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The dramatistic pentad forms the core structure of dramatism, a method for examining motivations that the renowned literary critic Kenneth Burke developed. Dramatism recommends the use of a metalinguistic approach to stories about human action that investigates the roles and uses of five rhetorical elements common to all narratives, each of which is related to a question.
Poetics is the earliest surviving Western work of dramatic theory. The earliest non-Western dramaturgic work is probably the Sanskrit work Natya Shastra (The Art of Theatre), written around 500 BCE to 500 CE, which describes the elements, forms, and narrative elements of the ten major types of ancient Indian drama. [11]
Story structure or narrative structure is the recognizable or comprehensible way in which a narrative's different elements are unified, including in a particularly chosen order and sometimes specifically referring to the ordering of the plot: the narrative series of events, though this can vary based on culture.
This is done through the five key elements of human drama – act, scene, agent, agency, and purpose. [6] The Pentad is a simple tool for seeing and understanding the complexity of a situation. It reveals the nuances and complications of language as symbolic action, which in turn, opens up our perspective. [21] Dramatism Pentad. Act: "What ...
A story structure, narrative structure, or dramatic structure (also known as a dramaturgical structure) is the structure of a dramatic work such as a book, play, or film. There are different kinds of narrative structures worldwide, which have been hypothesized by critics, writers, and scholars over time.
Drama is the specific mode of fiction represented in performance: a play, opera, mime, ballet, etc., performed in a theatre, or on radio or television. [1] Considered as a genre of poetry in general, the dramatic mode has been contrasted with the epic and the lyrical modes ever since Aristotle's Poetics (c. 335 BC)—the earliest work of dramatic theory.
Expressionism in theatre and drama has also experienced success in China and Spain. Notably, The Wilderness (play) by Cao Yu and Yama Zhao by Hong Shen were frequently produced in the 1920s and 1930s in China. Expressionism in Chinese theatre has recently experienced a resurgence in popularity since the 1980s. [7]
In dramaturgical sociology, it is argued that the elements of human interactions are dependent upon time, place, and audience. In other words, to Goffman, the self is a sense of who one is, a dramatic effect emerging from the immediate scene being presented. [3]