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RAMA D SO A B R I E F I N T R O D U C T I O N T O D R A M A T - - PowerPoint PPT Presentation

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1 L E C T U R E THATS RAMA D SO A B R I E F I N T R O D U C T I O N T O D R A M A T I C A N A L Y S I S 2T01 Can we ALL MY DESIRES Start T H E S I G N S O F D R A M A ? Now A U D I E N C E P E R F O R M E R S L I G H T S

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SLIDE 1

RAMA D

THAT’‘S

A B R I E F I N T R O D U C T I O N T O D R A M A T I C A N A L Y S I S

SO

1

L E C T U R E
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SLIDE 2

Can we

Now

Start

T H E S I G N S O F D R A M A? ALL MY DESIRES 2T01 L I G H T S P E R F O R M E R S C U R T A I N S A U D I E N C E
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SLIDE 3

ATher

World

E N T E R THE CURIOUS INCIDENT OF THE DOG AT NIGHTTIME Simon Stephens T H E A U D I E N C E A G R E E S T O T H E R U L E S W I T H I N I T
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SLIDE 4 A N D B E L I E V E

See

THE LION KING Irene Mecchi & Roger Allers
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SLIDE 5

Hear

I N A D R E A M THE BROKEN TOWER 2T18/19
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SLIDE 6

ThINK

‘ T O B E O R N O T T O B E T H A T I S T H E Q U E S T I O N ’ HAMLET Shakespeare
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SLIDE 7

Four

Walls

THE CURIOUS INCIDENT OF THE DOG AT NIGHTTIME Simon Stephens

The

A N D T H E I L L U S I O N W I T H I N
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SLIDE 8

Effects

Internal

External

THE GREAT DREAM 2T06 H O W T H E A U D I E N C E F E E L S H O W C H A R A C T E R S F E E L
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SLIDE 9

Acts

and

Scenes

CHICAGO Ebb / Bob Fosse B A S E D O N P L O T & E V E N T S E A C H H AV I N G D I S T I N C T E F F E C T S D R A M A T I C S T R U C T U R E
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SLIDE 10

Mise

en

Scene

ARCADIA Tom Stoppard A L L V I S U A L E L E M E N T S I N A P R O D U C T I O N
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SLIDE 11

Stage

Directis

P A Y A T T E N T I O N T O

Imaginati

I S N E C E S S A R Y S O M E
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SLIDE 12

Setting

M I N I M A L I S T I C ENDGAME Samuel Beckett Bare interior. Grey light. Left and right back, high up, two small windows, curtains drawn.
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SLIDE 13

Setting

THE GLASS MENAGERIE Tennessee Williams ‘ P O E T I C ’
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SLIDE 14 THE PHANTOM OF THE OPERA Andrew Lloyd Webber

Setting

G R A N D I O S E
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SLIDE 15

Distance

S A Y S A L O T A B O U T A R E L A T I O N S H I P O N S T A G E CONSTELLATIONS Nick Payne
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SLIDE 16

Gesture

E X P R E S S I O N A N D A DOLL’S HOUSE Henrik Ibsen
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SLIDE 17

Movement

Acti

&

OLEANNA David Mamet (Carol starts to leave the room. John grabs her and begins to beat her.)
  • JOHN. You vicious little bitch. You think you can come in here with
your political correctness and destroy my life? (He knocks her to the floor… He picks up a chair, raises it above his head, and advances on her.)
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SLIDE 18

Silence

InActi

&

WAITING FOR GODOT Samuel Beckett J U S T A S S I G N I F I C A N T
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SLIDE 19

Relatiships

CONFLICT

C H A R A C T E R

CONCERN

D R I V E N B Y C E N T R E D O N
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SLIDE 20

SOloQuy

A D R A M A T I C D E V I C E W H E R E A C H A R A C T E R S P E A K S T O H I M S E L F A N D S O R E L A T E S H I S T H O U G H T S A N D F E E L I N G S T O T H E T H E A U D I E N C E MACBETH Shakespeare
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SLIDE 21 TO BE, OR NOT TO BE? THAT IS THE QUESTION— WHETHER ’TIS NOBLER IN THE MIND TO SUFFER THE SLINGS AND ARROWS OF OUTRAGEOUS FORTUNE, OR TO TAKE ARMS AGAINST A SEA OF TROUBLES, AND, BY OPPOSING, END THEM? TO DIE, TO SLEEP—

Dilemma

HAMLET Shakespeare
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SLIDE 22

Te

Dialogue&

THE COAST OF UTOPIA Tom Stoppard S T Y L E O F S P E E C H S T R I K I N G W O R D S W O R D P A T T E R N S S E N T E N C E P A T T E R N S A N A L Y S I N G
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SLIDE 23

RIP

You

Pieces

to I’ll

WHO’S AFRAID OF VIRGINIA WOOLF Edward Albee L A N G U A G E I S I T S E L F A N A C T I O N
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SLIDE 24

Martin Stevie

Cfct

W H AT I S T H E S O U R C E O F T E N S I O N ? S E E I N G A N D H E A R I N G
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SLIDE 25

Only One

NOT THE I’m

SILENTLY Read the text PA U S E S S E N T E N C E PAT T E R N S P R O M I N E N T W O R D S W O R D PAT T E R N S H I G H L I G H T … I N T E R R U P T I O N S A C T I O N S F R O M A P L A Y B Y E D WA R D A L B E E
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SLIDE 26
  • STEVIE. (Rage; sweeps the bookcase of whatever is on

it, or overturns a piece of furniture. Silence; then starting quietly, building) LINE 1

  • STEVIE. I’ll bring you down with me! (Brief pause;

she turns on her heel, exits. We hear the front down slam.)

