The Theory and Analysis of DramaCambridge University Press, 1988 - 339 pàgines Manfred Pfister's book is the first to provide a coherent and comprehensive framework for the analysis of plays in all their dramatic and theatrical dimensions. The materical on which his analysis is based covers all genres and periods of drama, from Greek tragedy and comedy to the contemporary theatre, with the plays of Shakespeare providing a special focus. His approach is not historical but systematic, combining more abstract categorisations with detailed and concrete interpretations of specific sample texts. An extensive international bibliography of relevant theatre and drama studies further enhances the practical value of the book. |
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Continguts
Drama and the dramatic | 1 |
112 The structuralist deficit | 2 |
122 A communication model for narrative and dramatic texts | 3 |
123 The absolute nature of dramatic texts | 4 |
124 The rimespace structures of narrative and dramatic texts | 4 |
13 Drama as a multimedia form of presentation | 4 |
132 The repertoire of codes and channels | 4 |
133 The collective nature of production and reception | 4 |
4523 Soliloquies of action and reflection | 136 |
453 Asides | 137 |
4532 The aside adspectatores | 139 |
4533 The dialogical aside | 140 |
462 Quantitative relations | 141 |
4622 Frequency of interruption and speech length | 142 |
succession and simultaneity | 144 |
4632 The relationships between dialogues | 146 |
Drama and the theatre | 13 |
213 Stagedirections in the secondary text | 15 |
215 Variability in the relationship between the enacted text and the literary text substratum | 16 |
216 The interrelationship of the sign systems | 17 |
22 Dramatic text and theatre design | 19 |
222 Stagearea and fictional locale | 22 |
223 Actor and fictional figure | 23 |
24 Theatre as a social institution | 25 |
242 A model for the external communication system of dramatic texts | 26 |
243 The sociology of authorship | 27 |
244 The sociology of mediating channels | 30 |
245 The sociology of reception | 31 |
246 The sociology of content | 32 |
247 The sociology of symbolic forms | 34 |
25 The dramatic text and the audience | 36 |
252 The social psychology of collective reception | 37 |
253 Feedback from the audience to the stage | 38 |
Sending and receiving information | 40 |
32 Advance information and the audiences horizon of expectations | 41 |
322 Thematic advance information | 42 |
33 The interrelationship of verbal and nonverbal information | 44 |
332 Identity | 45 |
333 Complementarity | 46 |
334 Discrepancy | 48 |
34 Levels of awareness in the dramatic figures and the audience | 49 |
3411 Superior audience awareness | 51 |
3412 Inferior audience awareness | 52 |
342 Congruent awareness | 54 |
343 Dramatic irony | 55 |
35 The perspective structure of dramatic texts | 57 |
352 The hierarchical arrangement of figureperspectives | 59 |
353 Techniques used to control and coordinate the perspectives | 60 |
3531 Aperspectival information | 61 |
3532 The selection of figureperspectives | 63 |
3533 The combination of figureperspectives | 64 |
354 Types of perspective structure | 65 |
3541 Aperspectival structure | 66 |
3542 Closed perspective structure | 67 |
36 Epic communication structures in drama | 69 |
3612 The abolition of concentration | 70 |
362 Techniques of epic communication | 71 |
3622 The introduction of epic elements by figures outside the action | 74 |
3623 The introduction of epic elements by figures inside the action | 76 |
3624 Nonverbal epic tendencies | 83 |
3625 The repertoire of epic techniques | 84 |
372 The transmission of information at the beginning of the drama | 86 |
3722 Isolated versus integrated exposition | 87 |
3723 The dominant form of temporal reference | 88 |
3724 Monological versus dialogical exposition | 90 |
373 The transmission of information at the end of the drama | 95 |
3732 Open endings in drama | 96 |
374 Information and suspense | 98 |
3742 The parameters of suspense | 99 |
3743 Short and longterm suspense | 101 |
3744 Can suspense be measured? | 102 |
Verbal communication | 103 |
412 Dimensions of deviation | 104 |
42 The polyfunctionality of dramatic language | 105 |
422 Referential function | 106 |
423 Expressive function | 109 |
424 Appellative function | 111 |
425 Phatic function | 113 |
426 Metalingual function | 115 |
427 Poetic function | 117 |
43 Verbal communication and action | 118 |
432 The nonidentity of speech and action | 119 |
44 Verbal communication and dramatic figure | 120 |
4412 The superimposition of epic communication structures on figure reference | 121 |
4413 The superimposition of references to the situation on figure reference | 122 |
442 Characterisation through language | 124 |
4422 Implicit selfpresentation | 125 |
45 Monological speech | 126 |
