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Literary nonsense (or nonsense literature) is a broad categorization of literature that balances elements that make sense with some that do not, with the effect of subverting language conventions or logical reasoning. [1] Even though the most well-known form of literary nonsense is nonsense verse, the genre is present in many forms of literature.
Drama is defined as a form of art in which a written play is used as basis for a performance. [1]: 63 Dramatic theory is studied as part of theatre studies. [2] Drama creates a sensory impression in its viewers during the performance. This is the main difference from both poetry and epics, which evoke imagination in the reader.
The individual words make sense and are arranged according to proper grammatical rules, yet the result is nonsense. The inspiration for this attempt at creating verbal nonsense came from the idea of contradiction and seemingly irrelevant and/or incompatible characteristics, which conspire to make the phrase meaningless, but are open to ...
[11] [12] [13] Drama, in the narrow sense, cuts across the traditional division between comedy and tragedy in an anti- or a-generic deterritorialisation from the mid-19th century onwards. Both Bertolt Brecht and Augusto Boal define their epic theatre projects ( non-Aristotelian drama and Theatre of the Oppressed , respectively) against models ...
Stream of consciousness is a literary method of representing the flow of a character's thoughts and sense impressions "usually in an unpunctuated or disjointed form of interior monologue." While many sources use the terms stream of consciousness and interior monologue as synonyms, the Oxford Dictionary of Literary Terms suggests that "they can ...
Give the audience a sense that if they just stay engaged for a very short time, they will see or know that which they desire. Emotional significance of anticipated events increases tension. The intensity of the tension is proportional to the emotional audience's (or character's) investment in the outcome.
The tradition of the ancients vividly affected our own early dramatists. Not only was the mystery plays and miracles of the Middle Ages begun by a homily, but when the drama in its modern sense was inaugurated in the reign of Elizabeth, the prologue came with it, directly adapted from the practice of Euripides and Terence.
A drama is then divided into five parts, or acts, which some refer to as a dramatic arc: exposition, rising action, climax, falling action, and catastrophe. Freytag extends the five parts with three moments or crises: the exciting force, the tragic force, and the force of the final suspense.