drama-111010050046-phpapp01.pptx

drama-111010050046-phpapp01.pptx

• 1.
  Drama
• 2.
  A drama isa story enacted onstage for a live audience. A prose or verse composition, especially one telling a serious story, that is intended for representation by actors impersonating the characters and performing the dialogue and action. Drama is often combined with music and dance: the drama in opera is generally sung throughout; musicals generally include both spoken dialogue and songs. What Is Drama?
• 3.
   A literarycomposition involving conflict, action crisis and atmosphere designed to be acted by players on a stage before an audience.  A composition in prose or verse presenting, in pantomime and dialogue, a narrative involving conflict and usually designed for presentation on a stage. Aristotle called it “imitated human action.”  "When I read great literature, great drama, speeches, or sermons, I feel that the human mind has not achieved anything greater than the ability to share feelings and thoughts through language."- James Earl Jones
• 4.
  Famous Statements ofAuthors: As David Berlo says, theatre is a distinguished vehicle of communication, with a considerable tradition and heritage. Many people would classify the theater as an „entertainment‟ vehicle. Yet countless examples could be given of plays that were intended to have, and did have, significant effects on an audience, other than entertainment.
• 5.
   Norris Houghtonsays that drama should participate in the “real” action - that it should express faithfully in the theater the artist's conception of reality.  "No literary form has more historical importance than drama," by Seymour Reiter.
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  What Is Drama? Origins of Drama  The word drama comes from the Greek verb dran, which means “to do.”  The earliest known plays . . .  were written around the fifth century B.C.  produced for festivals to honor Dionysus, the god of wine and fertility
• 7.
  Trivia  In the6th century BC, when the tyrant Pisistratus, who then ruled the city, established a series of new public festivals. One of these, the 'City Dionysia', a festival of entertainment held in honor of the god Dionysus, featured competitions in music, singing, dance and poetry. And most remarkable of all the winners was said to be a wandering bard called Thespis.  According to tradition, in 534 or 535 BC, Thespis astounded audiences by leaping on to the back of a wooden cart and reciting poetry as if he was the characters whose lines he was reading. In doing so he became the world's first actor, and it is from him that we get the word thespian.
• 8.
  Like the plotof a story, the plot of a play involves characters who face a problem or conflict. Climax point of highest tension; action determines how the conflict will be resolved Resolution conflict is resolved; play ends Complications tension builds Exposition characters and conflict are introduced Dramatic Structure
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  Elements of Drama Structure/plot Conflict Theme Setting Character Audience Sub-elements: Imitation by actors Dialogue Scenery Hand Properties Costumes Gestures Sound Effects
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  Dramatic Structure Conflict isa struggle or clash between opposing characters or forces. A conflict may develop . . .  between characters who want different things or the same thing  between a character and his or her circumstances  within a character who is torn by competing desires
• 11.
  • Tragedies pithuman limitations against the larger forces of destiny. right and wrong justice and injustice life and death Tragedy A tragedy is a play that ends unhappily. • Most classic Greek tragedies deal with serious, universal themes such as
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  The protagonist ofmost classical tragedies is a tragic hero. This hero • is noble and in many ways admirable • has a tragic flaw, a personal failing that leads to a tragic end rebelliousness jealousy pride Tragedy
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  boy meets girlboy loses girl boy wins girl Comedy A comedy is a play that ends happily. The plot usually centers on a romantic conflict.
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  The main charactersin a comedy could be anyone: nobility servants townspeople Comedy
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  • Comic complicationsalways occur before the conflict is resolved. • In most cases, the play ends with a wedding. Comedy
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  Modern Comedy  ModernComedies  In modern comedies, the genders in this romantic plot pattern sometimes are reversed.
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  A modern play •may be tragedy, comedy, or a mixture of the two • usually focuses on personal issues • usually is about ordinary people Modern Drama
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  Modern playwrights oftenexperiment with unconventional plot structures. Modern Drama long flashbacks music visual projections of a character’s private thoughts
• 19.
  When you reada play, remember that it is meant to be performed for an audience. Stage Directions Playwright describes setting and characters‟actions and manner. [Wyona is sitting on the couch. She sees Paul and jumps to her feet.] Wyona. [Angrily.] What do you want? Performance of a Play Performance  Theater artists bring the playwright‟s vision to life on the stage.  The audience responds to the play and shares the experience.
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  Performance of aPlay  Theater artists include  Actors  Directors  Lighting technicians  Stage crew
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  Setting the Stage Stagescan have many different sizes and layouts. “Thrust” stage • The stage extends into the viewing area. • The audience surrounds the stage on three sides.
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  “In the round”stage is surrounded by an audience on all sides. Setting the Stage
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  Setting the Stage Prosceniumstage • The playing area extends behind an opening called a “proscenium arch.” • The audience sits on one side looking into the action. upstage downstage stage left stage right
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  Setting the Stage Stagesin Shakespeare’s time were thrust stages.
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  Scene design transformsa bare stage into the world of the play. Scene design consists of • sets • lighting • costumes • props Setting the Stage
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  A stage’s setmight be realistic and detailed Setting the Stage abstract and minimal
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  A lighting directorskillfully uses light to change the mood and appearance of the set. Setting the Stage
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  The costume directorworks with the director to design the actors’ costumes. • Like sets, costumes can be detailed minimal Setting the Stage
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  Props (short forproperties) are items that the characters carry or handle onstage. • The person in charge of props must make sure that the right props are available to the actors at the right moments. Setting the Stage
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  The characters’ speechmay take any of the following forms. Dialogue: conversations of characters onstage Monologue: long speech given by one character to others Soliloquy: speech by a character alone onstage to himself or herself or to the audience Asides: remarks made to the audience or to one character; the other characters onstage do not hear an aside The Characters
• 31.
