Creative Writing 2nd Quarter PDF

DEFINITION AND FEATURES OF DRAMA FARCE ➔ A joke could be a sort of broad comedy. It DRAMA depends less on a story storyline and more on ➔ Any story told in dia...

DEFINITION AND FEATURES OF DRAMA FARCE ➔ A joke could be a sort of broad comedy. It DRAMA depends less on a story storyline and more on ➔ Any story told in dialogue physical humor, locate chokes, senseless jokes. ➔ Performed by actors for an audience ➔ Comes from the Greek word “dran” which means ELEMENTS: learning to do or to act Exaggerated humor ➔ is literature that develops plot and character Slapstick gags through dialogue and action and meant to be Nonsensical storyline performed by actors and actresses who appear Improbable events on a stage, One or two settings Humor is often crude DRAMA INCLUDES and inappropriate Movies Tv Shows OPERA Live Stage Productions ➔ Musical dramas feature characters singing lines Radio instead of talking, set to a melodic score, and are identifiable by incorporating these characteristics. KINDS OF DRAMA Comedy ELEMENTS: Farce Musical soliloquies known as arias Opera Plot-driving passages that can be non-melodic Melodrama A libretto (text) set to a musical score Musical Drama Subject matter that is tragic, comic, or Tragedy melodramatic Tragicomedy Can incorporate an element of dance, but typically relies on singing performances COMEDY Elaborate sets, costume design, and production ➔ In literature and drama, a comedy is a genre of storytelling that typically focuses on lighter, more MELODRAMA humorous themes and often resolves conflicts in ➔ Melodramas, which tell genuine stories, often a way that leads to a happy or uplifting evoke feelings of acting. conclusion. ELEMENTS: ELEMENTS: Character tropes such as heroes, heroines, Happy Ending villains, Lighthearted tone mentors, etc. Clever wordplay or turns of phrase Sweeping stories of romance or serious topics Serious topics addressed in a humorous way Larger-than-life plots and circumstances (or very Comical misunderstanding small stories told in big ways) Silly, offbeat characters Exaggerated character reactions Often ends with a wedding, especially in romantic Clear literary themes comedies. Flawed characters who must overcome their faults in order to reach their resolution Ending that is sometimes happy, sometimes unhappy MUSICAL DRAMA ELEMENTS OF DRAMA ➔ Musical drama and melodic dramatization share similarities, but there are notable CHARACTER differences. ➔ revolves around the main characters, with minor characters also playing a significant role in the action. ELEMENTS: Periods of standard storyline interrupted by Round Characters - are major characters in a story, songs who encounter contradictory situations, and undergo Characters often singing in unison to express transformation during this phase. feelings Flat Character - is a type of character in the story Songs as plot-changing devices that does not change too much from the start of the narrative Dramatic or comedic storylines to its end. Catchy, distinctive musical score Often lots of singing and dancing SETTING ➔ in Dramas it refers to the time and place. And allows TRAGEDY the writer to establish the time, location, and ➔ Just from the word tragedy, you can assume environment in which it takes place. that the ending will be sad. But there is more to a tragedy than a play with no happy ending. STAGE DIRECTION ➔ are scripted instructions for actors, outlining entrance, ELEMENTS: standing, movement, lighting, scenery, props, and A protagonist with a tragic flaw sound effects for a play—the physical environment Circumstances that quickly get out of control – that suggests a specific time or place. and not in a funny way Darker themes than a melodrama, such as PLOT human suffering, hatred, or poverty ➔ is a series of related events that usually begin with a Features the downfall of a previously heroic or problem or conflict that intensifies, reaches a peak, well-liked character and is eventually evolved. An irredeemable ending that results in one or more characters’ deaths ELEMENTS OF PLOT: Reaches a tragic catharsis Exposition Rising Action TRAGIC COMEDY Climax ➔ Tragicomedies are more complex than a drama Falling Action with a few jokes, or a comedy with a serious Resolution scene. DIALOGUE ELEMENTS: ➔ is a conversation between characters that conveys A serious storyline told in a humorous, everything in the drama. sardonic, or snide way Tragically flawed characters whose actions Monologue - a long uninterrupted speech by one character don’t result in death Soliloquy - in which the character is alone and speaks An ambiguous theme his/her private thoughts aloud as if the audience were not Broad characters who act in classically comical there; ways Aside - short speech delivered directly to the audience Neither a happy nor a comic ending  INTERTEXTUALITY MODALITY ➔ refers to the influence of another text on a text's ➔ Drama demands sensitivity in written form, meaning, either through deliberate compositional considering both technical and performance strategies or through interconnections between elements. Playwrights must write drama with similar works. consideration for the story, production conventions, and staging conventions. INTERTEXTUALITY FIGURES REALISM ALLUSION ➔ Realist plays