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According to Aristotle the tragic hero evokes our pity and terror if he is neither thoroughly good nor thoroughly evil but a mixture of both. The tragic effect is stronger if the hero is more moral than we are. The tragic hero suffers a change in fortune from happiness to misery because of a mistaken act which he performs due to his hamartia-'error of judgement'- one form of hamartia is hubris-'pride' which leads the tragic hero to ignore or violate a divine warning or moral law. The tragic hero evokes our pity becuase he is not evil and his misfortune is greater than he deserves, and he evokes our fear because we realize we are fallible and could make the same error. It would appear from Aristotle's definition that Oedipus could be described as a tragic hero.
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[ advertising space : webmaster ] BANNERS + POPUPS + LINKS Discussion Lists: Dramatic Literature Forum Character Development? Check the archives of the "Three Sisters" and "12th Night" Forums. Also, WWWilde Directory If you are an actor, forget about everything else, character is your prime responsibility! Because you have to turn in ROLE. In a conservatory schooling "Character Study" is usually a semester long class; in my classes I approach it from inside (Stanislavsky, Method Acting) and from outside (Biomechanics, Physical Theatre). When I staged "3 Sisters" by Chekhov, I made a page for each character in the play (it's my translation/adaptation and has less characters than the original). See Shows Directory. I will explain the chart "Drama: Character" later. For now, please, take a note of two kinds of text: primary and secondary (stage directions and etc.) Only in combinations of the two we can "read" the subtext! Fall 2003: THR413 * Playscript Analysis Textbook:  GeoAlaska: Theatre & Film if in class, must subscribe! groups.com/group/yahoo-cls-200x -- bookmark it! Back to THR200x syllabus Theory of Spectatorship DVD: Drama & Art House, Studio Specials & Classics, New & Future Releases, Cult Movies 
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anatoly @ google.com/coop (theatre)
Film w/Anatoly I & II: Directing + Theory
(c)2004 *
character-oriented plays:
2007 -- Stoppard
The femme fatale, La belle dame sans merci, the Black Widow, the beautiful, but evil woman who leads the hero to his doom.
The Fool: The fool is a clown or joker who speaks in riddles and puns. Often, the fool is intelligent and witty and reveals key truths about the characters he fools with (Shakespeare's fools, such as the ones in Twelfth Night and King Lear, are well-known examples).
The Mad Scientist: The insane man of science, who either accidentally or intentionally "meddles with the forces of nature" and causes the trouble which the hero must correct.
The Sidekick: the Hero's helper, Sancho Panza in Don Quixote, Dr. Watson in Sherlock Holmes.
The Outlaw: sometimes a cold-blooded desperado, but also often a gallant highwayman or a dashing thief after the manner of Robin Hood.
Noble -- *** :
... [ Being on a high intellectual or moral level: elevated, high-minded, moral. See high/low. ]
* Having or showing qualities of high moral character, such as courage, generosity, or honor: a noble spirit.
* Proceeding from or indicative of such a character; showing magnanimity: “What poor an instrument/May do a noble deed!” (Shakespeare).
Noble metal, metals that are resistant to corrosion or oxidation ...
Oh, a person! Like me!... Here where the IDENTIFICATION begins. I have to understand this guy Hamlet! What is he doing? Why? What's wrong with him? What are his problems? Is he crazy? Don't do it, man!...When we understand somebody, we become friends...
Plot:
According to Aristotle, the most important -- story could exist even without characters!"Most simply a character is one of the persons who appears in the play, one of the dramatis personae (literally, the persons of the play). In another sense of the term, the treatment of the character is the basic part of the playwright’s work. Conventions of the period and the author’s personal vision will affect the treatment of character."
Main Points
Comic and tragic hero: below or above average. (Aristotle)"Another common term in drama is protagonist. Etymologically, it means the first contestant. In the Greek drama, where the term arose, all the parts were played by one, two, or three actors (the more actors, the later the play), and the best actor, who got the principal part(s), was the protagonist. The second best actor was called the deuteragonist. Ideally, the term “protagonist” should be used only for the principal character. Several other characters can be defined by their relation to the protagonist. The antagonist is his principal rival in the conflict set forth in the play."
Inner conflict > Main character "Another type of character is the stereotype or stock character, a character who reappears in various forms in many plays."Modern drama: when character becomes a story (Chekhov), more in Playscript Analysis.
[ see ACTING directories: BioMethod, Biomechanics, Method Acting for Directors ]
Lesson #60 or 90 min1. review (previous class) 2. overview 3. new key terms & definitions 4. viewing film segments 5. issues & topics 6. questions, discussion, analysis 7. in class work 8. feedback 9. improv & games 10. reading 11. homework 12. online, journals 13. quiz
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Use dictionaries in the main directories on acting, directing, film analysis!
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What are the inner connections between Character, Idea and Plot?
Read Aristotle's Poetics.
Write about your favorite movie character.
Protagonist -- "agon" = struggle; the pro side of the struggle -- often used to refer to the lead character in a tragedy (174).
* Antagonist -- the anti side of the struggle -- often the bad guy, but could be anyone / thing that struggles against the protagonist (174).
* Foil / Counterpart: (174) reveals some aspects of the main characters by having similar or different circumstances or by behaving similarly or differently
* Stock characters -- (172). exemplify one particular characteristic, as in commedia dell' arte --
* Type -- a character who is larger than life who has a "dominant trait" -- as opposed to a "real" or life-like individual [Sporre, 95]. -- similar to "stock" characters -- for example: the "villain," the "good cop gone bad," the "precocious child," etc.
* Narrators / Chorus (173) and Non-Human characters
* Confidante -- a character whom the protagonist or other important character confides in
* Raisonneur / author's character -- speaks for the author, giving the author's morals or philosophy -- usually not the protagonist
(these last two are from Cameron and Gillespie, The Enjoyment of Theatre, 5th edition, [Boston: Allyn and Bacon, 2000], p. 49.) [ http://novaonline.nv.cc.va.us/eli/spd130et/playchar.htm ]
"The commedia dell’arte, a popular form of the late Middle Ages and early Renaissance, employed actors who had standard lines of business and improvised the particular action in terms of their established
characters and a sketchy outline of a plot."
@2001-2003 film-north filmplus.org: 2006 *
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Shrew slide show * * Use http://vtheatre.net to link to Virtual Theatre pages!
TERMS:
protagonist
antagonist
foil
stock characters
type
An online course supplement © Film-North * eCitations *
