2.4: Learning Check and Chapter References
- Page ID
- 375446
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\(\newcommand{\avec}{\mathbf a}\) \(\newcommand{\bvec}{\mathbf b}\) \(\newcommand{\cvec}{\mathbf c}\) \(\newcommand{\dvec}{\mathbf d}\) \(\newcommand{\dtil}{\widetilde{\mathbf d}}\) \(\newcommand{\evec}{\mathbf e}\) \(\newcommand{\fvec}{\mathbf f}\) \(\newcommand{\nvec}{\mathbf n}\) \(\newcommand{\pvec}{\mathbf p}\) \(\newcommand{\qvec}{\mathbf q}\) \(\newcommand{\svec}{\mathbf s}\) \(\newcommand{\tvec}{\mathbf t}\) \(\newcommand{\uvec}{\mathbf u}\) \(\newcommand{\vvec}{\mathbf v}\) \(\newcommand{\wvec}{\mathbf w}\) \(\newcommand{\xvec}{\mathbf x}\) \(\newcommand{\yvec}{\mathbf y}\) \(\newcommand{\zvec}{\mathbf z}\) \(\newcommand{\rvec}{\mathbf r}\) \(\newcommand{\mvec}{\mathbf m}\) \(\newcommand{\zerovec}{\mathbf 0}\) \(\newcommand{\onevec}{\mathbf 1}\) \(\newcommand{\real}{\mathbb R}\) \(\newcommand{\twovec}[2]{\left[\begin{array}{r}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\ctwovec}[2]{\left[\begin{array}{c}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\threevec}[3]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\cthreevec}[3]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\fourvec}[4]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\cfourvec}[4]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\fivevec}[5]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\cfivevec}[5]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\mattwo}[4]{\left[\begin{array}{rr}#1 \amp #2 \\ #3 \amp #4 \\ \end{array}\right]}\) \(\newcommand{\laspan}[1]{\text{Span}\{#1\}}\) \(\newcommand{\bcal}{\cal B}\) \(\newcommand{\ccal}{\cal C}\) \(\newcommand{\scal}{\cal S}\) \(\newcommand{\wcal}{\cal W}\) \(\newcommand{\ecal}{\cal E}\) \(\newcommand{\coords}[2]{\left\{#1\right\}_{#2}}\) \(\newcommand{\gray}[1]{\color{gray}{#1}}\) \(\newcommand{\lgray}[1]{\color{lightgray}{#1}}\) \(\newcommand{\rank}{\operatorname{rank}}\) \(\newcommand{\row}{\text{Row}}\) \(\newcommand{\col}{\text{Col}}\) \(\renewcommand{\row}{\text{Row}}\) \(\newcommand{\nul}{\text{Nul}}\) \(\newcommand{\var}{\text{Var}}\) \(\newcommand{\corr}{\text{corr}}\) \(\newcommand{\len}[1]{\left|#1\right|}\) \(\newcommand{\bbar}{\overline{\bvec}}\) \(\newcommand{\bhat}{\widehat{\bvec}}\) \(\newcommand{\bperp}{\bvec^\perp}\) \(\newcommand{\xhat}{\widehat{\xvec}}\) \(\newcommand{\vhat}{\widehat{\vvec}}\) \(\newcommand{\uhat}{\widehat{\uvec}}\) \(\newcommand{\what}{\widehat{\wvec}}\) \(\newcommand{\Sighat}{\widehat{\Sigma}}\) \(\newcommand{\lt}{<}\) \(\newcommand{\gt}{>}\) \(\newcommand{\amp}{&}\) \(\definecolor{fillinmathshade}{gray}{0.9}\)- A playwright creates a “blueprint for action.” How does this idea expand or complicate your previous understanding of authorship, and how might your thinking continue to evolve as you encounter more collaborative or collective forms of theatre-making?
- Several structures are presented. Which dramatic structure—Freytag’s Pyramid, jo-ha-kyū, rasa theory, feminist and postmodern forms—feels most familiar or unfamiliar to you, and what might you gain by experimenting with a structure that challenges your habits of storytelling?
- The chapter reframes global playwriting history as marked by loss, colonization, and anonymity. How does this perspective shift your understanding of whose stories “count,” and how might you continue to question inherited theatrical canons in your own studies?
- Conflict and change are central to story. Where do you see these forces at work in your own life or community, and how might developing your awareness of conflict and transformation strengthen your analytical or creative skills?
- In the case study of Sovereignty, theatre serves as a political and legal intervention, not solely entertainment. How does this challenge your assumptions about what theatre can do, and what steps could you take to more deeply explore theatre’s potential as a tool for cultural memory, critique, or change?
Chapter References
Punchdrunk. (2025) “Sleep No More.” Available at: https://www.punchdrunk.com/work/sleep- no-more-new-york/.
Blackman, A.M. and H.W. Fairman (1942-1944) “The Myth Of Horus At Edfu II : The Triumph of Horus Over His Enemies, A Sacred Drama.” The Journal of Egyptian Archaeology. (Dec) Vols. 28-30.
Boal, A. (1993) Theatre of the Oppressed. TCG.
Johnson, O. (2009) “Unspeakable Histories: Terror, Spectacle, and Genocidal Memory.” Modern Language Quarterly. Vol. 70, No. 1, 97-116. https://doi.org/10.1215/00267929- 2008-031
Komparu, K. (1984) The Nōh Theater: Principles and Perspectives. Weatherhill.
Freytag, G. (1900) Technique of the Drama: An Exposition of Dramatic Composition and Art. Elias J. MacEwan, trans. Scott, Foresman and Company.
Ghosh, M. trans. (1950) Nāṭyaśāstra: A Treatise on Hindu Dramaturgy and Histrionics Ascribed to Bharata Muni. Royal Asiatic Society of Bengal.
Hartsoe, S. (2021) “A New York City Mystery.” TikTok. Available at: https://www.youtube.com/shorts/36hxmcJnfns.