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Home , Dramatic structure

Drama

From the TEL Library: Literature and Western Civilization 2 | Literature and Western Civilization

Inquire Wat ching t he Dram a Unfold Overview

Scan the QR code below to access the lesson online.

Figure 1.1: A dark theater

You?re sitting in a dark theater, only vaguely aware of the stranger sitting next to you. Your attention is on the figures talking and moving across the stage or screen. There are two realities simultaneously at -- the one in which you are sitting with a group of strangers in a theater, and the other in which an alternate reality and story are unfolding. For the present moment, you have agreed to allow the alternate reality to be the primary focus of your attention.

All of us have experienced some version of this scenario. We go to a theater to watch a play or see a movie, or some other spectacle. When the lights go down, we willingly let ourselves be transported to another world. Of course, we don?t go alone. The other members of the go with us.

That?s part of the deal.

That?s part of the experience of .

In this lesson, we will explore the characteristics of drama, common dramatic structures, and the major types of drama.

Big Quest ion

What elements of a drama have the most profound impact on the viewing experience of the audience? Drama | 3

Wat ch So Much Dram a!

Scan the QR code below to watch the video online. The following text is an edited transcript from the video.

Even if you?ve never read or seen a work of drama, it?s not hard to guess what one of the central elements in these works of literature is. After all, who among us hasn't experienced drama in our lives at one time or another? And for that matter, who among hasn't wished for less drama in our lives at one point or another?

We can also guess what dramatic literature is by thinking about the vocabulary or turns of phrase that we and others use during dramatic periods in our lives and the lives of those around us.

?He made such a scene.?

?Quit acting and get real!?

?I?m trying to make a graceful exit.?

?I don?t need your direction.?

?It?s just a prop.?

Working from statements such as these, it?s easy to figure out that dramatic literature is a form of writing that features people acting out situations on a stage, with scenery and the help of a director. The purpose of all of this is to create a specific experience for an audience.

That?s a critical feature of dramatic literature. It is written to be performed, and to be experienced simultaneously by a group of people. This is different than or prose works, which are written to be consumed by individual readers.

Today, the most common form of the traditional, written drama is a movie script, and only a small percentage of people in Western society have not seen a movie or two.

Dramatic literature has its roots in the theater of Classical Greece, with the dramatic works ? both tragedy and ? of Aeschylus, , Euripides, and Aristophanes. Of course, 4 | Literature and Western Civilization

today, when most of the Western world thinks about dramatic literature and famous dramatists, they probably jump straight to the 16th and 17th centuries and the works of Shakespeare. This was the Golden Age of theater in Europe which, in addition to Shakespeare, featured prominent national playwrights such as Molière, Lope de Vega, and Calderón de la Barca. Through this period of its development, drama was written in poetic verse.

From this foundation, the form continued to develop in the 18th and 19th centuries, until we reached the beginnings of our modern theater, shaped, in part, by the contributions of the Norwegian dramatist and the German playwright Bertolt Brecht.

In spite of its many evolutions since the 5th century BCE, dramatic literature across the centuries shares a list of common elements that define the form.

Drama as literature is a written form. More specifically, it is written using dialogue between characters. In addition, this dialogue is written to be performed in front of an audience. Finally, dramatic works have common structures and development patterns, the principal of which is the or climactic resolution of the plot.

Think for a moment about the different plays you have seen or acted in. Think about all the movies you have watched. What aspect of drama has made the biggest impression on you? What part of this do you like best? Read A Shared Spect acle

When you sit in a theater with other people to watch a play or movie, you enter into an informal agreement with the people around you. Together, as an audience, you are agreeing to suspend reality for a time, and to accept the rules and conventions of the theater so that, collectively, you can enjoy a different reality.

This reality may be very much like yours, set in the current day with people who dress and speak like you, or it may represent a world that is entirely alien. Regardless of its similarity or differences, it is an artificial world: a spectacle imagined and performed by a writer, director, actors, and musicians.

spect acle: As you experience this spect acle, you are also agreeing to accept the rules all aspects of a dramatic and conventions set forth by the work that contribute to its sensory effects theater and the people creating the experience. In this way, you, as part of the audience, along with the people performing the spectacle, participate together in the construction of the work.