  • MARTIN. (After she leaves; after he hears the door; little

boy) Stevie? (Pause) Stevie? LINES 39-40

Mood Violent action Then escalates into threat. Mood shifts… Ominous action Mood - unease or pity?

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SLIDE 27

Command Questions Dominance? Exclamation

  • forcefulness
  • STEVIE. I said, shut up. Do you know how you’ve

done it? How you’ve screwed up? MARTIN (Mumbled). Because I was at the vegetable stand one day, and I looked over to my right and I saw… STEVIE (Hard and slow). Because you’ve broken something and it can’t be fixed!

  • MARTIN. Stevie… LINES 15-19
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SLIDE 28

Divided

H U S B A N D A N D W I F E T W O S E C T I O N S O F L T 1 A N A L Y S E T W O S E C T I O N S
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SLIDE 29

MARTIN. Stevie, I… LINE 14 Stevie… LINE 19 (Deep sadness) Oh, Stevie… LINE 28 Stevie, I… I promise you, I’ll stop; I’ll… LINE 34

W H AT I S M A R T I N T R Y I N G T O D O ? W H AT I S T H E E F F E C T O F U S I N G S T E V I E ’ S N A M E ? H O W W O U L D Y O U D E S C R I B E T H E R H Y T H M O F M A R T I N ’ S L I N E S ?
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SLIDE 30

MARTIN. Stevie, I… Stevie… (Deep sadness) Oh, Stevie… Stevie, I… I promise you, I’ll stop; I’ll…

Interruptions Meekness? Pleading? ‘I’ - remorse? Not just repetition: increasing desperation?

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SLIDE 31

STEVIE. We’re both too bright for most of the shit. We see the deep and awful humor of things go over the heads of most people; we see what’s hideously wrong in what most people accept as normal; we have both the joys and the sorrows of all that. We have a straight line through life, right all the way to dying, but that’s OK because it’s a good line… so long as we don’t screw up. | (Don’t interrupt me!) Shut up! So long as we don’t screw up. (Points at him) And you’ve screwed up! | I said, shut up. Do you know how you’ve done it? How you’ve screwed up?

H O W D O E S S T E V I E F E E L A B O U T M A R T I N A N D T H E I R R E L AT I O N S H I P ?
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SLIDE 32

We’re both too bright for most of the shit. We see the deep and awful humor of things go over the heads of most people; we see what’s hideously wrong in what most people accept as normal; we have both the joys and the sorrows of all that. We have a straight line through life, right all the way to dying, but that’s OK because it’s a good line… so long as we don’t screw up. | (Don’t interrupt me!) Shut up! So long as we don’t screw up. (Points at him) And you’ve screwed up! | I said, shut up. Do you know how you’ve done it? How you’ve screwed up? Love and unity Optimism, pride in relationship

Shift to ‘you’ - accusatory, seething anger, discord

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SLIDE 33

STEVIE. Fall out of love with me? Fine! No, not fine, but that can be fixed… time… whatever! But tell me you love me and her— both of us!—equally? The same way? That you go from my bed—our bed… (aside-ish) it’s amazing, you know, how good we are, still, how we please each other and ourselves so… fully, so… fresh each time… (aside over)… you go from our bed, wash your dick, get in your car and go to her, and do with her what I cannot imagine myself imagining? Or— worse!… that you’ve come from her, to my bed!? To our bed!? … and you do with me what I can imagine… love… want you for!? LINES 20-28

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SLIDE 34

Fall out of love with me? Fine! No, not fine, but that can be fixed… time… whatever! But tell me you love me and her— both of us!—equally? The same way? That you go from my bed—our bed… (aside-ish) it’s amazing, you know, how good we are, still, how we please each other and ourselves so… fully, so… fresh each time… (aside over)… you go from our bed, wash your dick, get in your car and go to her, and do with her what I cannot imagine myself imagining? Or— worse!… that you’ve come from her, to my bed!? To our bed!? … and you do with me what I can imagine… love… want you for!?

Fragmented speech - Distraught? Distressed? Italics for emphasis - bitterness? Shift to exclamations - uncontrolled fury? Questions - Confusion? At a loss?

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SLIDE 35

STEVIE. (Not listening) That you can do these two things… and not understand how it… SHATTERS THE GLASS!!?? How it cannot be dealt with—how stop and forgiveness have nothing to do with it? […] How stopping has nothing to do with having started?! How nothing has anything to do with anything!? (Tears—if there—stop) You have brought me down; you love of my life! You have brought me down to nothing! (Accusatory finger right at him) You have brought me down, and, Christ! I’ll bring you down with me! (Brief pause; she turns on her heel, exits. We hear the front down slam.) LINES 29-39

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SLIDE 36

Tragedy

N E X T L E C T U R E
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SLIDE 37

Ready

Be

Week 3

For

R E A D A L L M Y S O N S … REVERIE NOIR 2T35 O R E L S E …