4512 Soliloquy versus monologicity dialogue versus dialogicity | 127 |
4513 Monological tendencies in dialogue | 129 |
4514 Dialogical tendencies in soliloquies | 130 |
452 Soliloquy | 131 |
4522 Premeditated form versus spontaneous improvisation | 134 |
464 The syntagmatics of dialogue | 147 |
4643 How an utterance relates to the previous utterances by the other figures | 148 |
465 The rhetoric of dialogue | 154 |
4653 Figurative speech | 156 |
Dramatis personae and dramatic figure | 160 |
522 Restrictions in the portrayal of figure in drama | 161 |
523 Figure as the focal point of contrasts and correspondences | 163 |
53 Dramatis personae configuration and figure constellation | 164 |
5311 Size | 165 |
5313 Qualitative correspondences and contrasts | 166 |
532 The constellation of figures as a dynamic structure of interaction | 170 |
533 Configuration | 171 |
5332 Configuration structure | 172 |
54 Figure conception and characterisation | 176 |
5412 Static versus dynamic figure conception | 177 |
5413 Mono versus multidimensional conceptions of figure | 178 |
5414 Personification type individual | 179 |
5415 Open versus closed figure conception | 180 |
5416 Transpsychological versus psychological figure conception | 182 |
542 Characterisation | 183 |
5422 Explicitfigural characterisation techniques | 184 |
5423 Implicitfigural characterisation techniques | 190 |
5424 Explicitauthorial characterisation techniques | 194 |
Story and plot | 196 |
6112 Story versus mythos or plot | 197 |
612 Action | 199 |
6123 Action versus event | 200 |
62 Presenting the story | 201 |
6212 The principle of concentration | 202 |
622 Techniques of presentation | 204 |
6222 Types of narrative mediation | 207 |
6223 Multiple presentation | 209 |
63 The combination of sequences | 211 |
631 The coordination of sequences | 212 |
6313 Linking devices | 215 |
6314 Functions | 216 |
632 The superimposition of sequences | 219 |
6321 Dream inset | 220 |
6322 The playwithintheplay | 223 |
64 Segmentation and composition | 230 |
642 The segmentation of the dramatic presentation | 234 |
6422 Units of segmentation | 236 |
643 Composition | 239 |
6431 Closed form | 240 |
6432 Open forms | 242 |
Structures of time and space | 246 |
72 Open and closed structures of time and space | 249 |
7212 The abolition of the unities of time and space | 250 |
722 Dramatic practice | 252 |
7222 Open structures of time and space | 253 |
7223 Discordance in structures of time and space | 256 |
731 The semantic interpretation of space | 257 |
7312 The relationships between stage and offstage | 258 |
7313 The relationships between a number of different locales | 259 |
7314 Fictional locale versus real spatial context | 260 |
7315 The locale and the events | 261 |
732 The conceptions of space | 262 |
7322 Functions | 265 |
733 Localisation techniques | 267 |
7332 Nonverbal localisation techniques | 269 |
74 The structure and presentation of time | 275 |
742 Succession and simultaneity | 276 |
743 The presentation of time | 279 |
7432 Fictional time and actual performance time | 283 |
744 The conception of time | 288 |
7442 Progression versus stasis | 289 |
7443 Linear versus cyclical movement | 290 |
745 Tempo | 291 |
7452 Deep structure and surface structure | 292 |
7453 The tempo of the text as a whole | 293 |
Concluding note | 295 |
296 | |
Bibliography | 315 |
316 | |
320 | |
337 | |
Frases i termes més freqüents
actors actually analysis aspect audience audience's awareness behaviour Brecht character chronological classical codes comedy comic configuration context contrast convention create deixis dialogue partner discrepancy discussion drama dramatic figure dramatic irony dramatic level dramatic situation dramatic speech dramatic texts dramatis personae dramatist dramaturgical dream elements emphasised epic theatre establish ESTRAGON example exposition expository information external communication system fact fictional figure conception figure-perspectives function G. B. Shaw historical implicit important individual interpretation kind linked literary text locale mediating communication system Midsummer Night's Dream monological multimedial narrative texts non-verbal nonetheless norms number of different performance peripeteia phatic Phèdre Plautus play play-within-the-play poetic polylogue possible predominant primary reference reflects relationship Restoration comedy restricted scene scenic presentation secondary text semantic Shakespeare's social soliloquy space spatial speaker stage story stylistic suspense potential tempo theatre theatrical theory time-space tion tragedy unity utterances various verbal Volpone Waiting for Godot whilst
Referències a aquest llibre
The Process of Drama: Negotiating Art and Meaning John O'Toole Previsualització no disponible - 1992 |
Dionysus Writes: The Invention of Theatre in Ancient Greece Jennifer Wise Previsualització limitada - 1998 |