Figure 1.2: By watching a play or movie, you agree to join a different reality for a time Drama | 5

Charact erist ics of Dram a

The real-time, collective creation of spectacle is an important and distinguishing feature of audience: drama. In order to appreciate drama fully, it is helpful to understand all the characteristics that the group of people who define the genre. view, encounter, or Audience ? While drama is a written form of literature, it is written to be performed in front participate in drama of an audience. This certainly has an impact on the work of the writer, who must think about performance or other works of art communicating to a group of people rather than speaking privately to an individual reader. It also affects the reader and viewer of a work, as s/he also understands that the work is written t hem e: with an invisible, not-yet-present participant in mind -- the audience. When a drama is what the work is supposed performed, the audience -- its reception, responses, and interaction with the work -- becomes a to mean pivotal aspect of the work?s identity and meaning. st yle: dram a: Them e ? In every dramatic work, there is a plot, or what happens, and a , or what the the style of a literary work work is supposed to mean. The theme of a work may be stated clearly in the title or creates the moor or spirit demonstrated explicitly through a ?s actions or dialogue. The theme may also be of the work. In drama, revealed as a sum of actions expressed in the final outcome of the work. style is a combination of staging, direction, ion ? All works of drama require a or situation in which characters are bound. The language, and drama unfolds and gains meaning through the actions and interactions of these characters performance within their settings and situations. This dynamic is such a fundamental characteristic of drama that in works where there is little action or interaction, the absence of action is actually pat t ern: an important statement of meaning. the , St yle ? Plays (and movies) rely heavily on style to create the setting and experience of the style, and action work. The style of a work -- a combination of staging, direction, language, and performance -- associated with a creates the or spirit that the drama is intended to convey. Style helps the audience particular type of drama (play or movie) understand the desired of a play or the desired balance between and realism.

Pat t ern ? Different types of drama follow similar patterns or dramatic structures. Patterns Freyt ag's pyram id: are important because drama is a conventional form and the audience cannot participate the depiction of dramatic effectively if the rules are constantly broken. If audience members are unfamiliar with a work structure described by and unsure what to expect, the style and action will signal its pattern or structure. German playwright and Spect acle ? The spectacle in drama can involve all the aspects of scenery, costumes, and novelist Gustav Freytag; a special effects in a production -- the visual elements of the play created for a theatrical event. drama is divided into five parts, or acts: , These qualities are determined by the author and create the world and atmosphere for the rising action, climax, falling audience?s senses. action, and dénouement

Dram at ic St ruct ure exposit ion:

In the 19th century, German playwright and novelist Gustav Freytag wrote Die Technik des the introduction and background information , a study of dramatic structure, in which he laid out what is known as Freyt ag's presented at the beginning pyram id. According to Freytag, a drama is divided into five parts, or acts: exposition, rising of a literary work to provide action, climax, falling action, and dénouement. context for a reader or Exposit ion -- Works begin by introducing background information to the audience. This can audience include information about the setting, events occurring before the main plot, or major rising act ion: characters' . the series of events, Rising Act ion -- This section of the drama begins immediately after the exposition. In it, the presented after the playwright presents a series of events that builds toward the climax. As these events unfold, opening exposition, that the dramatic tension increases and the play becomes more exciting. builds toward a work's climax Clim ax -- The climax is the turning point of a dramatic work, the point at which the clim ax: ?s fate changes. the turning point of a dramatic work or story, the point at which a protagonist's fate changes 6 | Literature and Western Civilization

falling act ion: Falling Act ion -- In this part of a work, we see the events that result as a consequence of the climax. The between the protagonist and the unravels, with the the events and consequences that result protagonist winning or losing against the antagonist. from a work's climax Dénouem ent -- This section consists of a work?s final events, from the end of the falling dénouem ent : action to the final scene of the drama or narrative. In the Dénouement, conflicts are resolved, the final events of a which creates as sense of normality and for the characters. dramatic work or story, from the end of the falling action to the end, in which Reflect a resolution is presented and a sense of normality returns Dram at ic Im pact Poll

Which of the different characteristics of drama do you feel contributes most to the overall impact of a work?

- audience - theme - action - style - pattern - spectacle Expand

Types of Dram a

In addition to the basic characteristics of drama, it is also useful to know the basic types of drama. The list below is not intended to be exhaustive, but rather is designed to give a basic understanding of the major types of drama.

Tragedy -- Tragedy was t ragedy: one of the two original a dramatic work written play types of Ancient with serious themes and Greece. Tragedies are in a serious, often works written with elevated style serious themes -- death and disaster -- and in a serious, often elevated style. In a tragedy, things can and do go wrong, and there is resolution. The protagonist or must pay for it at great cost or sacrifice. In his , says that tragedy should first raise the emotions of pity and fear -- it does not create them; they Figure 1.3: Blind Oedipus commending his children to the gods Drama | 7

already exist -- and then purify or purge them for the spectators. An example of tragedy is Sophocles? Oedipus the King.

