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Topic: Dramatic structure

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	Grounds For Play, Inc.
		As one of the most important types of play in the early years, dramatic play should be supported in the outdoor environment.
		A generic playhouse is the key structure for dramatic play as it can be whatever the children consider it to be.
		The Tothouse is a smaller playhouse structure with four posts, a floor and a rotationally molded A-frame roof.
	www.groundsforplay.com /dramatic_play.html (378 words)

	Drama and Dramatic Arts - Printer-friendly - ninemsn Encarta
		Drama and Dramatic Arts, Drama is a form of literature—either prose or verse, usually in dialogue form—intended for performance; dramatic arts are the components necessary for writing and producing the drama, such as playwriting, acting, and costume and scenic design.
		Its purpose was to dramatize the salvation of humankind.
		The specifics of each play varied, but the structure or plot outline remained basically the same: a careful exposition; a series of incidents leading to a climax; the skilful use of dramatic devices such as reversals, hidden information, important props—a letter, for example, falls into the wrong hands and must be retrieved—and contrived suspense.
	au.encarta.msn.com /text_761552006___0/Drama_and_Dramatic_Arts.html (9728 words)

	Adaptations by Professor Julia Keefer
		Dramatic structure is the orchestration of conflict in the story, exaggerated or edited to produce an exciting fight (mental, physical or spiritual) between protagonist(s) and antagonists.
		Narrative structure is the way the events are sequenced in time and space from the point of view of the narrator in a book and/or camera in a film in such a way that a style is created that expounds the theme, or the way the author feels about the material.
		It is crucial to distinguish between the conflict of dramatic structure where protagonists and antagonists fight to follow their throughlines, in orchestrated, causal events related to the central dramatic question, and narrative sequencing, which plays with time and space on more subliminal levels related to the theme of the work.
	www.nyu.edu /classes/keefer/TimeSpace/adapt.htm (2457 words)

	Euripides - MSN Encarta
		According to tradition, Euripides was born in Salamís on September 23, about 480 bc, the day of the great naval battle between the Greeks and the Persians.
		Euripides has also been criticized for using the explanatory prologue, in which he makes known to the spectators the events that precede the opening of the play and often outlines coming events.
		Such were the stories of the heroes Bellerophon and Phaëthon, which were treated dramatically for the first time by Euripides.
	encarta.msn.com /encyclopedia_761567264/Euripides.html (0 words)

	Joel Fagin's Tutorials
		The same dramatic structure rules again, only instead of over thirty pages, like a mainstream comic would do, this is in a scant few panels.
		Using this dramatic structure to create gags, dramatics and cliffhangers keeps the level of interest high, motivating the audience to keep coming back.
		Nevertheless, there is an advantage that they lose by not using this short-term dramatic structure to drag their readers back each time.
	www.between-worlds.com /tutorials/comic_serious_webcomics.shtml (0 words)

	Gamasutra - Features - "The Need to Adapt the Tools of Drama to Interactive Storytelling" [09.14.01]
		In a dramatic presentation the pattern of human conduct is developed within the framework of a particular structure or dramatic form, which, despite passing innovations, has persisted over thousands of years.
		Dramatic structure is the destruction and restoration of the balance of forces.
		One approach to achieving dramatic structure while maintaining free exploration is to create environments and NPC's that are informed by the five-part dramatic structure.
	www.gamasutra.com /features/20010914/littlejohn_02.htm (1424 words)

	TITLE (Site not responding. Last check: )
		Recitative was dramatically necessary to complement the emotional, static nature of song; it allowed composers of vocal music to employ their art to develop plots and characters, something not possible in a madrigal or art song.
		The dramatic tension of this moment is underscored by the segment’s position as the exact center of the opera and fact that "Orpheus and the instruments come together for the only time in the opera." (Whenam 133-34) Likewise, Orpheus’s lament in act V defied Monteverdi’s attempt to impose an aria-like rhythmic and tonal structure.
		Such a combination of the dramatic function of recitative with the musical function of aria seems to be an inversion of Monteverdi’s use of recitative to convey the emotional intensity later expressed almost exclusively through aria.
	thechurchforall.org /Mozart-Monteverdi.htm (1979 words)

