Reviewer by eba. Don’t share unless consented. 7.

ADVENTURE - when protagonist is put in challenging situations

8. FOLKTALES
LITERARY DEVICE technique that shapes narrative to produce an effect on a. fairy tale
the reader b. fable
c. tall tale
PLOT DEVICE object, character, or concept introduced into the story by d. legend
the author to introduce its plot e. Myth

FLASHING ARROW technique used to focus the readers, but not the DRAMA piece of writing presented through dialogue
characters attention on object or location
RED HERRING distract the reader's attention from the plot twists ELEMENTS OF DRAMA
DEATH TRAP device that the villain use to try to kill the protagonist 1. Characters
and satisfy his own desires 2. Setting
REVERSE CHRONOLOGY device wherein the story begins at the end 3. Plot
and works back toward the beginning 4. Dialogue
IN MEDIAS RES narrative starts from the middle instead of from its
beginning KINDS OF PLOT
1. Dramatic or progressive
VISION character shares with the readers vision of the past or the future to 2. Episodic
explain a character’s motives 3. Parallel plot
4. Flashback
DREAM SEQUENCE series of dreams which allows the characters to
see events that occur or have occurred in another time ELEMENTS OF PLOT
ANALEPSIS (FLASHBACK) prevents events from before the current 1. Exposition
time frame. Usually presented as character’s memories 2. Rising action
PROLEPSIS (FLASH FORWARD) presents events that will occur in the 3. Climax
future 4. Falling action
PROPHECY often used in science fiction to outline futuristic structure 5. Resolution / denouement
FORESHADOWING premonition, like a flash forward but only hints at
the future INTERTEXTUALITY inter - “mingle while weaving”

GENRES fulfill reader’s expectations TYPES OF INTERTEXTUALITY

COMMON FICTIONAL GENRES
1. FANTASY - imaginative but could never really happen
2. HISTORICAL - story taking place in historically accurate time and
setting
3. SCIENCE - typically set in future or other planets
4. MYSTERY - revolves around solving a crime or mystery
5. REALISTIC - seems real and could happen in real life
6. HORROR - provides eerie atmosphere to entertain audience
1. APPROPRIATION - text is adapted from original text
2. ALLUSION - allude to something so its referenced to another text
3. PARODY - funny interpretation of a text
4. QUOTATION - direct reference to another text
5. ADAPTATION - a film based on a written work
OTHERS
6. OBLIGATORY - writer invokes a comparison or association
between texts
 7. OPTIONAL - has less vital impact on the significance of hypertext 1. Set the scene
8. ACCIDENTAL - when readers connect text with another text, 2. Introduce character goals
based on his prior knowledge 3. Introduce obstacle to achievement of goals
9. PLAGIARISM - stealing another person’s work 4. Introduce disaster
5. Let characters react
ONE-ACT PLAY play that only has one act 6. Solve the story
CHARACTER personage in a narrative
- Main character ELEMENTS OF ONE-ACT PLAY
- Viewpoint character 1. THEME
SETTING time and place 2. PLOT
PLOT sequence of events that make up a story 3. CHARACTER
WAYS TO PRESENT A CHARACTER: 4. DIALOGUE
1. Through appearance
2. Through speech or dialogue TWIST ENDINGS result of a sudden reversal that prevents the outcome a
3. Through action character has been working towards
4. Through thoughts
REVELATION TWISTS
ANTAGONIST person opposing to someone 1. Mistaken identity
BACK-STORY information about a character’s past 2. Deceit
CRISIS when two or more forces confront each other 3. Misperception
DENOUEMENT period following the climax
DIALOGUE conversation between people EVENT TWISTS
EXPOSITION shows what happened previously 1. Accident
LOG LINE compelling one-two line description of a screenplay 2. Competing goals
MASTER SCENE all action and dialogue occurring in one scene
MACGUFFIN an object that moves a story forward PARTS OF A GREEK THEATER
PLOT POINT occurrence within a script when something happens to ORCHESTRA “dancing space” - level space where chorus will dance, sing,
change the direction in story and perform
SHOT DESCRIPTION description of action in scene THEATRON “viewing-place” - where spectators sat
SLUG LINE time and location of scene SKENE “tent” - building directly behind the stage
STORYBOARD sketches of a script’s scenes that director use PARODOS “passageways” - paths by which chorus made their entrance
SYNOPSIS summary of the script and exit
TREATMENT breakdown of story described in few pages
STASIMON in Greek tragedy is a stationary song, composed of
HOW MANY SCENES IN ONE ACT PLAY? strophes and antistrophes and performed by the chorus in the
- No minimal number of scenes orchestra
HOW LONG DOES ONE-ACT PLAY LAST? CHORUS a group of actors who described and commented upon the
- Fifteen minutes to an hour or more main action of a play with song, dance, and recitation.
HOW MANY CHARACTERS IN ONE-ACT PLAY?
- 1-4 characters DIFFERENT THEATER FORMS
WHAT IS ONE-ACT STRUCTURE?
GREEK STAGE round stage about 3 quarters surrounded by audience

MIDDLE AGES STAGE medieval plays were primarily performed during

religious festivities
MODERN STAGE proscenium or picture frame stage because it is shaped
in such a way the audience watch the play as a picture

RENAISSANCE ENGLAND STAGE elizabethan stage was typically found in

public theaters
MODERN THEATRE FORMS

ARENA THEATRES those that have audiences around four sides of the
stage

RESTORATION PERIOD STAGE while stage was closed in decorative frame,

there was still room for interaction by means of a minor stage jutting out
into the auditorium THRUST STAGE THEATRES those in which the stage thrusts out from one
side of the space in the midst of the audience
END STAGE THEATRES those that have an audience on only one side

DEFAMATION oral or written communication of a false statement about

another that unjustly harms their reputation and usually torts a crime
LIBEL form of defamation where the action or crime is making false
written and published statement.
E-LIBEL any written or spoken statement in cyber form
SLANDER form of defamation where the action is making false spoken
statement
FLEXIBLE STAGE THEATRES those that do not establish a fixed
relationship between the stage and the house

GOAL OF THEATER DESIGN: COMFORT

a. The art of theater in culture
b. The art of theater for the audience
1. Physical comfort
2. Social comfort

GIBB’s REFLECTIVE CYCLE by GRAHAM GIBSS (1988) offers a framework

of examining experiences and allow you to learn and plan from things that
either went well or did not go well