  Finally, a playneeds an audience to experience the performance understand the story respond to the characters The Audience
• 32.
  The theater must"make its appeal to the audience rather than to the individual,”opines Edward A. Wright. Without an audience there is no theater, and the symbolic affinity interplay and affinity between the two prevail. A bifurcation between them would write the total failure of drama and the theater. Wright even insists that the theater artist” must never forget that he is the servant of the crowd.”
• 33.
  The End
• 34.
  Philippine Drama (Dulaang Pilipino) TopicOverview
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   The Philippineshas an old theater tradition. Ma. Teresa Muñoz, in a comprehensive study of theater in pre-Hispanic Philippines based on anthropological findings, attests to the fact that even if it is difficult to ascertain the theatrical forms of the early Filipinos, much of it being “lost on contact with the new and more aggressive culture,” the early Philippine drama stemmed more from historical sources, since “that theater which had its roots in religion and religious practice was barely at the threshold of the structure that constitutes that art.”
• 36.
   We haddrama even many centuries before the Spaniards set foot on Philippine shores in 1521. The many external manifestations of this imitation of action—dance, pantomime, acting, song, chant, recitation—be they performed solely on in combination, were found in the numerous rituals observed by the early Filipinos.  Men assemble now as their forefathers did to discover themselves and feel their pulse as they experience life‟s processes, what August Strindberg terms “life‟s two poles, life and death, the act of birth and the act of death, the fight for the spouse, for the means of subsistence, for honor, all these struggles—with their battlefields, cries of woe, wounded and dead.”
• 37.
   It issaid that Ferdinand Magellan himself was treated to a very rare presentation of a native play “to celebrate the fact that the Filipinos and Spaniards were now brothers.” Father Gaspar de San Agustin also mentioned that the early Filipinos were “especially fond of comedies and farces, and therefore, there is no feast of consequence unless there is a comedy.”
• 38.
   Lucila Hosillos,in her treaties on the motive power for Philippine identity and greatness, states: “Nationalism has helped create the literature of the Filipinos, and in the country’s search for national identity today, literature has assumed significance in the definition of the Filipino personality towards the creation of a national image.”  Well-known Filipino drama director and poet Rolando Tinio expounds in his “Theater and Its Sense of Nationality” . “It is perhaps the theater,” he stresses, “which is the most national of all the arts in the sense that it is the most revelatory of the specific quality of civilization of its audience.”
• 39.
  Three Categories: Mga KatutubongDula (Ethnic Plays) The Filipino Ethnic Plays or “Katutubong Dula” are plays based on old Filipino folklore and old traditions. They show the country‟s indigenous culture and traditions. The play, Pamanhikan (Courtship), for example, focuses on the courtship rituals in the pre-colonial times.
• 40.
  Mga Dula saPanahon ng Kastila (Plays from the Spanish Era). Plays From the Spanish era have a decided influence from the colonizers. A lot of them revolve around Catholic festivities like Senakulo (Passion of the Christ), Pinetencia (Penitence) and Flores de Mayo (May Procession). Some also portray the strain between the Catholics and the Muslims, like the play Moro-Moro (The Moors).
• 41.
  Dula sa Panahonng Amerikano (Plays from the American Era)  Finally, the American era ushered in the “sarsuwela” or plays with singing and dancing. The sarsuwelas in this era were mostly used as subversive propaganda and had themes about patriotism and revolution.The most famous of these sarsuwelas are those made by Severino Reyes, also known as “Ama ng Dulang Pilipino” or “Father of Philippine Drama”. His most popular works are: Walang Sugat (Not Wounded, 1902), Paglipas ng Dilim (After the Darkness, 1920) and Bungangang Pating (At the Mercy of the Sharks, 1921).
• 42.
  The age ofthe zarzuelas is considered the “Golden Age of Philippine Drama,” as many theater authorities have pronounced.
• 43.
  Famous Filipino Authors Nick Joaquin  Wilfrido Ma. Guerero  Roland Tinio  Jose Rizal  Francisco Balagtas  Orlando Nadres  Alberto Florentino  Estrella Alfon
• 44.
  10 Famous Playwrights
• 45.
  "A Midsummer Night'sDream" by WilliamShakespeare
• 46.
  "The Miracle Worker" byWilliam Gibson
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  "Death of aSalesman" by Arthur Miller
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  "The Importance ofBeing Earnest" by Oscar Wilde
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  "Antigone" by Sophocles
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  "Fences" by August Wilson
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  "Noises Off" by MichaelFrayn
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  "The Good Doctor“ byNeil Simon
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  "Our Town" by ThoronWilder
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  "Waiting for Godot" bySamuel Beckett
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  The End Thank you!!!
• 56.
  HAPPY TEACHER‟S DAY!!! SIRJOSELITO “JOJO” FLORES
• 57.
  PINOY HENYO
• 58.
  TATARIN
• 59.
  FOREVER WITCHES
• 60.
  CARE DIVAS
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  KAPENG BARAKO
• 62.
  PARAISONG PARISUKAT