Drama and Theatre FP1
1. Absurdist drama/theatre of the absurd - ANS-France in Nineteen Fifties, stimulated
through Satre's philosophy - argued that all and sundry should pick his own set of
values, summary setting, arbitrary, illogical movement
2. E.G. Harold Pinter
3. act - ANS-discrete segment of a drama - general trade of man or woman configuration,
long pause, exchange of scene or essential exchange in movement
4. movement - ANS-exchange or perpetuation of scenario introduced about by way of
characters, overall motion of activities, in particular in drama
5. action series - ANS-predominant series of occasions that collectively constitute the plot,
several person moves which can be logically connected
6. Amphitheatre - ANS-ancient greek plays, soccer stadium size, lack of stage set, distance
from target audience, realistic performane not possible
7. analytical drama - ANS-incorporated exposition - drama begins with the finishing of the
story
8. antagonist - ANS-distinguished man or woman, opponent of protagonist, villain seeking
to frustrate hero
9. apart (beiseitesprechen) - ANS-mode of speech unique to the drama (artificiality)
10. aside and spectators - ANS-person addresses comment at once to target audience and
as a result mediates between the world on degree and audience = direct audience
address
11. authorical characterization - ANS-writer conveys applicable records, description in
degree guidelines, telling names
12. breaking dramatic illusion - ANS-deconstruction of dramatic phantasm f.E. By way of
alienation impact - disturbance by using the usage of alienation effects
13. catastrophe - ANS-in classical tragedy: final resolution of plot in tragedy, o
14. man or woman conception - ANS-composition of a characters
15. - static: individual's traits stay constant
16. - dynamic: character's traits trade because the action progresses
17. - personification: man or woman emodies/personifies unmarried function
18. - indiviudal: many different features - complex person as actual human being
19. character perspective - ANS-view of the fictional world of every individual decided by
means of individual's:
20. -degree of know-how
21. -psychological disposition
22. -ideological persuasion (=values and norms)
23. characterisation - ANS-umbrella time period for all the techniques utilized in literary texts
that evoke mental snap shots of characters
24. chorus - ANS-heterodiegetic instance that connects scenes, settings or frames the
motion
, 25. closed shape movement - ANS-self contained tale that is delivered to a end, units of
movement divided into scenes and acts
26. closed spatial shape - ANS-no changing of locale / setting
27. collective nature of manufacturing and reception - ANS-verbal exchange scenario at play
specific, several humans concerned in manufacturing, generally attended by huge
audiences
28. comedy - ANS-play written to amuse target audience, closer to each day existence than
tragedy, generally glad ending, twists of fortune
29. comedy of manners - ANS-restoriation duration (1660-1700), type of comedy
representing complex and sophisticated code of conduct, appearances greater essential
than truemoral character,
30. plot: intrigues of lust and greed
31. e.G. Oscar Wilde
32. communication device - external degree - ANS-analyzing: author = addresser, dramatic
text = message, reader = addressee
33. theatre overall performance: complete theatre apparatus=addresser, overall
performance=message, target market = addressee
34. communication system - internal stage - ANS-characters can pass among roles of
addresser and addressee, speak maximum crucial medium for transmission of facts
35. configuration of characters - ANS-those participants of dramatis personae in drama that
are gift on level at a particular second in time, critical criterion for evaluation of scence is
front and go out of one or several characters
36. congruent focus - ANS-characters and target audience are provided with equal data
37. gown - ANS-clothes and accessories, part of outside appearance
38. deus ex gadget - ANS-resolution of war with the aid of unexpected events not motivated
via action, or via sudden look of man or woman or external power (e.G. A saint)
39. dialogical apart - ANS-disregarded with the aid of different characters, organization of
characters behavior verbal exchange in whispers
40. dialogical dispositions in monologue/soliloques - ANS-whilst speaker addresses absent
determine or item (f.E. Macbeth's dagger soliloquy)
41. talk - ANS-characters alternate mind or opinions, speak topic or plot intrigue
42. speak analysis - ANS-length of person utterances,
43. - frequency of changing speaker-function
44. - temporal members of the family
45. - syntagmatics - logical coherence
46. discrepancy of focus - ANS-to what volume are characters/target market informed
approximately the dramatic evens and plans of characters?
