Dramatic Structure and Meaning in Theatrical ProductionsEdwin Mellen, 1992 - 349 pagina's This study introduces a general theory of dramatic form, together with a detailed, practicable method for the analysis and critical understanding of plays and screenplays. The author proposes that any play or screenplay can ultimately be understood as conforming to one of just seven dynamic types, and that knowledge of the kinetic and modal signatures of these skeletal plots provides the key for decoding the metaphorical significance of a drama's action and imagery. |
Inhoudsopgave
INTRODUCTION | 5 |
DIALECTIC OF IMAGERY | 51 |
IMPLICATIONAL DIALECTIC | 59 |
Copyright | |
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actors Andrei antagonists antinomies apex character apex females apex unit apostasy apostatic-negative apostatic-positive appear Approximate count argument Brabantio camp Cassio Catherine Catherine's character's Chebutykin Chekhov Christian Cléante comedy conflict contested Creon death deeds Desdemona dialectical dominant function dominant unit drama dramatist dynamic Emelia End not given eventually fantasy father final forces functional units Gilberte hidden players husband Iago Iago's IMAGE-CHART imagery images initial antagonists initial protagonists Irina ironic irony Jocasta Jules and Jim Kattrin King Kulygin Laius love triangles lovers Madam marry Masha metastatic metastatic-positive moderation Molière Moor moral Moscow Mother Courage motives movement murder Natasha negative objectified Oedipus Oedipus the King offstage Olga onstage opposition Orgon Othello play's plays poles of action Polybus positive protagonist and antagonist Protopopov recessive functions recessive unit reveals Satan scene sexual shift side Solyony Sophocles structure symbolic synthetic-realized Tartuffe Tartuffe's Teiresias Thebes Theorem Three Sisters title-character Tutzenbach ultimate Vershinin victims victory wife woman
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Stage-Bound: Feature Film Adaptations of Canadian and Québécois Drama André Loiselle Gedeeltelijke weergave - 2003 |