seek to present a greater fidelity of is a form of speech where an object or real-life events to texts and performance. circumstance from an unrelated context is indirectly or covertly mentioned, allowing the Script audience to make a direct connection. Language replaces declamatory conventions in well made plays with a technique that effectively QUOTATION conveys speech and movements found in Reference to well-known or expert statements, everyday domestic situations. often without mention of the person from whom Structure the quotation is quoting, is more common in Drama is primarily psychologically driven, focusing nonfiction than fiction on the inner lives of characters, their motives, and the reactions of others, with the plot being PARODY secondary. mimics a serious work or style, aiming to ridicule The plot reveals known secrets to the audience but through broad humor or broaden understanding or withheld from certain characters, reaching its add insight to the original work climax when the secret is revealed. Audience PASTICHE The audience, being a common person, could is a literary piece that imitates another Work' s easily relate to the situations and characters on style or character, often being comical or not, stage. without the intention to ridicule it. Playwright’s Intention Present the everyday life of ordinary people. The text highlights the daily struggles faced by individuals in middle or lower-class society. OBLIGATORY Characters ➔ refers to the author's deliberate association Drama is primarily psychologically driven, or comparison between two or more texts. focusing on the inner lives of characters, their OPTIONAL motives, and the reactions of others, with the plot ➔ is a possible but not essential relationship that can being secondary. The plot reveals known secrets connect multiple texts or no connection at all. It is to the audience but withheld from certain used by writers to pay homage to original writers characters, reaching its climax when the secret is or reward those who read the hypotext, but not revealed. essential to the hypertext understanding. Stage ACCIDENTAL Indoor stage settings and props are frequently ➔ Accidental connections occur when readers used. connect a text with another text, cultural practice, The 'box set' is typically utilized in stage dramas, or personal experience without a tangible consisting of three walls and an invisible 'fourth anchorpoint, relying on the reader 's prior wall' facing the audience. knowledge and triggering memories. Themes Social Injustice Major Playwrights and Plays: Stage Henrick Ibsen: A doll’s House (1879), Ghost (1881) The scene appears abstract and unlocalized, with Anton Chekhov: The Cherry Orchard (1904), angular and distorted shapes, suggesting a bad The Three Sisters (1901) dream. The props are primarily symbolic Eugene O’neill: Beyond the Horizon (1918), Desire Themes Under the Elms (1924), Mourning Becomes The protagonist's spiritual awakening and the Electra (193 sufferings they experience are explored. Major Playwrights and Plays: Bertolt brecht: The Threepenny Opera, EXPRESSIONISM Mother Courage and Her Children ➔ Expressionist plays aim to create a significant George Kaiser: The Burghers of Calais (1913), emotional impact on stage From Morn to Midnight (1912) Ernst Toller: Hoopla, We’re Alive! (1927), Script MasseMensch (1920) The dialogue was poetic, febrile, and rhapsodic, varying from long lyrical monologues to staccato telegraphese, consisting of short phrases or ABSURDISM expletives. ➔ The Theater of the Absurd, also known as the The dialogue is becoming increasingly fragmented, Absurd Theatre, deviates from traditional theatrical clipped, and unreal. conventions and realistic characters. Structures The structure is typically disjointed, divided into Script episodes, incidents, and tableaux, each with its Language is often fragmented; Non-sequitors own unique point of view. Word plays- uses words with new meaning or Instead of the dramatic conflict of the well-made double meaning play, the emphasis is on a sequence of dramatic Long pauses statements made by the dreamer, usually the Structure author himself/herself. Plot may be illogical Audience Often no resolution at the end The audience frequently expresses or associates The relationship between characters is nebulous, themselves with the protagonist. leaving the audience in awe of their connection. The audience is deeply moved by the powerful The concept of juxtaposition involves the emotional impact combination of contradictory elements, such as Playwright’s intention friends who can cause harm to each other. The objective is to elicit the audience's emotions. The plot is a mix of comic and tragic aspects, The audience is deeply moved by the powerful offering two perspectives on the same situation emotional impact Audience Characters The audience frequently experiences alienation, They symbolize a specific class or attitude, often tease, puzzlement, and disturbance. emphasized through customs, marks, or makeup. The audience is expressing their concern about Crowds are impersonalized and move with mass the existence and absurdity of life rhythmic movements, often mechanically. Playwright’s Intention The 'ecstatic' style is characterized by intense, Create a new, unpredictable