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montage a technique used in filmmaking where a rapid sequence of images are used to illustrate a group of associated ideas; one after another; allow audience to make connections between images collage a composition consisting of multiple materials often associated with flat or 2D surfaces; intertwined pieces empathetic process sharing and understanding the feelings of another is a highly sophisticated mental process; Recognition - initiates process by recognizing the person's feelings as fully as possible and why they feel that way. 1st, 2nd, 3rd person. Credible, priveleged, central. Convergence - a listener and speaker come together. They form a union or bond projective or adjustive mental processes Adoption - adopt the stance of the other. The others feeling become firmly planted or solidified as one's own 1. Stereotypes 2. Conception of dispositional traits 3. Particular feature of the other stage 1 of conflict exposition- audience discovers who the characters are and what their relationships are; situation becomes clear and motivations are known stage 2 of conflict challenge- puts into motions the conflicting forces; characters take actions that disrupt the stability of the situation stage 3 of conflict rising action- here the characters confront heightened conflict as they pursue their distinct goals stage 4 of conflict crisis- the characters reach a turning point , a moment that makes the resolution of the conflict inevitable stage 5 of conflict climax- the culmination of all the elements of the conflict; highest point of intensity of the drama stage 6 of conflict resolution- drama relaxes into a new balance; the characters have played out all the elements of the conflict and the audience members feel that the conclusion satisfies their expectations. Yordon's compiled script structures 9 steps 1. choose the theme 2. narrow down the theme 3. decide on an assertion that inform all your other decisions 4. purpose of piece (entertain, confront, persuade, shock) 5. start to gather materials 6. arrange materials to focus toward your theme 7. eventual modal classification (lyric, dramatic, epic-mode scripts) 8. decide on structural format to link all of the pieces together 9. compiler divides the lines amongst people. 4 places to initiate movement head, chest, gut, groin Laban Efforts weight, time, space, flow weight light or heavy time quick or sustained space direct or indirect flow free or bound language as unified each aesthetic text is a completed whole; all parts come together to form a whole; tasks of listeners/speakers to amke parts of aesthetic text work together; unity is what speakers and listeners come to see as part of a given aesthetic text; speakers indicate to listeners how they intend their texts to be unified with 3 strategies 3 points of language as unified framing them as complete communicative; embedding them in a world of conventional understandings; presenting them in linguistic pattern language as expressive avoids the ordinary; it surprises, delights listeners; commands attention and is keenly felt; relies on sensuous, figurative, rhythmic, reflexive sensuous language appeals to listeners visual, auditory senses; listeners must remain alive ready to respond; listeners depend on their senses to bring to life images figures of speech tend to work by comparisons and associations; simile and metaphors; invites to make fresh connections rhythmic language repetition establishes rhythm which is a result of repeated pattern over time; expressive language plays on other rhythms-manipulating time reflexive language those that turn back on themselves- communication about communication; Allows listeners to look at themselves, examine actions, consider alternative behaviors oxymoron combo of contradictory terms; (icy hot) synecdoche names part of an object to designate them; (need some wheels means needs the car) hyperbole overstatement or exaggeration; (i have a ton of homework) understatement stating less than it indirectly suggests personification associates human qualities with nonhumans apostrophe speaker directly addresses absent person as if physically present allusions reference to persons, things, or events performance art used to describe the way artists use their bodies as a live medium of expression; text is usually generated by the performer body as text impact of bodies on artistry and everyday lives; reframing everyday acts for aesthetic consideration; interested in the relationship of their bodies to the other bodies in space; Intersubjectivity- claim that performers and audiences identities are woven together in complicated relationship what determines second person narrative An explicit "you" partakes of the events w/in the tale (May be manifested in "your wife" or "your brother" or indirectly implied "you" in "when the call comes, calm down") Two flexible "clocks" appear to be running at the same time w/in the story (Clock that times events of story and clock that times the narrator telling the story) 4 types of second person narrator Narrator may speak to someone not acting w/in the story who is written, or outside of, the situation being described Narrator addressing someone who is clearly acting and involved in the story Narrator addressing himself disguised as "you"- gives a confessional or highlight personal impression Impersonal "you" with little or no specificity How to identify speech phrases Punctuation - a comma, prevents eye from running ahead and mistaking the sense of the sentence 2. grammatical structures - constructing the sentence ex: subject, verb, direct object 3. need to make a mood or idea clear to an audience definition of performance studies the field that analyzes aesthetic communication through the act of performance no acting, but action all human communication is an act or performance and performance is an execution of an action;Motto of auto performance interdisciplinary a field of study that crosses traditional boundaries (woman studies and black history) dialogic engagement process in which an exchange of understanding occur between the performer and performed or the performer and the audience contingent structures composition structures - can be used when you do not want to emphasize logical or casual connections between phenomena. casual structure B happens because A happened: C happens because B happened, and so on. 3 points language as unified are built on Framing - statement that frames communicative act Ex: I'm serious go clean your room! ß its serious (context) Conventional understandings - verbal + non-verbal - but at beginning or end Ex: sign of cross, ends amen..lived happily ever after Familiar linguistic patterns - a joke ( a script) Ex: knock knock joke