1. Characters Explicit characterisation Presenting a character directly Authorial: in stage directions, telling names Character’s own description of him-/herself Comments by other characters (before, during, after entry; “gossip”) Implicit characterisation Presenting a character via similarities and contrasts to other characters Through the character’s way of speaking and acting

2. Semiotics of Theatre Actor Stage Verbal/Non VerbalVisual/Audial Durative = Do not ChangeND = Change

3. Information and Verbal Communication ‘Dramatic introduction’ (phatic) (clip- Endgame) ‘Exposition’ (referential- drama text, context) (clip – The Tempest) Can occur concurrently Isolated/Initial (separate from the action proper) (example Brecht Caucasian Chalk Circle) Integrated (part of the action proper) (clip Richard III) Analytical Drama – genre – Analysis of exposition is present throughout

4. Dialogue Functions and Fetaures Individual utterance Relationship to previous Preceding remarks Medium for Conflict Clarification of Opinions Exposition of the theme Wit

5. Monologue and Soliloquy Soliloquy – Character speaks to himself/herself in his or her lonely presence Clip Monologue – Characters speaks to himself/herself addressing others/ in the presence of others Clip Directed to speakers or audiences; not other chractars Obvious of artificiality, realistic dramas avoid them They can also serve as ‘exposition’ and ‘introduction’ of the drama.

6. Monologue and Dialogue Molonogical Dialogue One characters tries to dominate Disagreement expressed through long speech Dialogical Monologue Having a dialogue with absent character (Salieri addressing God)

7. Functions of Soliloquy Introduction Exposition Historical Information Self-charactarization Plans, Intentions (Arouse) Expectations

8. Aside Monological Aside - Richard III (one person) Dialogical Aside - The Tempest (a group) Aside ad spectators - addressing audience

9. Discrepant Awareness and Irony Congruent and Discrepant Awareness

10. Characters and Action Character (Fictive role played by the real human) Action (Example Hamlet and Richard III)  Abilities  Needs  Motivation  Intention (Key) Tragedy (External factors) Comedy (Misfiring opponents plans)

11. Examples: Units of Action – Introduction (Hamlet‘s sentinal and Ghost) – Development of the conflict (Hamelt‘s stange behavior, The Murder of Gonzago, uncle‘s guilt) – Tragic Descent (Hamlet to England) – Moment of delay (Hamelt kills Polonius) – Catastrophe (all dead)

12. Characters Dramatis Personae  Correspondences and contrast  Pairing: husband-wife, father-son, lover-beloved, master- servant  Character and confidant/e  Protagonist and antagonist Comedy; corresponding motive Tragedy; contrasting motive Function: one character serves as another’s foil in terms of similarities and differences

13. Style and Staging – Neoclassical (adhere to rules, independent of audience emotions) – Naturalistc (solicit audiences empathy) Theories of Characters – Realistic or Mimetic : True to life or imitate the latter – Strutuctalists :Characters as psychological entities or “actants” that help plot work (functional role)

14. Configuration and perspective – Perspective : Its own reality mediated through – a) level of knowledge; b) psychological deposition; c) ideological disposition Closed and Open

15. Dramatic figures: construction Static or dynamic character Individual and Type Flat or round character Transparent or opaque character

16. Techniques Figural and Authorial – Explicit characterization Presenting a character directly Authorial: in stage directions, telling names Character’s own description of him-/herself Comments by other characters (before, during, after entry; “gossip”) – Implicit characterization Presenting a character via similarities and contrasts to other characters Through the character’s way of speaking and acting (Every explicit characterization is also implicit)