form to disturb and violent performances that express tormented surprise. emotions, with actors potentially erupting sudden The goal is to challenge preconceived notions of passion and physically attacking each other. theatre conventions. Playwright’s Intention TYPES OF WESTERN DRAMA Create a new, unpredictable form to disturb and surprise. GREEK DRAMA The goal is to challenge preconceived notions of Ancient Greek drama originated in the 6th century theatre conventions. B.C. with chants honoring Dionysus. Characters Early tragedies focused on gods and Greek The range of characters includes clowns to legends. realistic ones. In the 5th century B.C., playwrights like Aeschylus, The actors must speak clearly due to the Sophocles, and Euripides explored themes of sometimes illogical nature of the dialogue revenge, justice, and retribution. Stage Comedies, such as those by Aristophanes, used The range of styles and props can be minimal, parody to critique Athenian figures and current symbolic, or naturalistic. events. Color can range from colorless, bleak open Greek drama has profoundly influenced modern spaces to naturalistic. art, inspiring writers, philosophers, musicians, and Themes other professionals. The character's inability to communicate effectively leads to a dark perception of the world ROMAN DRAMA due to fragments of meaning The Roman theater evolved significantly with the Major Playwrights and Play construction of the first permanent theater, Eugene Ionesso: The chairs(1952), The lesson originally designed as a Venus sanctuary. (1951) This event marked the start of a major period of Samuel Beckbelt: Waiting for Good (1952), theater development across the Mediterranean, Engame (1957) lasting for three centuries. Harold Pinter: Pinter skechers, The Birthday Roman theater drew inspiration from Greek Party (1959) drama, which had already influenced many scholars, philosophers, and artists. Greek comedy, focusing on human relationships among common people, remains relevant to HISTORY OF DRAMA modern audiences. ➔ Dramatization has a long history, dating back to early humans using imitation, cadence chants, MEDIEVAL DRAMA and war and ripeness movements. As civilizations During the Middle Ages, theater became an evolved, show took on different forms, focusing on expression of Christian religion, blending elements worship, celebration of natural rulers, epic from the Classical and Renaissance periods. experiences, and emotional connections. These Popular entertainers like mimes, acrobats, stories became societal customs, rewritten and dancers, and storytellers preserved performance performed repeatedly traditions. These performers often found secure roles in royal ORIGIN OF WESTERN DRAMA courts and households. ➔ The earliest recorded theatrical performance, The Middle Ages saw the rise of theater combining dating back 4,000 years, is from Egypt, detailing popular entertainment with academic traditions. Ikhernofret of Abydos' role in a three-day pageant The Renaissance further refined and consolidated detailing Osiris's murder, dismemberment, and these theatrical developments. resurrection.  ONE-ACT PLAY CHARACTERISATION ➔ It is a play with only one act, as distinct from plays In playscripts, characters are constructed through the with several acts following elements: ➔ One-act play may consist one or more scenes ➔ One-act play requires no elaborate setting and DIALOGUE costumes, and so comes in handy to be staged in ➔ The choice of words, tone, delivery of lines can amateur dramatic societies and clubs provide insights into characters’ personality ACTIONS CHARACTERISTICS ➔ Physical movements, gestures, and interactions ❖ One-act plays are usually written in a concise with other characters also convey their traits, manner relationship and development ❖ One-act play, like the longer drama, should have a STAGE DIRECTIONS beginning, a middle and an end ➔ These instructions guide actors and directors in ❖ It may be divided into four stages: exposition interpreting the characters’ intentions and conflict climax denouement movements ❖ One-act play has no breaks in the action, that is , it is continuous since it’s a short play, NO PLOT STRUCTURE INTERVALS We might also consider how the playscript constructs: ❖ The characters in a one-act play are limited in number. Generally, there are not more than two or PLOT DEVELOPMENT three principal characters ➔ The plot unfolds through a series of events that propel the story forward. 3 DRAMATIC UNITIES THAT ARE OBSERVED IN CONFLICTS ONE-ACT PLAY ➔ Conflicts are central to play as they create tension and heighten emotional stakes. ★ UNITY OF ACTION ➔ Conflict may be internal or external ★ UNITY OF TIME RESOLUTION ★ UNITY OF SPACE ➔ Resolution brings closure and provides a sense of catharsis for the audience. ➔ It aims the simplicity of plot, concentration of ➔ Creates a sense of finality and offers insights or action, and unity of impression lessons learned through the characters’ ➔ No full development of character experiences ➔ Influences of realism ➔ Simple language, all superfluity to be avoided in THEMES AND IDEAS dialogues THEMES ANALYSING A PLAYSCRIPT ➔ Are underlying ideas or messages that are explored throughout the play ❖ Elements of playscript ➔ Reflect universal human experiences, societal