	NationMaster - Encyclopedia: Conclusion
		In both formal and informal logic, a main contention is a thought which is capable of being either true or false and is usually the most controversial proposition being argued for.
		An Argument map is a visual representation of the structure of an argument in informal logic.
		The term dramatic structure refers to the parts into which a short story, a novel, a play, a screenplay, or a narrative poem can be divided.
	www.nationmaster.com /encyclopedia/Conclusion (921 words)

	Glossary
		Dramatic structure in which there are few scenes, a short time passes, there are few locales, and the action begins chronologically close to the climax.
		Dramatic structure in which there are many scenes, taking place over a considerable period of time in a number of locations.
		Dramatic form made popular in the nineteenth century which emphasized action and spectacular effects and also used music; it had stock characters and clearly defined villains and heroes.
	novella.mhhe.com /sites/0072872187/student_view0/glossary.html (4904 words)

	New Page 1 (Site not responding. Last check: )
		Structure is how the parts relate to the whole and the whole relates to the parts.
		Advanced structures: repetition (thing or idea that happens repeatedly many times in clusters of 3), circular (start and finish with same idea, image, etc), horizontal (action and through line in time) and vertical (things outside world of play like when play title is said in it).
		Other structure: Exposition (all those things we need to know if the play is to make any sense), Conflict (the problem), Climax (when conflict must be and is dealt with), denouement (resolution, deflation of action).
	www.sinc.sunysb.edu /class/thr10401/NotesStructure1.htm (149 words)

	Cyber Film School Moviemaking Website
		The way a story is put together, its dramatic structure, is one of the very important skills a beginning screenwriter must master.
		As the beginning screenwriter studies more, he or she soon will encounter something called "three-act structure." A screenplay has an Act One, Act Two and Act Three, each in which certain story elements are developed (set up, conflict, and resolution, in broad terms).
		Three-act screenplay structure precludes boredom by arranging story events in such an order that conflict causes change, which in turn causes new conflict, building and building until the story's final confrontation and resolution.
	www.ibiblio.org /cdeemer/cfs1000.htm (689 words)

	Museums and the Web 2004 : Papers : Scali & Howard, XML Coding of Dramatic Structure
		Associating plots to stereotyped dramatic structures is very similar to the well known and useful Patterns approach to sharing software design, originated by the work of architect Christopher Alexander in the late 1970s.
		With an agreed standard, dramatic structures can be shared around the world, giving the possibility of comparing the way Mongolian shamans tell stories and the way Homer told his.
		The use of the schema is not limited to what we think of as dramatic narratives, although this includes a vast range of cultural objects from epic poetry, plays, and operas to novels, musicals and films.
	www.archimuse.com /mw2004/papers/scali/scali.html (0 words)

	SASFTDA DRAMATIC
		The overall objective of the Dramatic Art Course is to train, educate and equip students with the vocational skills required for a professional career in the dramatic arts.
		The shaping of structure brings the student to a thorough understanding of the universal beginning-middle-end structure of dramatic narrative, the treatment of time and space, and a sense of the dramatic through the placement of emotion in a text.
		The second year is an intensely practical year in which students are expected to consolidate and refine the skills acquired in the first year, while still expanding their skills-base in terms of the course modules as stipulated in the first year course outline.
	users.iafrica.com /w/wa/wawo.frozen/html_f/dramatic.html (1219 words)

	Loyola University Chicago:Academics - Course Descriptions
		This course is an introduction to the theories and techniques of playwriting with particular emphasis on the analysis of dramatic structure.
		This course is a survey of contemporary of Western dramatic literature from the 20th and the early 21st centuries.
		Learning Outcome: Students will be able to place contemporary dramatic literature in historical context; to analyze how the theatre has responded to development of other art forms like film and television; to analyze and write about contemporary dramatic forms, styles, and genres in informed critical terms; and to develop a repertory of contemporary dramatic material.
	www.luc.edu /theatre/academics_course_descr.shtml (4481 words)

