3430 Day 8
Structure Continued…


Dialogue—sounding real--even in an absurdist piece we suspend our disbelief (until the Alienation Effect happens, or until some artifice, like too timely letters, foregrounds the act of structuring)

Where does realism “fail”?  Where do absurdist works do a better, or more “realistic” job?



Lee's Lecture Notes:

Monologues can have depth and breadth and length like Leguizamos full length memoir, Freak (start; breaks the 4th wall at 39), or Eve Ensler's series of monologues, The Vagina Monologues (start with interviews and what would you call it)

Character Disection questions for your Interview Subject NP p. 113+

Today's Lecture--Thinking about Genre Codes for film and theater and how they can be thwarted

Roland Barthes' Text of Pleasure vs. Texts of Bliss

One or two of your monologues: character details? neuroses? thematic premeses?

"Iphegenia in Orem:" is the character sympathetic? could we be him? point out lines that build his character (the way he tries not to be sexist with the woman he's talking to, but he's still a sexist)...and what's the premise?




A reaction to Romanticism, or the Romantics is… Realism/Naturalism: A Doll’s House;

Everything in a play being in the service of character, of plot, of premise: Six Degrees 26min. Catcher in the Rye as a defense for murder--everyone's a phony (and so are the characters in Six Degrees? But does this overt thematizing hit us over the head too much?)

High points or revelations in Bash's Iphegenia? pp. 26-27...Is he a protagonist? Antagonist? A black hat? Why or why not? Is his story believable?

Assignment?? A "Freytag's Triangle" event grid (see NP ch. 3 p. 75, and my ch. 3 notes) for A Doll's House--in other words, fill in the Naked Playwriting "event" grid (or character action/emotion grid) with what you think most corresponds to the events/moments/ideas.  Try to also compare different versions of the play if you have those at your fingertips. You can also talk about how the version you are looking at violates or fulfills some of the traditional event grid elements.  See my grid notes on Six Degrees for more ideas (and questions that might help you fill in your own grid). Post to Canvas Discussions.

1. High vs. low concepts (action vs. character); foreground vs. background
2. Arthur Miller on structure: "The structure of a play is always the story of how the birds came home to roost."
4. Joseph Campbell's Monomyth structure (; a summary of the monomyth of the hero; All Sci-Fi movies follow the hero monomyth; 
5. Northrop Frye's 4 Mythoi structures (are they still valid for texts of bliss or more contemporary literatures?)

6. Realism as construct (the desire for "authenticity" combined with the fantasy of epiphany and problem solving)

7. Lee's -ism lecture...
8. A Doll's House penultimate scene; ending

--climax and The Short and Curlies (1988)

--in class: the start of "Iphegenia in Orem" from Bash