THFM midterm

Continua

Public or private, factual or fictional, planned or spontaneous, formal or informal

Public or Private MLK

MLK is closest to public because he spoke in front of 250,000 and it was recorded

factual or fictional MLK

MLK is in the middle but closer to fictional because he is talking about his wishes for the future even though he talks about the factual discrimination

planned or spontaneous MLK

MLK is in the middle but closer to planned because it was written before hand for him to read even though he improvised “I have a dream”.

formal or informal MLK

MLK is in the middle but closer to informal because he spoke like he was having a conversation and addressed the audience inclusively

Vectors

Location, time, relationship, agency

location of RR

In Washington D.C., at the white house oval office

Time RR

January 28, 1986

Relationship RR

all the people are sad and shocked by the event he is addressing, he is the president and has to take responsibility

Agency RR

Safety of oval office and security, high

Claims of fact

a statement about how things were in the past and how they are or going to be. Ex: in our right-handed world, left-handed people are discriminated against. Has to be more likely true than false

Value

arguable statements concerning the relative merits of something which is measured subjectively. Ex: Victoria is a better place to go for vacation than Calgary.

policy

a statement regarding the merits of one course of action as opposed to other courses of action. Ex: because it does not deter crime, because it is inequitably administered, and because it is unjust, the death penalty should be abandoned by civilized societies

Sensory Images

Visual, auditory, olfactory, gustatory, tactile, kinesthetic, kinetic, thermal

Visual

images that draw upon the sense of sight

Auditory

images that draw upon hearing

Olfactory

images that draw upon smell

Gustatory

images that draw upon taste

Tactile

images that draw upon touch

Kinesthetic

Images that draw upon the muscular involvement, awareness of body position and tension

ex: pitcher throwing a ball

kinetic

images that draw upon physical movement

ex: baseball moving through the air to the batter

Thermal

images that draw upon sense of hot or cold

Time in literature

psychological time, event time, story time, description time, summary time, scene time, rhythmic time, silential time

Epichronic or mythic time

something not time bound, we can live above time.

anachronic or behind time

we can live in the past and past memories

synchronic or present time

we can live in the present

Metachronic or ahead of time

we wish to have something, we can live for the future

catachronic or below time

being held back by time, always have to do something, we can live below time, being weighed down by time

event time

the time it takes for the events of the narrative to occur

story time

the time it takes for the speaker to communicate the narrative

description time

the time it takes the speaker to communicate is longer than the time the events occurred

summary time

the time it takes for the speaker to communicate is shorter than the time it takes for the events to occur

scene time

the time it takes the speaker to communicate is the same as the time it takes for the event to occur

rhythmic time

manner in which life is performed, breathes, beat, flow

Characterological scilence

character’s inability to utter their thoughts and feelings

use gestures and facial expression to speak

situational silence

silence that falls upon people because of an event

structural silence

through punctuation and through arrangement of word units

certainties

undoubtedly exist, guaranteed, not implied

probabilities

implied but not explicitly stated, supported by evidence inferred from text, likely

Possibilities

neither proved nor disproved absolutely, could be not likely

modes of focus

open focus, closed focus, inner-closed focus, semi-closed focus

Open focus

performer addresses the audience directly, look into faces and speak to them, public speaking

closed focus

performer places the person whom they are addressing on stage, not acknowledge the audience, theater performance

inner-closed focus

performer is speaking to themselves

semi-close focus

performer chooses to address an absent, looking beyond the heads of the audience

poetic impulse

that desire to bring meaning through articulation about a moment or experience

indirection

for the expression to move us in a poetic way, the expression needs to make meaning through indirect means

primitiveness

for the expression to move us in a poetic way, it needs to make meaning in a fresh of novel way

compression

For the expression to move us in a poetic way, it needs to express its meaning in a concise, pithy and to the point. brief

manipulation of time

For the expression to move us in a poetic way, our experience of time is in some way altered. Time stops, moves swift, focus on past or present

Emotional Presses

Expression, Impression, depression, compression, suppression, repression, oppression

Expression

a sense of freedom and release

Impression

to place an impression or image to be remembered in the mind of the listener. ex: he is a worm

depression

crowded in, reveals a sense of emptiness and being weighed down, displaying mind

compression

concise, tied to gesture, nothing more can be said

Suppression

they must not speak, deliberately chooses not to reveal, halting speech, fear of self-disclosure

repression

unable to express because they don’t know how to express, holding in

oppression

doesn’t express because of presence or power of opposing force, awareness of opposing force, speaker is less powerful

Modes of address in poerty

lyric, dramatic, epic (pg 7)

Lyric

one speaker, persona is undefined, presence of I

Dramatic

voice is submerged beneath characters or character that speaks. present tense, speaker is defined

Epic

the discourse moves back and forth between narrator and characters.

Explain what performance as a “broad Spectrum” means to Richard Schechner and provide examples of different types of performance.

No performance is the same, there are many kinds of performance. Context will determine the type of performance. Ex: ballet recital, speaking at a protest

Define and give examples for Performance as a Way of Knowing

performing the words and behaviors of another person gives the researcher/performer insight into that person and his or her experiences that could not be revealed to the researcher or to an audience in any other manner

performing gives us more understanding. Close to method acting, but going to study in person the character, actors have more context of their character

role

what/who you are

context

what we need to know in order to act, interpretation in order to show how to perform what situation demands of us