La descarga está en progreso. Por favor, espere

La descarga está en progreso. Por favor, espere

Explain one of these quotes in your own words Show me a hero and I will write you a tragedy. F. Scott Fitzgerald (1896 - 1940) A single death is a tragedy,

Presentaciones similares


Presentación del tema: "Explain one of these quotes in your own words Show me a hero and I will write you a tragedy. F. Scott Fitzgerald (1896 - 1940) A single death is a tragedy,"— Transcripción de la presentación:

1 Explain one of these quotes in your own words Show me a hero and I will write you a tragedy. F. Scott Fitzgerald ( ) A single death is a tragedy, a million deaths is a statistic. Joseph Stalin ( ) Explique una de estas citas en sus propias palabras Muéstreme un héroe y le escribiré una tragedia. F. Scott Fitzgerald ( ) Una muerte sola es una tragedia, un millón de muertes es una estadística. Joseph Stalin ( )

2 Genres Géneros

3 TragedyTragedy ComedyComedy MelodramaMelodrama TragicomedyTragicomedy Drama is divided into four basic categories, called genres. El drama es dividido en cuatro categorías básicas, llamadas géneros El drama es dividido en cuatro categorías básicas, llamadas géneros. TragediaTragedia ComediaComedia MelodramaMelodrama TragicomediaTragicomedia

4 TragedyTragedia Tragedy / Tragedia The world is a tragedy to those who feel, but a comedy to those who think. Horace Walpole (1717 – 1797) The world is a tragedy to those who feel, but a comedy to those who think. Horace Walpole (1717 – 1797)

5 Tragedy serious, complete, and of a certain magnitude. Tragedia seria, completo, y de a cierta magnitud. Tragedy is serious by nature in its theme and deals with profound problems. These profound problems are universal when applied to the human experience. Tragedy is serious by nature in its theme and deals with profound problems. These profound problems are universal when applied to the human experience. La tragedia es seria en la naturaleza en su tema y trata con problemas profundos. Estos problemas profundos son universales cuando aplicado a la experiencia humana.

6 In classical tragedy we find a protagonist at the center of the drama that is a great person, usually of upper class birth. He is a good man that can be admired, but he has a tragic flaw, a hamartia, that will be the ultimate cause of his down fall. This tragic flaw is most often too much pride or hubris. En la tragedia clásica encontramos un protagonista en el centro del drama que es una gran persona, por lo general del nacimiento de clase alta. Él es un hombre bueno que puede ser admirado, pero él tiene un defecto trágico, un hamartia, que será la causa última de su a la baja de la caída. Este defecto trágico es el más a menudo demasiado orgullo o el orgullo.

7 The protagonist always learns, usually too late, the nature of his flaw and his mistakes that have caused his downfall. He becomes self-aware and accepts the inevitability of his fate and takes full responsibility for his actions. The protagonist always learns, usually too late, the nature of his flaw and his mistakes that have caused his downfall. He becomes self-aware and accepts the inevitability of his fate and takes full responsibility for his actions. El protagonista siempre aprende, por lo general demasiado tarde, la naturaleza de su defecto y sus errores que han causado su perdición. Él se hace consciente de sí mismo y acepta la inevitabilidad de su destino y toma la responsabilidad llena de sus acciones.

8 There must be a cause and effect relationship from the beginning through the middle to the end (or final catastrophe). It must be logical in the conclusion of the necessary outcome. There must be a cause and effect relationship from the beginning through the middle to the end (or final catastrophe). It must be logical in the conclusion of the necessary outcome. Debe haber una causa y relación de efecto del principio al medio al final (o catástrofe final). Debe ser lógico en la conclusión del resultado necesario.

9 Tragedy will involve the audience in the action and create tension and expectation. It will arouse pity and fear in the audience for the protagonist. With the climax and final end the audience will have learned a lesson and will be uplifted and enlightened. La tragedia implicará al auditorio en la acción y creará la tensión y la expectativa. Esto despertará la compasión y temerá en el auditorio por el protagonista. Con el punto culminante y el final de final el auditorio habrá aprendido una lección y será elevado y aclarado.

10

11 Comedy Good taste is the enemy of comedy. Mel Brooks ( ) Comedy is simply a funny way of being serious. Peter Ustinov ( ) El gusto bueno es el enemigo de comedia. Mel Brooks (1926-) Mel Brooks (1926-) La comedia es simplemente un modo gracioso de ser seria. Peter Ustinov ( ) Peter Ustinov ( )

12 Comedy should be physical and energetic. Comedy should be physical and energetic. It is tied up in rebirth and renewal. The comic devices used by playwrights of comedy are: exaggeration, incongruity, surprise, repetition, wisecracks, and sarcasm. sarcasm. La comedia debería ser física y enérgica. Es amarrado en renacimiento y renovación. Los dispositivos cómicos usados por dramaturgos de la comedia son: exageración, incongruencia, sorpresa, repetición, chistes, y sarcasmo.

