story, and may be reliablereliable oror unreliableunreliable..
  • 14. Now let’s look at Trifles-Now let’s look at Trifles-  What were the events in the plot?What were the events in the plot? – Which parts were the introduction?Which parts were the introduction? – The development?The development? – Resolution?Resolution? Well that depends on the who we think the playWell that depends on the who we think the play was about and what the Major Dramaticwas about and what the Major Dramatic Question was?Question was?
  • 15. MDQ- Will the women cover forMDQ- Will the women cover for Mrs. WrightMrs. Wright  Introductory elementsIntroductory elements – Exposition about what happened when theExposition about what happened when the neighbor and sheriff arrived last night.neighbor and sheriff arrived last night. – We find out they are looking for motive.We find out they are looking for motive. – We see early that the men view the women’sWe see early that the men view the women’s things as unimportant (trifles).things as unimportant (trifles). – The women start to notice clues as to Mrs.The women start to notice clues as to Mrs. Wright’s guilt.Wright’s guilt.
  • 16. MDQ- Will the women cover forMDQ- Will the women cover for Mrs. WrightMrs. Wright  DevelopmentDevelopment – The women find the bird cage, stitching, andThe women find the bird cage, stitching, and other clues that clearly point towards her guilt.other clues that clearly point towards her guilt. – They discuss the woman’s role. And how mostThey discuss the woman’s role. And how most men, including Mr. Wright, abuse that role.men, including Mr. Wright, abuse that role. – They indirectly discuss whether or not to coverThey indirectly discuss whether or not to cover for Mrs. Wright.for Mrs. Wright.
  • 17. MDQ- Will the women cover forMDQ- Will the women cover for Mrs. WrightMrs. Wright  ClimaxClimax – They hide the clues and change the subjectThey hide the clues and change the subject when the men re-enter. Notice how this answerswhen the men re-enter. Notice how this answers our MDQ.our MDQ. – Now there is no doubt about the fate of theNow there is no doubt about the fate of the play. All of the rising action has pointed to thisplay. All of the rising action has pointed to this decision to cover the information.decision to cover the information.
  • 18. MDQ- Will the women cover forMDQ- Will the women cover for Mrs. WrightMrs. Wright  ConclusionConclusion – This play has a pretty quick resolution. TheThis play has a pretty quick resolution. The clues are hidden and the women make a fewclues are hidden and the women make a few snide comments to the investigators about theirsnide comments to the investigators about their arrogance and ignorance and the play ends.arrogance and ignorance and the play ends.
  • 19. Trifle’s CharactersTrifle’s Characters  Protagonist- The women- probably Mrs.Protagonist- The women- probably Mrs. Hale who talks Mrs. Peters into covering.Hale who talks Mrs. Peters into covering.  Antagonist- The men – who represent theAntagonist- The men – who represent the law.law.  Confidant- The women serve this role toConfidant- The women serve this role to each other as they share stories about howeach other as they share stories about how men have mistreated women.men have mistreated women.
  • 20. ENDEND

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