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Anagnorisis - Wikipedia
"Anagnorisis ( /ˌænəɡˈnɒrɨsɨs/; Ancient Greek: ἀναγνώρισις) is a moment in a play or other work when a character makes a critical discovery. Anagnorisis originally meant recognition in its Greek context, not only of a person but also of what that person stood for. It was the hero's sudden awareness of a real situation, the realisation of things as they stood, and finally, the hero's insight into a relationship with an often antagonistic character in Aristotelian tragedy."
culture  writing  language  literature  realization  anagnorisis  aristotle  plays  drama  theater  discovery  insight  definitions  greek  via:rodcorp 
june 2011 by robertogreco
BPS Research Digest: Other people may experience more misery than you realise
"most of us have such a tendency to underestimate other people's experience of negative emotion. In turn the researchers think this skewed perception perpetuates a collective delusion in which we all strive to present an unrealistically happy front because we think that's the norm…

The important finding here was that the students consistently underestimated their peers' experience of negative events (by an average of 17 per cent) whilst slightly over-estimating their peers' experience of positive situations (by 5.6 per cent)…

A fascinating implication of this research is that it could help explain the popularity of tragic art, be that in drama, music or books. 'In fictional tragedy, people are given the opportunity to witness "the terrible things in life" that are ordinarily "played out behind the scenes",' the researchers said (quoting Checkhov), 'which may help to depathologise people's own negative emotional experiences.'"
happiness  perception  emotions  tragedies  fiction  psychology  drama  music  books  peers  collectivedelusion  misery 
january 2011 by robertogreco
Caterina Fake: WikiLeaks and Free at the New Museum
"Pervading the show is this sense of how the 'data' tells us something, but fails to capture the human drama, the story, the suffering, the lived lives behind the info gathered & arranged. Images of people caught on Google Maps "streetview" appear in Jon Rafman's work, Martijn Hendrik shows texts of people responding to video of Saddam Hussein execution; Joel Holmberg asks earnest questions on Yahoo! Answers – all show the gap btwn the impassive data-gathering technology, human inputs & the strange hybrid that is result of those interactions. The final quote in Magid's Becoming Tarden is from Jerzy Kosinski's Cockpit:

"All that time & trouble, & still the record is a superficial one: I see only how I looked in the fraction of a second when the shutter was open. But there's no trace of the thoughts & emotions that surrounded that moment. When I die & my memories die with me, all that will remain will be 1000s of yellowing photographs & 35mm negatives in my filing cabinets."
art  media  free  news  wikileaks  information  data  emotion  meaning  internet  flickr  googlestreetview  photography  jonrafman  julianassange  2010  caterinafake  experience  perception  feeling  drama  human  suffering  detachment  humandrama  streetview  lostintherecord  colddata  interpretation  jerzykosinski  laurencornell  jillmagid  lisaoppenheim 
december 2010 by robertogreco
How social media is shaping the arts in Australia
"From backstage status updates to an opera libretto, the arts are learning to be creative with social media, writes Elissa Blake."
arts  culture  twitter  socialmedia  socialnetworking  performance  drama  theater  ballet  future  tcsnmy  classideas 
july 2010 by robertogreco
David Mamet's Master Class Memo to the Writers of The Unit | Movieline
"THE JOB OF THE DRAMATIST IS TO MAKE THE AUDIENCE WONDER WHAT HAPPENS NEXT. NOT TO EXPLAIN TO THEM WHAT JUST HAPPENED, OR TO*SUGGEST* TO THEM WHAT HAPPENS NEXT.

ANY DICKHEAD, AS ABOVE, CAN WRITE, “BUT, JIM, IF WE DON’T ASSASSINATE THE PRIME MINISTER IN THE NEXT SCENE, ALL EUROPE WILL BE ENGULFED IN FLAME”

WE ARE NOT GETTING PAID TO REALIZE THAT THE AUDIENCE NEEDS THIS INFORMATION TO UNDERSTAND THE NEXT SCENE, BUT TO FIGURE OUT HOW TO WRITE THE SCENE BEFORE US SUCH THAT THE AUDIENCE WILL BE INTERESTED IN WHAT HAPPENS NEXT.

YES BUT, YES BUT YES BUT YOU REITERATE.

AND I RESPOND FIGURE IT OUT.

HOW DOES ONE STRIKE THE BALANCE BETWEEN WITHHOLDING AND VOUCHSAFING INFORMATION? THAT IS THE ESSENTIAL TASK OF THE DRAMATIST. AND THE ABILITY TO DO THAT IS WHAT SEPARATES YOU FROM THE LESSER SPECIES IN THEIR BLUE SUITS.

FIGURE IT OUT."
advice  writing  tv  television  screenwriting  storytelling  filmmaking  film  fiction  drama  creativity  davidmamet  howto  teaching  information  leading  leadership  tcsnmy 
march 2010 by robertogreco
Futurelab - VISION magazine - 'Hands-on' learning
"In today’s shifting education climate, few people would assert that a teacher standing in front of a class is the only, or even the most, effective way of helping children to learn. Encouraged by the government to pursue a more “creative” curriculum, in both primary and secondary schools, teachers are exploring different ways of developing independent learners, creative thinkers and able team-workers. A participatory approach to learning is increasingly coming to the fore, where the whole class works as a team and the teacher learns alongside the pupils, taking the role of a guide or facilitator, while pupils take responsibility for important aspects of decision making."
creativity  teaching  schools  handson  projectbasedlearning  drama  participatory  studentdirected  student-led  collaboration  tcsnmy  lcproject  pbl 
december 2009 by robertogreco
THE NEW HYPERDRAMA
"How hypertext scripts are changing the parameters of dramatic storytelling"
chalesdeemer  hyertext  writing  drama  theater  plays 
december 2007 by robertogreco
What is Hypertext by Charles Deemer - Copyright 1994
"How is a non-linear script read within the confining format of textual pages arranged in numerical order? Without knowing it (I had never heard the term before), I was having my first experience with "hypertext.""
hypertext  plays  drama  writing  chalesdeemer  1994  theater 
december 2007 by robertogreco
The Last Song of Violeta Parra: a hyperdrama in one act by Charles Deemer [1996]
"Playwright's Note: This script was written for and in collaboration with Andres Espejo and his company Prisma, in Santiago, Chile. Both the English and Spanish versions (translated by Andres Espejo) of the play are available online (see below)."
drama  plays  theater  scripts  hypertext  chile  violetaparra  chalesdeemer  writing  1996 
december 2007 by robertogreco
Boston Review — Saul [on Chico Buarque]
"Arguably Brazil’s most cherished living artist,...our culture has too little imagination to accommodate a composer-lyricist who is also a playwright and novelist of note, no frame of reference for an artist who has learned equally from Carnival and Kaf
culture  music  brasil  literature  drama  brazil 
september 2007 by robertogreco

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