	Gamasutra - Features - "The Need to Adapt the Tools of Drama to Interactive Storytelling" [09.14.01]
		In its barest form, a dramatic work all comes down to a character, or a group of characters, that we empathize with because they want something that we can all relate to wanting, and antagonistic forces that opposes the fulfillment of our want.
		But in the dramatic work we get to indulge our emotional and imaginative sensitivity, to be stimulated and diverted, and to see life as it "ought" to be — more secure.
		A dramatic presentation is the story of the struggle and conflict that caused the final action.
	www.gamasutra.com /features/20010914/littlejohn_01.htm (1722 words)

	POWER STRUCTURE SOFTWARE / PowerStructure Software by ScriptPerfection Enterprises
		Power Structure™ is the first story development environment designed for writers who aren't in search of an electronic muse, but who have a story that they want to tell, and who simply want a better "place" to do it.
		Aristotle codified the basic 3 Act Structure of dramatic storytelling in his Poetics well over two thousand years ago, and not only is the concept still going strong, but it is wonderfully compatible with other models of storytelling such as Campbell and Vogler's Hero's Journey.
		Power Structure brings the power of the 21st Century (give or take a year!) to these ancient concepts, helping you build your stories with strong acts that have dramatic relevance for each of your characters, thus helping you to create an extremely strong framework on which the rest of your story can be built.
	www.storyscribe.com /power-structure-software.php (0 words)

	TH 101DE \| Lecture #12A Story Structure I
		Dramatic literature is a subcategory of literature, and a huge body of such work has accumulated over the centuries.
		Structure in the arts is the organization of its raw material (medium) in such a way as to make it understandable and meaningful to its audience.
		In dramatic art, whatever the source of story material, it must be organized into a form that is suitable for performance by actors on the stage or screen--it must be dramatized.
	homepage.mac.com /roberthuber/school/1delec12a.html (2053 words)

	News \| Gainesville.com \| The Gainesville Sun \| Gainesville, Fla. (Site not responding. Last check: )
		Perhaps equally influential to writers and literary critics alike has been the analysis of dramatic structure of Gustav Freytag, a modern application of five-act structure.
		Freytag's analysis of dramatic structure is sometimes represented by means of a visual aid known as Freytag's Pyramid.
		Although Freytag's analysis of dramatic structure is based on five-act plays, it can be applied (sometimes in a modified manner) to short stories and novels as well.
	www.gainesville.com /apps/pbcs.dll/section?category=NEWS&template=wiki&text=Dramatic_structure (1232 words)

	ReadWriteThink: Lesson Plan: Happily Ever After? Exploring Character, Conflict, and Plot in Dramatic Tragedy
		At the end of the session, explain that the next two class sessions will be structured work time for groups as they work out their new plots and prepare their presentations to share with the class.
		If students need a more structured exploration of the choices in their newly version of the story, use the Drama Map Student Interactive to outline the characters, conflict, resolution, and setting of the new series of events.
		Ask students to pay particular attention to how the structure and speed of the story changes (or doesn't) based on the new “happily ever after” ending, recording their observations in their writer’s notebooks.
	www.readwritethink.org /lessons/lesson_view.asp?id=374 (1856 words)

	[No title]
		The audience can imagine the dramatic space and the mass that fills it to be theoretically different than the acoustic defined by the physical size of the theatre, or at least until an auditory spatial clue distracts them.
		Sounds whose source needs to be perceived by the audience as part of the dramatic action, must have their speakers located within the scenery to create images that do not distract from the rest of the performance.
		The contradictions between the two spaces must always be resolved to allow the audience to focus their concentration on the dramatic space and not be distracted by unwelcome impositions of the physical space.
	www.richmondsounddesign.com /docs/DramaticAuditorySpace.doc (5725 words)

	HERS Output
		The question of humor is explored with respect to dramatic situations and characters that are inherently serious.
		The goal is to achieve the fullest range and clarity of physical and emotional expression of the body as it relates to the surrounding space.
		The seminar focuses on the structural principles of dramatic composition, examining paradigms from Aristotle to David Mamet and developing a formal methodology for playwriting.
	www.registrar.fas.harvard.edu /Courses/DramaticArts.html (1492 words)

