Prepara tus exámenes y mejora tus resultados gracias a la gran cantidad de recursos disponibles en Docsity
Gana puntos ayudando a otros estudiantes o consíguelos activando un Plan Premium
Prepara tus exámenes
Prepara tus exámenes y mejora tus resultados gracias a la gran cantidad de recursos disponibles en Docsity
Prepara tus exámenes con los documentos que comparten otros estudiantes como tú en Docsity
Encuentra los documentos específicos para los exámenes de tu universidad
Estudia con lecciones y exámenes resueltos basados en los programas académicos de las mejores universidades
Responde a preguntas de exámenes reales y pon a prueba tu preparación
Consigue puntos base para descargar
Gana puntos ayudando a otros estudiantes o consíguelos activando un Plan Premium
Comunidad
Pide ayuda a la comunidad y resuelve tus dudas de estudio
Ebooks gratuitos
Descarga nuestras guías gratuitas sobre técnicas de estudio, métodos para controlar la ansiedad y consejos para la tesis preparadas por los tutores de Docsity
Asignatura: Introduccion a la literatura inglesa, Profesor: Patricia Colin Penades, Carrera: Estudis Anglesos, Universidad: UV
Tipo: Apuntes
1 / 15
Esta página no es visible en la vista previa
¡No te pierdas las partes importantes!
2.- Structure We must distinguish between story (an assumed chronological sequence of events) and plot (the way events are casually and logically connected). Plots can have different plot-lines (different elaborations of parts of the story which are combined to form the entire plot). Classic tradition tried to convey a sense of cohesiveness and unity by using the idea of the three unities: unity of plot, unity of place, and unity of time (a play should have only one single plot line, which ought to take place in a single locale and within one day – mimesis). Freytag's Pyramid is another model to describe the structure of plays. Using the classical five-act structure, he attributed a particular function to each: Act I serves as exposition (the main characters are introduced and a conflict is presented to the audience); Act II propels the plot by introducing further circumstances related to the main issue); in Act III the plot reaches its climax ; Act IV creates new tension; Act V offers a solution to the conflict presented in the play (a catastrophe in tragedies, and a simple resolution in comedies). Another distinction to bear in mind is: closed structure (the play presents life as comprehensible and events as casually connected; poetic justice ); open structure (plays neglect the concept of the unities and are free).
3.- Space
4.- Time Ellipsis is produced when bits of the story are left out and thus the plot is speed up. A speed-up or summary is a situation where the actual playing time is shorter than the time span presented in the played interaction. Slow-down or stretch is produced when the playing time is longer than the played time and a pause is produced when the play continues the story stops. The concept of order is also important. Drama can make use of flashback or analepsis (past events are presented) and flashforward or prolepsis (future events are anticipated). The three basic types of beginnings are: ab ovo (the play starts at the beginning of the story), in media res (the story starts somewhere in the middle), and in ultimas res (the story begins with its actual ending). Another important concept is that of frequency (how often an event is presented). Three are the possible options: singulative (an event takes place once and is referred to once), repetitive (an event takes place once but is referred to or presented repeatedly), and iterative (an event takes place several times but is referred to in the text only once).
5.- Characters Characters in plays can be divided into major character s and minor characters , depending on how important they are for the plot. Major characters are usually multi-dimensional and dynamic , while minor characters often remain mono-dimensional and static. Hamartia and catharsis are two concepts which usually refer to tragic characters. Hamartia refers to some imperfection, defect or weakness that causes their downfall. And catharsis refers to the fact that one can suffer with the hero, and through this strong emotional involvement we clarify our own state of mind and become better human beings. Characters can often be classified by way of contrast or correspondences. They can also be classified according to their membership to certain group of characters (heros and enemies, or protagonists and antagonists).
6.- Types of utterances in drama.
6.- Types of utterances in drama.
7.- Types of stage During the seventeenth and the eighteenth centuries theatres were smaller than on previous periods. The audience was seated in a fully illuminated room. Plays had the status of a cultural event and the audience belonged primarily to higher social classes. The plays presented an idealised , highly stylised image of scenery, characters, language and subject matter. In the nineteenth and twentieth centuries, the stage is called proscenium stage or picture frame stage because it is shaped in such a way that the audience watches the play as it would regard a picture. The stage is illuminated during the performance, while the auditorium remains dark. Nowadays there are a lot of different types of stage, as modern stage does not fully accomodate to the needs of experimental plays.
8.- Dramatic sub-genres There are two main sub-genres of drama: comedy and tragedy. Comedy aims at entertaining the audience and making it laugh. Scholars distinguish between high comedy (which appeals to the intellect and has a serious purpose) and low comedy (greater emphasis is placed on situation comedy, slapstick and farce). The sub-genres of comedy are: romantic comedy (the story of a pair of lovers and their struggle to come together; extraordinary circumstances), satiric comedy (it has a critical purpose; the aim is laughing at the characters of the play), comedy of manners (it is satirical and takes the artificial and sophisticated behaviour of the higher social classes under scrutiny), farce (it presents highly exaggerated and caricatured types of characters and often has an unlikely plot), comedy of humours (it is based on the assumption that a person's character or temperament is determined by the predominance of one of four humours (body liquids)), and melodrama (it aims at a violent appeal to audience emotions and usually has a happy ending).
