My hope

Oleh

"kebaikan citra diri seseorang terikat erat dengan kesempurnaan akhlaknya, bahwa keagungan pribadi terkait dengan keagungan budi pekertinya Sedang Akhlak adalah refleksi dari apa yang ada dalam pikiran seseorang"



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drama

Oleh
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FREYTAG'S PYRAMID :  A diagram of dramatic structure, one which shows complication and emotional tension rising like one side of a pyramid toward its apex, which represents the climax of action. Once the climax is over, the descending side of the pyramid depicts the decrease in tension and complication as the drama reaches its conclusion and denouement . A sample chart is available to view. Freytag designed the chart for discussing tragedy , but it can be applied to many kinds of fiction. FREYTAG'S TRIANGLE : Another term for Freytag's Pyramid (see above). Freytag's Pyramid
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drama

Oleh
a theme is the central topic, subject, or concept the author is trying to point out, not to be confused with whatever message, moral, or commentary it may send or be interpreted as sending regarding said concept (i.e., its inferred "thesis"). While the term "theme" was for a period used to reference "message" or "moral," literary critics now rarely employ it in this fashion, [ citation needed ] namely due to the confusion it causes regarding the common denotation of theme: "[t]he subject of discourse, discussion, conversation, meditation, or composition; a topic." The play version of Susan Glaspell's "A Jury of Her Peers" is called Trifles . What do both titles suggest about the theme? Suspense is a feeling of uncertainty and anxiety about the outcome of certain actions, most often referring to an audience's perceptions in a dramatic work. Suspense is not exclusive to fiction, though. Suspense may ...
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drama

Oleh
Dramatic structure   History In his Poetics the Greek philosopher Aristotle put forth the idea that "'ολον δε εστιν το εχον αρχην και μεσον και τελευτην" (1450b27) ("A whole is what has a beginning and middle and end"(1450b27)). [ 1 ] This three-part view of a plot structure (with a beginning, middle, and end – technically, the protasis , epitasis , and catastrophe ) prevailed until the Roman drama critic Horace advocated a 5-act structure in his Ars Poetica : "Neue minor neu sit quinto productior actu fabula" (lines 189-190) ("A play should not be shorter or longer than five acts"). [ 2 ] After falling into disuse, Renaissance dramatists revived the use of the 5-act structure. In 1863, around the time that playwrights like Henrik Ibsen were abandoning the 5-act structure and experimenting with 3 and 4-act plays, the German playwright and novelist Gustav Freytag wrote Die Technik des Dramas , a definitive study of the 5-...
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