	Dramatic Structure
		The falling action increases the dramatic intensity of the action as it accelerates toward the catastrophe.
		It is the final stage of the falling action, ending the dramatic conflict, winding up the plot and consisting of the actions that result from the climax.
		William G. Leary uses a musical metaphor to describe this strategy: Shakespeare (and his contemporaries) composed plays in which the plot unfolds like "variations on a theme." What distinguishes Shakespeare’s genius is that this strategy carries over from plot to theme to character, to atmosphere, and imagery in Shakespeare’s plays.
	www.wvup.edu /mberdine/Shakespeare/ShakDramStruc.htm (1380 words)

	Dramatic Structure by Dr.Julia Keefer
		Dramatic structure, how the conflict unfolds, is not the same as narrative structure, the sequence of events in time and space colored by the POV of the narrator.
		Dramatic structure is the conflict between protagonist and antagonists as they fight for their through-lines in response to the Central Dramatic Question, a visual paradigm similar to falling off a cliff from catalyst to commitment to confrontation to cataclysm to chaos, crisis, climax and conclusion, timed by plot points.
		No matter how intricate and discipline the dramatic structure, if the emotions of pity, fear, laughter or lust are not elicited in the audience, then the structure will be more like a legal case than a drama that requires catharsis to transcend the paradigms, just as wonder must transcend prosody in poetry.
	www.nyu.edu /classes/keefer/story/story3.htm (4910 words)

	Jamaica Gleaner News - 'Lady Chance and the Butterfly Dance' - Fascinating dancehall theatre - Thursday \| October 19, ...
		However, the dramatic structure of the play works against this and says all too eloquently that hope is not all that floats.
		As such, the woman who plans is the one who is sent crashing into madness but the young woman who has no real plan, but only a dream that her mother then has to sell herself for, is the one who succeeds.
		Scene breaks featured silhouettes of dancing girls, intermission had a battle between two vendors and a security guard followed by an energetic bout of dancing by four women, one who proved to be a gelatinous medley of shaking parts, so the play easily captures its audience's attention.
	www.jamaica-gleaner.com /gleaner/20061019/ent/ent1.html (597 words)

	2. A Dramatic Question
		Dramatic and storytelling theorists, anthropologists, philosophers, and psychologists since the time of Aristotle have attempted to analyze how the action of a story is established and sustained.
		In this case, the particular meaning of the resolution of the dramatic question is in fact the central point of the story.
		A good author will make you think the central dramatic question was "Will the girl get the guy?" when it really was "Will the girl find happiness?", and we have learned early on that she doesn’t define herself completely by her role as spousal partner.
	www.storycenter.org /memvoice/pages/tutorial_1b.html (692 words)

	Bertolt Brecht Dramatic Structure - Associated Content
		For Bertolt Brecht, the dramatic structure underlying any situation reflects the structure of social forces at work in society.
		Since Brecht was a Marxist living in an industrial capitalist nation, he understood these social forces as competing classes (although he also dealt with historical struggles, such as "science versus church," in his play Galileo).
		For Brecht, any narrative either disguises and obscures the structure of social forces or reveals and exposes them.
	www.associatedcontent.com /article/16387/bertolt_brecht_dramatic_structure.html (0 words)

	Dramatica Theory Book - Chapter 20: Section Two: The Art of Storytelling: Introduction
		All complete stories exhibit two principal aspects: an underlying dramatic structure which contains the story's inherent meaning and a secondary meaning which is created by the manner in which that structure is presented in words and symbols.
		Then, referring to this structure while encoding (or symbolizing) the storyform, an author can make sure that missing or inconsistent pieces of the storyform are not masked under clever storytelling.
		In this manner, the portions of a Storyform structure which are more central to an author's personal interests rise to the surface of the work while those of less interest sink to the bottom to form a complete but minimalist foundation for the story's argument.
	storymind.com /dramatica/dramatica_theory_book/chapter_20.html (2871 words)

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