Valencian Community PAU Dramatic Literature - independent theatre foundations cheat sheet

Theatrical language includes text, subtext, stage directions and double enunciation

Structure is driven by objective, obstacle and irreversible decision, not by act count

Dramatic irony depends on an information gap between audience and character

Genre is a contract defined by action, tone and ending

Dramatic time and scenic time are separate analytical categories

Greek theatre is tied to Dionysian festivals, masks, chorus and open-air performance

Commedia dell'arte uses scenario-based improvisation, lazzi and stock types; not every role wears a mask.

The Spanish Golden Age operates through corrales and Lope's Arte nuevo (1609)

Realism and naturalism are linked to the box set, the fourth wall and Stanislavski

Brecht, Artaud and Absurd-associated writers challenge different representational conventions; their purposes and methods are not identical.

The performance text includes all stage signs, not only the spoken dialogue

Dramaturgy analyses action, character, structure, genre and context

Stage directions are interpretable signs, not optional decoration

Version, transposition and adaptation are different operations

A staging choice must be justified by the text's function and its effect

Comedia does not always mean a purely comic plot.

Lope’s practice combines tonal variety, audience awareness and structured action.

Honor vocabulary and the gracioso require analysis in the actual text.

Segismundo’s ethical development connects power, uncertainty and responsibility.

Public, court and religious theatrical settings have distinct conventions.

Neoclassical, Romantic and realist labels describe tendencies that require textual evidence.

Moratín’s marriage conflict connects authority, education and constrained speech.

Romantic works differ in fate, rebellion and redemption rather than sharing one ending.

Subtext and ensemble relations matter in realist and Chekhovian analysis.

Detailed scenery alone does not establish naturalist determinism.

Lorca’s works have distinct conflicts; symbolism depends on textual and scenic context.

Esperpento is systematic grotesque deformation, not simply humorous realism.

Valle-Inclán’s stage directions can be literary and theatrical evidence.

A repeated setting across generations can reveal both continuity and change.

Documentary sources remain selected and arranged within a dramatic work.

Performance art foregrounds presence, body and duration

Site-specific work treats place as a partner in meaning-making

Devised and verbatim theatre change the source and authority of text

Postdramatic theatre decentres text in favour of simultaneity and media

New media raise questions of liveness, remediation and audience co-creation

Distinguish text evidence from production evidence.

Separate description, interpretation and evaluation.

Use context to illuminate close reading rather than replace it.

A persuasive judgment states criteria and considers an alternative.

A review, photograph or recording has a particular perspective and evidentiary limit.

Valencian drama requires attention to its actual language and regional theatrical context.

El verí del teatre examines representation, power and the demand for authenticity.

A fictional character’s assertion does not automatically certify an unseen outcome.

Metatheatre can arise from embedded performance and control over theatrical rules.

Current institutions and prescribed reading lists remain unverified.