47. If the target audience is positioned at an advantage/disadvantage as a ways as
distribution of know-how is concerned (in contrast with characters)
48. hide - ANS-appearance to create influence of being somebody or sth else
49. dramatic conventions - ANS-set of regulations which both audience and actors are
familiar with, f.E. Shakespeare: individual can pass upstage to supply soliloquy and
could now not be heard with the aid of other characters, or characters start making a
song in musical = no longer weird
1. Absurdist drama/theatre of the absurd - ANS-France in Nineteen Fifties, stimulated
through Satre's philosophy - argued that all and sundry should pick his own set of
values, summary setting, arbitrary, illogical movement
2. E.G. Harold Pinter
3. act - ANS-discrete segment of a drama - general trade of man or woman configuration,
long pause, exchange of scene or essential exchange in movement
4. movement - ANS-exchange or perpetuation of scenario introduced about by way of
characters, overall motion of activities, in particular in drama
5. action series - ANS-predominant series of occasions that collectively constitute the plot,
several person moves which can be logically connected
6. Amphitheatre - ANS-ancient greek plays, soccer stadium size, lack of stage set, distance
from target audience, realistic performane not possible
7. analytical drama - ANS-incorporated exposition - drama begins with the finishing of the
story
8. antagonist - ANS-distinguished man or woman, opponent of protagonist, villain seeking
to frustrate hero
9. apart (beiseitesprechen) - ANS-mode of speech unique to the drama (artificiality)
10. aside and spectators - ANS-person addresses comment at once to target audience and
as a result mediates between the world on degree and audience = direct audience
address
11. authorical characterization - ANS-writer conveys applicable records, description in
degree guidelines, telling names
12. breaking dramatic illusion - ANS-deconstruction of dramatic phantasm f.E. By way of
alienation impact - disturbance by using the usage of alienation effects
13. catastrophe - ANS-in classical tragedy: final resolution of plot in tragedy, o
14. man or woman conception - ANS-composition of a characters
15. - static: individual's traits stay constant
16. - dynamic: character's traits trade because the action progresses
17. - personification: man or woman emodies/personifies unmarried function
18. - indiviudal: many different features - complex person as actual human being
19. character perspective - ANS-view of the fictional world of every individual decided by
means of individual's:
20. -degree of know-how
21. -psychological disposition
22. -ideological persuasion (=values and norms)
23. characterisation - ANS-umbrella time period for all the techniques utilized in literary texts
that evoke mental snap shots of characters
24. chorus - ANS-heterodiegetic instance that connects scenes, settings or frames the
motion
, 25. closed shape movement - ANS-self contained tale that is delivered to a end, units of
movement divided into scenes and acts
26. closed spatial shape - ANS-no changing of locale / setting
27. collective nature of manufacturing and reception - ANS-verbal exchange scenario at play
specific, several humans concerned in manufacturing, generally attended by huge
audiences
28. comedy - ANS-play written to amuse target audience, closer to each day existence than
tragedy, generally glad ending, twists of fortune
29. comedy of manners - ANS-restoriation duration (1660-1700), type of comedy
representing complex and sophisticated code of conduct, appearances greater essential
than truemoral character,
30. plot: intrigues of lust and greed
31. e.G. Oscar Wilde
32. communication device - external degree - ANS-analyzing: author = addresser, dramatic
text = message, reader = addressee
33. theatre overall performance: complete theatre apparatus=addresser, overall
performance=message, target market = addressee
34. communication system - internal stage - ANS-characters can pass among roles of
addresser and addressee, speak maximum crucial medium for transmission of facts
35. configuration of characters - ANS-those participants of dramatis personae in drama that
are gift on level at a particular second in time, critical criterion for evaluation of scence is
front and go out of one or several characters
36. congruent focus - ANS-characters and target audience are provided with equal data
37. gown - ANS-clothes and accessories, part of outside appearance
38. deus ex gadget - ANS-resolution of war with the aid of unexpected events not motivated
via action, or via sudden look of man or woman or external power (e.G. A saint)
39. dialogical apart - ANS-disregarded with the aid of different characters, organization of
characters behavior verbal exchange in whispers
40. dialogical dispositions in monologue/soliloques - ANS-whilst speaker addresses absent
determine or item (f.E. Macbeth's dagger soliloquy)
41. talk - ANS-characters alternate mind or opinions, speak topic or plot intrigue
42. speak analysis - ANS-length of person utterances,
43. - frequency of changing speaker-function
44. - temporal members of the family
45. - syntagmatics - logical coherence
46. discrepancy of focus - ANS-to what volume are characters/target market informed
approximately the dramatic evens and plans of characters?
47. If the target audience is positioned at an advantage/disadvantage as a ways as
distribution of know-how is concerned (in contrast with characters)
48. hide - ANS-appearance to create influence of being somebody or sth else
49. dramatic conventions - ANS-set of regulations which both audience and actors are
familiar with, f.E. Shakespeare: individual can pass upstage to supply soliloquy and
could now not be heard with the aid of other characters, or characters start making a
song in musical = no longer weird