It’s a manuscript of a play issues or philosophical questions. Prepared for use by actors in rehearsals ➔ Common themes Name of play, and playwright ❖ Love, Betrayal, Identity, Power, and Acts and scenes, each scene Redemption describes the setting at the start Characters, Dialogues Stage directions  IDEAS Stage ➔ Started as a sentence and they are usually - Designated space for the performance comments made or positions taken on the themes Cast ➔ Ask yourself: What is the play saying about this - Group/List of actors who make up a stage play. theme? Staging SYMBOLS AND MOTIFS - It is defined as the process of selecting, designing, adopting, or modifying the SYMBOLS performance space for a certain play. ➔ Are objects, images, or actions that represent deeper meanings or concepts within a play. Stage Business - Defined as an incidental activity performed by an MOTIF actor for a dramatic or comic effect ➔ Are recurring elements, images, themes, or ideas that contribute to the overall meaning or structure Props and Costumes of a play. - A Prop is something that the actors use/hold during a play while costume is what the actor OTHER DRAMATIC DEVICES wears in a play There are a range of other techniques and elements you might come across that are specific Stage Set to drama and theatre. - A place or sensory that is designed and arranged for a particular scene in a play MONOLOGUE ➔ A speech delivered by a single character, typically addressing other characters, the STAGE audience or themselves SOLILOQUY Proscenium Stage ➔ A type of monologue in which a character is - Frame or arch separating the stage from the alone on stage and speaks their thoughts aloud, auditorium, through which the actions of a play is revealing innermost thoughts or feelings. viewed DRAMATIC IRONY ➔ When the audience possesses information that one or more characters do not, creating suspense and anticipation. FORESHADOWING ➔ A literary technique in which the author hints at future events or outcomes in the narrative through subtle clues, symbols or events. ASIDE ➔ When a character speaks directly to the audience or to themselves, but it’s unheard by other characters on stage BREAKING THE 4TH ➔ When a character addresses the audience directly, acknowledging their presence and involving them in the perf. Arena Stage Flexible Stage - Is a large scale auditorium and have a central - Do not establish a fixed relationship between the stage area with audience on all sides stage and the house. It is also known as “black box” Thrust Stage - Stage that extends into the audience on three sides and is connected to the backstage area by its upstage end 1. This genre aims to entertain, educate, 12. In today’s contemporary period, this word has inspire the readers and the audience in a - become synonymous to the word ‘drama’ of imagination - PLAY - FICTION 13. This literary element in a drama refers to the 2. These are the clothing and accessories feeling of uncertainty to the outcome of an action worn by actors to portray character - SUSPENSE - COSTUMES 14. Creative writing is writing that both entertain and share _ 3. This refers to the central and dominating - HUMAN EXPERIENCES idea of a literary work - THEME 15. Unlike short story or novel, drama is meant for _ - PERFORMANCE 4. “Into the Woods” is an example of _. - 16. This part of scrip appears throughout the play and tells the characters how to act 5. It is a list of all characters in a play - STAGE DIRECTION - CAST 17. It is a play that has happy ending 6. It is essentially the eyes or angle through - COMEDY which the story is told - POINT OF VIEW 18. A speech by a character alone onstage, who is speaking to himself/herself 7. An imagined story set in the real world - SOLILOQUY that portrays life as it could live today and 19. This is the written text of a play focuses on the problems today - SCRIPT - REALISTIC FICTION 20. A comment that only the audience is supposed to 8. A literary device characterized by a hear struggle between two opposing forces - ASIDE - CONFLICT 21. These are used to introduce new characters and 9. The suited term for “objects used in a play foreshadow future events that bring it to life” - SCENES AND ACTS - PROPS 22. “Oedipus Rex” by sophocles is an example of _ 10. “To be or not to be, that is the question” -TRAGEDY is the famous example of a soliloquy from _. 23. Shakespeare’s “The Winter Tale” is an example of - HAMLET _ - COMEDY 11. A performance element in drama in which 24. The kind of irony when the audience or reader acting does NOT need voicing out of knows something important that a character dialogues. doesn’t know - NON-VERBAL EXPRESSION - DRAMATICAL IRONY 25. A long speech by one character to one or more other characters onstage is as a/an _ - MONOLOGUE 26. The ending of the play/drama can be found in _ - RESOLUTION 27. In the designated space for the performance of productions; an architectural feature that consists of a platform or a series of platforms - STAGE 28. It is a kind of stage that is the most traditional for live theater in which the audience sits in rows facing the stage, it uses wing area and fly loft - PROSCENIUM 29. It requires no elaborate setting and costumes and so comes in handy to be staged in amateur dramatic societies and clubs - ONE-ACT PLAY 30.