Characterisation -an intrinsic aspect of dramatic text (original) (raw)
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Character, Characterization and Dialogue
Armenian Folia Anglistika
Text interpretation has always been a most intricate and challenging task due to various elements that work in unison to create the desired aesthetic impression on the reader. Characters, being one of the underlying elements of fiction, make the task even more challenging since they act as “a net of voices”. The author, the narrator and the characters, that most frequently, appear as independent individuals, speak in one voice. Hence, the analysis of dialogue on the semantic and meta-semiotic levels may serve as not only an efficient tool in revealing the dynamics of a certain piece of writing, but also a means of characterization of personages portrayed. To be noted, dialogue is a widely used technique by writers to reveal the true nature of the characters indirectly. In case the reader is able to disclose the nature of the characters, he/she may get an access to the hidden intention of the author.
Review Essay: Character: Three Inquiries in Literary Studies; Character as Form
Genre: Forms of Discourse and Culture, 2021
Characters are strange things. They are not persons, not exactly. They belong to the page, the stage, the screen, and it is central to our experience of them that we know they are fictions. Yet we feel for them nonetheless: we sympathize with them, root and fear for them, and get annoyed by them, too. When Hamlet pondered the player-"What's Hecuba to him, or he to Hecuba?"-this was the paradox that left him mystified: how is it that an imagined person can generate real and potent feelings? In Astrophil and Stella, written some years before Hamlet, Philip Sidney explored the same riddle. The forty-fifth sonnet in the sequence begins with a familiar lover's lament: although Stella sees his suffering, Astrophil complains, she "cannot skill to pity" him. Stella is not utterly impassive, however: when she hears a tragic fable of "lovers never known," Astrophil reports, pity moves her instantly to tears. For Hamlet, the surprise is that we can care about fictional people much as we care about real ones; for Astrophil, it is that sometimes we care about fictional people more readily and more deeply. So Astrophil decides to turn himself into a fiction: "Then think, my dear, that you in me do
2019
The dramatic text defines, to some extent, the structure of the work but the type of performance and the physical approach to the text can represent different meanings. The body of the actor, as a means of conveying concepts from the text to the audience, can be effective in creating different interpretations and meanings of the text. Since eons ago, directors have used the body of the actor with different approaches, and the application of body on the stage has always been underdoing changes. Anne Bogart is one of the few directors who is less known in the Iranian theater despite possessing the most updated and well-known methods of practice and performance in the world. Using her viewpoint method, she brings live and dynamic bodies to the stage; bodies that are able to convey the hidden meanings of the text to the audience in the most suitable way. The overall purpose of this research is to find the relationship between the dramatic text and the performance with the centrality of the body with a sociological view toward the body. To this end, by presenting Foucault's theories, the researchers defines the role of the body in the society and its extent of effectivity and impressibility. Finally, this study explores the implications of this role in each element of Aeschylus's The Persians, and it shall show how Bogart beautifully represents them using the bodies of her actors during performance.
This paper discusses the CIU, the splendid technique to teach, learn, produce and examine drama, dramatic form and its structure. Here author tried to focus on methodology of drama. This technique enormously emphasize on the frame work of drama. It also helps to know the sole characteristics of a drama. Thismethod promptly responses the evaluator’s mind to disclose any works of art as a drama. The paper is started with a brief introduction ofthe concept of drama. Further it focuses on the importance of the work as well as the method in the field of structural approach of drama. Then further discusses the methodology steps by steps and analyzes the procedure of evaluation whether it is a drama. In conclusion we consider this methodas a “touchstone” to evaluate the literary piece as a drama. It also has shown the technique how to implement the method. Teaching drama will much easier by using this method.
Character Analysis of Drama Text, Death of a Salesman by Arthur Miller
Faculty of Letters, 2011
In every short story, novel, or drama, there are characters. Characters have very important role in developing the plot of the story and also learn more on how people act they do, and sometimes, by what others say about them. The aims of this research are to finds ...
This research paper aims to ornate and scrutinize the structural analysis of the play “Six characters in search of an author” by Luigi Pirandello. Every piece of literature particularly the play attains its goal through its medium that is defined by its structure. The play unfolds the identity crises and the conflict between illusion and reality that people suffer in modern world. The researcher uses the Gennete theory; narrative, narration, tense, mood and voice to expatiate the structure and abstract notion of self identity in this play. Genette model helps to investigate the complex and deep structure of the play and enable us to understand the different views provided in the play. Model like “time” helps reader towards a deeper and better understanding of events and plot of the play. The Research paper explores that the play presents the playwright’s view about the isolation of the individual from society and from himself.
Shakespeare and Character: Theory, History, Performance, and Theatrical Persons (review)
Shakespeare Bulletin, 2010
If we needed another reminder of the divorcing interests of those who profess and those who perform Shakespeare-and we probably don't-the opening sentence of this ambitious collection will serve. "Character has made a comeback," the editors write, an instantly legible pronouncement to any academic but a true head scratcher for a working actor (1). For most performers, character never went away. Indeed, one of the more startling discoveries for an academic who strays into the rehearsal room is that actors are the Last Bradleyites. It can feel a bit like meeting those mythical Japanese soldiers who hid out in Pacific jungles, unaware that the war was lost. Depending upon your perspective, it is either a frustrating or a delicious irony-or both-that one of the most energetically discredited modes of twentieth-century Shakespearean criticism has arguably exerted the greatest academic influence upon the presentation of Shakespeare on stage over the last century. Of course, this biased account positions actors as the deluded others who hold fast to a lost cause, or, at least, take a quaint angle of address to the challenge of representing imaginary persons on stage. In fact, the essays in Shakespeare and Character advance a collectively convincing argument that it is the academy that has lost out by turning away from "character" as a locus of connected "political, ethical, historical, literary, and performative aspects of early modern theatre" (1). In the introduction, then, the editors leverage both theatrical and "vernacular" intuition that character is central to Shakespeare's art to resuscitate academic interest in the topic (3). The book's central claim, in sum, is that "character is the organizing principle of Shakespeare's plays-it organizes both the formal and ideological dimensions of the drama and is not organized by them" (7). (If the collection invites pushback, it will be against claims like the final clause, which flips a central plank in the poststructuralist platform.) With theoretical sophistication and practical address, these twelve essays take up this maddeningly elusive topic to mount a persuasive argument that character deserves the academic spotlight once more. Given character criticism's checkered history, this collection takes a systematic approach to building what it calls, in the inevitable locution, the "new character criticism" (1). While many essay collections reward scattershot reading, Shake
Themes in Drama General Introduction to Drama
Drama(δρᾶμα) comes from a Greek word, δράω, drao, meaning "to do" or "to act." A play is a story acted out. It shows people going through some eventful period in their lives, seriously or humorously. The speech and action of a play recreate the flow of human life. A play comes fully to life only on the stage. On the stage it combines many arts those of the author, director, actor, designer, and others. Dramatic performance involves an intricate process of rehearsal based upon imagery inherent in the dramatic text. A playwright first invents a drama out of mental imagery. The dramatic text presents the drama as a range of verbal imagery. The language of drama can range between great extremes: on the one hand, an intensely theatrical and ritualistic manner; and on the other, an almost exact reproduction of real life. A dramatic monologue is a type of lyrical poem or narrative piece that has a person speaking to a select listener and revealing his character in a dramatic situation.