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Introduction - Coggle Diagram
Introduction
Misleading Notions
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Relativist Fallacy
When a fact is declared as not true for them, but it's true for others.
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Imitative Fallacy
Playwriting is a means of capturing feelings and enraging them in dramatic form, and play reading as an attempt to understand this process, to communicate it.
Intentional Fallacy
Trying to determine what the authors intention was and whether it fulfills itself instead of attending to the work itself.
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Literal-Mindedness
Evaluating everything in the play based on its literal resemblance to life. This thinking possibly stems from a misunderstanding of the idea of the reality and acting called emotional honesty.
Second-Han Thinking
Relying too much on other people's opinions, especially when dealing with difficult material. Artists should be aware of cutting themselves off from new experiences, feelings or words by relying too much on established opinions rather on direct contact.
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Reading Plays
Active Reading
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Requires focusing on the text by highlighting the passages, making notes in the margins, and repeatedly asking questions related to the text.
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Facts, Implications, and Inferences
Facts
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Facts and drama include identifications of people, places, actions and things, but might also describe wishes as well as feelings and thoughts.
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Script analysis involves piercing the known and unknown together in a conscientious and meaningful pattern.
Logical Thinking
Since many plays are organized as step-by-step processes. It follows that retracing their logic is the most productive way of understanding them.
Audiences are more knowledgeable, and playwright are producing works that require audiences to think about them creatively and understand and express the themes in the play.
Associative Thinking
Deals with information by mixing patterns, seeing related links, connecting seemingly unrelated elements, and, for our designers, spatial modeling.
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Dramatic Reading
Pattern Awareness
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Please contain patterns that shape, plot, character, dialogue, meaning in atmosphere.
Special Expressiveness
the writing is only a small part of the play. the power of the play comes from the action direction and design of the play
reading a play correctly is important because all actions and ideas will be taken from what the script says
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Historical Awareness
The intellectual skill related to the study of history and the process of converting the sense of the past, present and future into a practical circumstances of everyday life.
Myth Awareness
A traditional story that describes the psychology, customs, or ideas of a society.
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Ambiguous Terms
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Representational, Presentational, and Non-Objective Design
Representational
Seeks to depict actual people, places, and things from reality.
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The most recognizable approach to scenery, costumes, and lighting since subjects are recognizable.
Presentational
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Emphasis on lines, colors and shapes transformed the look of the subject while. Retaining recognizable features.
Non-Objective Desig
Chooses nothing from reality. Is based entirely on associative, artistic motives, using elements of design primarily to create visual or emotional, stimulating experiences.
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Instinctive, Representational, and Experiential Acting
Instinctive
The inspiration of the moment. Some moments may be remarkable, others lackluster, but most are ordinary, without unique or distinctive features. It's unpredictable.
Representational
Seeks initially to feel and experience the life of the character. The search for an external form that gives plausible visual expression to this spiritual content, which is then performed before an audience.
Experiential
Every moment of the role is freshly felt and freshly physicalized for each performance. Feelings and physicalities do not arise from the repetition of pre imagined externals, but by experiencing. Living through the characters actions.
Stanislavsky believed most, if not all, good acting was a combination of the three.
Action Analysis
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table work
Director guides the actors under careful analysis of all motives, implications, relationships, characters through actions, super objective, and so on of the play.
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Wrap-Up
rarely get to choose the plays we perform, direct, or design. But script analysis gives us a method. To sustain creative state for any play.