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Dramatic Theories
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A set of principles focusing on minimalist production elements in order to highlight the performer and the text.
Jerzy Grotowski's Poor Theatre - Applied in stripping down the performance to its essential parts, removing anything that isn't necessary to the actor-audience relationship.
Theory that classifies dramatic narratives based on the protagonist's tragic flaw.
Aristotle's Poetics - Used to analyze the structure and purpose of plays, emphasizing the importance of the main character's hamartia in tragedy.
A system for analyzing and creating dramatic work that stresses the importance of muscular and emotional memory.
Lee Strasberg's Method Acting - Applied in actor training to achieve a more authentic performance by recalling and reliving emotional experiences.
A set of techniques designed to train actors to be true to their impulses and respond dynamically to their surroundings.
Sanford Meisner's Meisner Technique - Applied in acting studios to foster spontaneity and authentic reactions based on the 'reality of doing'.
An approach to theater that focuses on the text as a construct with multiple meanings, rather than a singular, author-intended message.
Roland Barthes' Death of the Author - Applied to the interpretation of plays, emphasizing the role of the reader or viewer in assigning meaning.
An approach to drama analysis that examines the psychological and social functions within the narrative and how they relate to human behavior.
Moral Psychology in Drama - Used to understand character motivations, ethical dilemmas, and the moral messages conveyed by the play.
An acting technique that encourages the performer to transform into a character through intense emotional exercises, often resulting in a highly internalized and naturalistic performance.
Michael Chekhov's Acting Technique - Involves the use of imagination, concentration, and psychological gestures to achieve a deep and authentic character embodiment.
A method of understanding dramatic action as a conflict between opposed desires and moral forces.
Georg Hegel's Dialectics - Applied to drama to explore the synthesis of thesis and antithesis in a play's themes and character dynamics.
An approach privileging the socio-economic factors as the foundation for all theatrical expression and criticism.
Karl Marx's Materialism - Applied in the analysis of drama to understand how class struggle and societal roles are portrayed and thematized in plays.
The idea that theater should provoke social change and make the audience actively question societal norms.
Bertolt Brecht's Epic Theatre - Encourages critical thinking through a narrative that often breaks the fourth wall and uses the 'Verfremdungseffekt'.
A theater theory that explores the oppressive societal structures and encourages theater as a means of resistance.
Augusto Boal's Theatre of the Oppressed - Utilized in participatory performance to engage audiences in dialogue and to promote social and political change.
A perspective on dramaturgy that views the script as a blueprint for performance, which necessitates creative interpretation and collaboration.
Performance-centered Dramaturgy - Utilized by directors, performers, and dramaturgs to develop a theatrical production collaboratively from a script.
The use of archetypal figures and myths in understanding the nature of drama and theater.
Carl Jung's Archetypes - Used to interpret the symbolic and often universal meanings in dramatic characters and narratives.
Interpreting a text or performance through the symbols and dynamics of the unconscious mind.
Sigmund Freud's Psychoanalysis - Used to explore the subconscious motives of characters and the psychological dimensions within a drama.
A framework emphasizing the impact of race and colonialism in the interpretation and production of theater.
Postcolonial Drama Theory - Analyzes the representation of race, the effects of colonization, and identity politics within dramatic literature.
The idea that the creation and consumption of theater is inherently political, and that all dramatic work has a political dimension.
Antonin Artaud's Theatre of Cruelty - Meant to shock the audience through confronting them with the primal, brutal truths of human existence.
A movement rejecting the notion of a single interpretive framework, instead embracing the plurality and ambiguity of meanings in theater.
Postmodern Theater - Characterized by its heterogeneity, use of pastiche, and questioning of grand narratives in drama and theater.
A performance style that foregrounds physicality and image as the primary means of storytelling, rather than language.
Physical Theatre - Used to describe theater work with a focus on movement, dance, and visual storytelling over spoken text.
The practice of creating or interpreting theater as a vehicle for individual and communal catharsis.
Aristotle's Concept of Catharsis - Utilized to analyze the emotional effects of the dramatic events on the audience and the release of tension.
The understanding of drama through the patterns of conflict, climax, and resolution within the narrative.
Gustav Freytag's Pyramid - Analyzes the structural components of a play, such as exposition, rising action, climax, falling action, and denouement.
The exploration of how communication and meaning are created and understood in theatrical performance.
Semiotics of Theater - Analyzes the 'signs' in performance, such as gestures, costumes, lighting, and how they contribute to the overall meaning.
A performance principle stating that the actor should pursue the truthful expression of emotion on stage.
Konstantin Stanislavski's System - Applied in actor training to develop a character from the 'inside out', focusing on a psychological and emotion-driven portrayal.
The belief that true artistic expression in theater arises from the absence of illusion.
Peter Brook's Holy Theatre - Used as a conceptual framework for creating theater that seeks a raw and direct impact on the audience, devoid of artifice.
An ideological critique that uses a specific lens to explore and uncover gender dynamics within dramatic texts.
Feminist Drama Theory - Applied to deconstruct and critique the representation of gender in plays, as well as the underlying power structures.
A theoretical approach that considers ratings, ticket sales, and critical reception to gauge a play's success or failure.
Commercial Analysis of Theater - Applied to assess the economic viability and mainstream popularity of theatrical productions.
A concept suggesting that the design of space and the performer-audience relationship can dramatically alter the experience of theater.
Theatrical Space Theory - Focuses on how the physical and architectural elements of a theater influence the storytelling and the viewer's perception.
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