13 The behavior of the characters presented in comedy is ludicrous and sometimes absurd and the reaction in the audience is one of correction of behaviors. The behavior of the characters presented in comedy is ludicrous and sometimes absurd and the reaction in the audience is one of correction of behaviors. The audience learns dont behave in ludicrous and absurd ways. The audience learns dont behave in ludicrous and absurd ways. El comportamiento de los carácteres presentados en la comedia es absurdo y a veces absurdo y la reacción en el auditorio es una de la corrección de comportamientos. El auditorio aprende no se comportan de modos absurdos y absurdos.

14

15 Melodrama

16 Melodrama differs from tragedy significantly, in that; forces outside of the protagonist cause all of the significant events of the plot. Melodrama differs from tragedy significantly, in that; forces outside of the protagonist cause all of the significant events of the plot. The protagonist is usually a victim of circumstance. The protagonist is usually a victim of circumstance. El melodrama se diferencia de la tragedia considerablemente, en esto; las fuerzas fuera del protagonista causan todos los acontecimientos significativos del complot. El protagonista es por lo general una víctima de circunstancia.

17 In melodrama we have clearly defined character types with good guys and bad guys identified. Melodrama has a sense of strict moral judgment. In melodrama we have clearly defined character types with good guys and bad guys identified. Melodrama has a sense of strict moral judgment. All issues presented in the plays are resolved in a well- defined way. The good characters are rewarded and the bad characters are punished in a means that fits the crime. All issues presented in the plays are resolved in a well- defined way. The good characters are rewarded and the bad characters are punished in a means that fits the crime. In melodrama we have clearly defined character types with good guys and bad guys identified. Melodrama has a sense of strict moral judgment. In melodrama we have clearly defined character types with good guys and bad guys identified. Melodrama has a sense of strict moral judgment. All issues presented in the plays are resolved in a well- defined way. The good characters are rewarded and the bad characters are punished in a means that fits the crime. All issues presented in the plays are resolved in a well- defined way. The good characters are rewarded and the bad characters are punished in a means that fits the crime.

18

19 Tragi-comedy Tragicomedy is the most life like of all of the genres. Tragicomedy is the most life like of all of the genres. It is non-judgmental and ends with no absolutes. It is non-judgmental and ends with no absolutes. It focuses on character relationships and shows society in a state of continuous flux. It focuses on character relationships and shows society in a state of continuous flux. There is a mix of comedy and tragedy side by side in these types of plays. La tragicomedia es la mayor parte de vida como de todos los géneros. Es no crítico y se termina sin absolutos. Esto se concentra en relaciones de carácter y muestra la sociedad en un estado del flujo continuo. Hay una mezcla de comedia y tragedia lado al lado en estos tipos de juegos.

20

21 Architecture

22 Architecture is one part science, one part craft and two parts art. David Rutten La arquitectura es una ciencia de parte, un arte de parte y dos arte de partes. David Rutten David Rutten

23 Theatron: (literally, "viewing- place") where the spectators sat. The theatron was usually part of hillside overlooking the orchestra, and often wrapped around a large portion of the orchestra. Theatron: (literalmente, "lugar de inspección") donde los espectadores se sentaron. El theatron era por lo general la parte de la ladera que pasa por alto la orquesta, y a menudo se abrigaba alrededor de una parte grande de la orquesta.

24 Orchestra: (literally, "dancing space") was normally circular. It was a level space where the chorus would dance, sing, and interact with the actors who were on the stage near the skene. The earliest orchestras were simply made of hard earth, but in the Classical period some orchestras began to be paved with marble and other materials. The orchestra of the theater of Dionysus in Athens was about 60 feet in diameter. Orquesta: (literalmente, "el baile del espacio") era normalmente la circular. Esto era un espacio de nivel donde el coro bailaría, cantaría, y se relacionaría con los actores que estaban en la etapa cerca del skene. Las orquestas más tempranas fueron simplemente hechas de la tierra difícil, pero en el período Clásico algunas orquestas comenzaron a ser pavimentadas con el mármol y otros materiales. La orquesta del teatro de Dionysus en Atenas era aproximadamente 60 pies en diamete

25 Skene: (literally, "tent") the building directly behind the stage. The skene was directly in back of the stage, and was usually decorated as a palace, temple, or other building, depending on the needs of the play. It had at least one set of doors, and actors could make entrances and exits through them. There was also access to the roof of the skene from behind, so that actors playing gods and other characters could appear on the roof, if needed. Skene: (literalmente, "tienda de campaña") el edificio directamente detrás de la etapa. El skene estaba directamente en la espalda de la etapa, y era por lo general decorado como un palacio, templo, u otro edificio, según las necesidades del juego. Esto tenía al menos un juego de puertas, y los actores podrían hacer entradas y salidas por ellos. Había también el acceso a la azotea del skene de, de modo que los actores que juegan a dioses y otros carácteres pudieran aparecer en la azotea, de ser necesario

26 Parodos: (literally, "passageways") the paths by which the chorus and some actors (such as those representing messengers or people returning from abroad) made their entrances and exits. The audience also used them to enter and exit the theater before and after the performance. Parodos: (literalmente, "callejones") los caminos por los cuales el coro y algunos actores (como aquellos mensajeros de representación o la gente que devuelve del extranjero) hicieron sus entradas y salidas. El auditorio también los usó para entrar y salir el teatro antes y después de la interpretación.

