Drama 201 Notes - Drama 201 Notes: September 30, 2011 1)...

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Drama 201 Notes: September 30, 2011 1) Los Vendidos and Poetics a) Luis Valdez and El Teatro Campesino: a.i) 1960s and 1970s (a.i.1) 2 types of plays: (a.i.1.a) ACTOS (a.i.1.b) MITOS (a.i.2) Models: (a.i.2.a) 1-Farm-worker (a.i.2.a.i) Hard working (a.i.2.a.ii) Lives on pennies; beans and tortillas (a.i.2.b) 2-Johnny Pachuco (a.i.2.b.i) Critique of education system—“he learned it in your schools.” (a.i.2.b.ii) Self-sufficient; he steals (a.i.2.b.iii) “we don’t need any more thieves” (a.i.2.c) Revolucionario/Early California Bandit type (a.i.2.c.i) Meant to get the women’s vote a.i.2.c.i.1. Sexism (a.i.2.c.ii) He is whatever you want (rides horses, leads revolutions, follows revolutions, kills, can be killed, serves as a martyr, hero, movie star) (a.i.2.d) Mexican-American (a.i.2.d.i) Patriotic (to America) (a.i.2.d.ii) Racist against Mexicans; reinforces white people’s views (a.i.3) What do we learn at the end? (a.i.3.a) Sancho is a model (a.i.4) “Stock Characters” (a.i.4.a) A specific “type” of character (a.i.4.b) Frequently in Soap Operas, Crime Dramas, Etc. (a.i.4.b.i) i.e. Damsel in distress, macho hero, nefarious villain a.ii) Poetics: (a.ii.1) All of the arts share one common feature: they are modes of imitation (a.ii.2) Art distracts people from reality—they don’t have a place in the Republic (a.ii.2.a) Thought of Plato (Aristotle’s teacher) (a.ii.2.b) Aristotle disagrees (a.ii.3) Imitation is innate and we enjoy it (a.ii.3.a) Because we learn; the greatest pleasure in life is to learn (a.ii.4) They differ in three respects: (a.ii.4.a) Medium (a.ii.4.a.i) What you use to produce your art (a.ii.4.b) Objects (a.ii.4.b.i) The subject of your work; the imitated (a.ii.4.c) Manner or mode of imitation (a.ii.4.c.i) Different ways of presenting (i.e. reading a story aloud vs. acting a scene) (a.ii.5) Homer writes epic poetry
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(a.ii.6) Men in action are represented (a.ii.6.a) Can be represented as better or worse than they are (a.ii.6.a.i) Tragedy=better a.ii.6.a.i.1. People feel for a tragic hero (a.ii.6.a.ii) Comedy=worse (a.ii.7) Invention of drama (a.ii.7.a) Drama is doing; drama is action (a.ii.7.b) There is a fight to claim the origin of drama (a.ii.8) Theatre lives (a.ii.8.a) Audience is essential (a.ii.8.a.i) Actors are important (a.ii.8.b) Drama is in the interchange between the actors and the audience (a.ii.8.c) Theatre only exists in the moment, it can never be recreated (a.ii.8.d) It only exists in the moment and can never be made twice (a.ii.8.e) Catharsis is for the audience DRAMA 201 NOTES: October 3, 2011 1) Aristotle’s Poetics (Parts 6-15, 19) a) Map of a narrative a.i) Introduction (stasis) Inciting incident (intrusion) Rising action (Complication) Climax Falling action (denouement) Resolution b) Protagonist: b.i)Main character; tragic hero (in tragedy) c) Antagonist: c.i) Main person or force working against the protagonist d) In tragedy what happens at the climax? d.i)Anagnorisis—recognition
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This note was uploaded on 11/14/2011 for the course DRAMA 201C taught by Professor Rhondaguthu during the Spring '11 term at Washington University in St. Louis.

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Drama 201 Notes - Drama 201 Notes: September 30, 2011 1)...

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