27 Important Authors SophoclesOedipus Rexwrote tragedies, won many contests AristophanesThe Clouds, Lysistrata comic satire, low-brow humor Aeschylus-- The Oresteiarival to Sophocles, only existing trilogy EuripidesMedeamore melodramatic than other writers Sófocles-Edipo Rex- escribió tragedias, ganó mucha competiciónSófocles-Edipo Rex- escribió tragedias, ganó mucha competición Aristófanes las Nubes, sátira Lysistrata-cómica, humor incultoAristófanes las Nubes, sátira Lysistrata-cómica, humor inculto Esquilo - el Oresteia-rival a Sófocles, trilogía sólo existenteEsquilo - el Oresteia-rival a Sófocles, trilogía sólo existente EuripidesMedeamore melodramático que otros escritoresEuripidesMedeamore melodramático que otros escritores Dramaturgos Importantes

28 Staging a play Greek plays were performed as part of religious festivals in honor of the god Dionysus, and unless later revived, were performed only once.Greek plays were performed as part of religious festivals in honor of the god Dionysus, and unless later revived, were performed only once. Greek plays were performed in an outdoor theaterGreek plays were performed in an outdoor theater were almost always performed by a chorus and three actors who used maskswere almost always performed by a chorus and three actors who used masks Los juegos griegos fueron realizados como la parte de festivales religiosos en honor a Dios Dionysus, y a menos que más tarde no reanimado, fueron realizados sólo una vez.Los juegos griegos fueron realizados como la parte de festivales religiosos en honor a Dios Dionysus, y a menos que más tarde no reanimado, fueron realizados sólo una vez. Los juegos griegos fueron realizados en un teatro al aire libreLos juegos griegos fueron realizados en un teatro al aire libre casi siempre eran realizados por un coro y tres actores que usaron máscarascasi siempre eran realizados por un coro y tres actores que usaron máscaras

29 Staging a play Plays were funded by the polis, and always presented in competition with other plays, and were voted either the first, second, or third (last) place.Plays were funded by the polis, and always presented in competition with other plays, and were voted either the first, second, or third (last) place. Tragedies almost exclusively dealt with stories from the mythic past (there was no "contemporary" tragedy)Tragedies almost exclusively dealt with stories from the mythic past (there was no "contemporary" tragedy) Comedies almost exclusively with contemporary figures and problems.Comedies almost exclusively with contemporary figures and problems. Los juegos fueron financiados por el polis, y siempre presentados en el concurso con otros juegos, y fueron votados primer, segundos, o tercero (último) lugar.Los juegos fueron financiados por el polis, y siempre presentados en el concurso con otros juegos, y fueron votados primer, segundos, o tercero (último) lugar. Las tragedias casi exclusivamente trataron con historias del pasado mítico (no había ninguna tragedia "contemporánea")Las tragedias casi exclusivamente trataron con historias del pasado mítico (no había ninguna tragedia "contemporánea") Comedias casi exclusivamente con figuras contemporáneas y problemas.Comedias casi exclusivamente con figuras contemporáneas y problemas.

30 Roman Drama Adopted all aspects of Greek DramaAdopted all aspects of Greek Drama Eliminated the chorus expanding the number of actorsEliminated the chorus expanding the number of actors Showed violence onstageShowed violence onstage Used music to underscore the complete playUsed music to underscore the complete play Created closet dramas (plays meant to be read, not performed)Created closet dramas (plays meant to be read, not performed) Adoptado todos los aspectos de Drama griegoAdoptado todos los aspectos de Drama griego Eliminado el coro que amplía el número de actoresEliminado el coro que amplía el número de actores Mostró la violencia en escenaMostró la violencia en escena Música usada para subrayar el juego completoMúsica usada para subrayar el juego completo Los dramas de armario creados (los juegos pensaron ser leídos, no realizado)Los dramas de armario creados (los juegos pensaron ser leídos, no realizado)

31

32


Descargar ppt "Explain one of these quotes in your own words Show me a hero and I will write you a tragedy. F. Scott Fitzgerald (1896 - 1940) A single death is a tragedy,"

Presentaciones similares


Anuncios Google