Tragedies follow some version of the tragic pattern:

? The work introduces a theme of fatal passion or emotion (excluding love) as a primary motive.

? The protagonist or hero is someone of high status and is presented as the center of the dramatic conflict. We often hear about this person from others before s/he makes an entrance.

? The hero possesses a critical weakness in his or her character. This is generally referred to as his or her tragic flaw (from the Greek ). Throughout a tragedy, we see the hero struggle with or obsess over this flaw.

? This flaw precipitates the work?s tragedy. As a work progresses, time and situations take on great urgency and increase potential for conflict.

? The hero, because of his or her flaw, misreads situations, which bring about increased conflict. This results in the hero?s suffering, alienation, or death.

? After the tragic event(s), order is generally restored.

Com edy -- Comedy was the second of the two original play types in . Comedies com edy: are designed to be humorous, and are lighter in tone than other works of drama. Writers of designed to be humorous comedy want their to laugh and, therefore, fill their works with witty remarks, and are lighter in tone unusual characters, and strange circumstances. An example of comedy is William than other works of drama Shakespeare?s Much Ado About Nothing. farce: Farce -- Farce is a type of comedy that is generally nonsensical, and features a story, characters, and situations that are exaggerated to the point of improbability. The situation a type of comedy that is generally nonsensical, and often begins with a highly improbable premise but, when it is accepted, everything that follows features a story, becomes completely logical. Farces tend to be fast moving and use theatrical devices such as characters, and situations duplications, reversals, repetitions, surprises, disguises, chance encounters, and often many that are exaggerated to doors and closets. An example of farce is Oscar Wilde?s The Importance of Being Ernest. the point of improbability Sat ire -- A satire provides political or social commentary by viewing current events and people sat ire: through a comic lens. An example of a satire is Aristophanes' Lysistrata. provides political or social Melodram a -- A is a play in which the characters are presented as stereotypes commentary by viewing rather than individuals. The current events and people through a comic lens story and situations of a melodrama are generally m elodram a: exaggerated to the point of a play in which the improbability. Language and characters are presented emotion in these works are as stereotypes rather than over-emphasized to create individuals. The story and emotional responses from the situations of a melodrama audience. Today, melodrama are generally exaggerated survives mostly in television to the point of forms such as soap operas improbability and Latin American t ragicom edy: telenovelas. features the sincerity and Tragicom edy -- A tragicomedy earnestness of tragedy, features the sincerity and but without the inevitability of impending earnestness of tragedy, but disaster, or the tolerant without the inevitability of attitude of comedy impending disaster, and the without its underlying Figure 1.4: The trial scene from Shakespeare's The Merchant of Venice spirit of humor 8 | Literature and Western Civilization

kindly and tolerant attitude of comedy without its underlying spirit of humor. Tragicomedies use tense situations and moments of extreme conflict, but the tragedy is averted and transcended. An example of tragicomedy is ?s The Merchant of Venice. hist orical dram a: Hist orical Dram a -- These plays can be tragedies, comedies, or some combination, and are distinguished by their focus on actual historical events. The historical drama was popularized can be tragedies, comedies, or a by William Shakespeare, with works such as Henry V and Richard III. combination, and are distinguished by their focus on actual historical Explore events If I Could Go See a Play Tonight ...

New York City is a mecca for theater lovers. From classical works to contemporary, experimental theater, you can see pretty much anything on a given night.

With that in mind, let?s pretend that you have arrived in the city and want to see a performance tonight. You don?t really keep up with theater, so you look at The New York Times newspaper to see what?s playing.

On Broadway

Off-Broadway and Off-Off-Broadway

You also check out the listings in New York Magazine.

New York Magazine: Theater

After reading about different plays, you choose one and begin getting ready. Which one did you choose? Why? What was your thought or decision-making process? What are your expectations about the play?

Record your notes from this explanation as a journal entry. Discuss My Life (as a Dram a)

Have you ever thought about what kind of drama someone might write about your life (as you?ve lived it so far)? Would it be a comedy? A melodrama, perhaps? A farce? Maybe a tragedy?

Give the idea some thought. When you?ve decided what kind of drama might best reflect your life to date -- or at least a specific slice of your life -- explain your choice and describe briefly what the play would be like for the audience.

Share your answer, along with specific examples in the discussion forum below. In addition, please comment on the contributions of at least two other participants. Check Your Know ledge

Based on the information presented in this lesson, select the most appropriate answer from the choices provided. Drama | 9

1. When you watch a play, you are doing what regarding the other members of the audience? a. Turning off your cell phone b. Agreeing to suspend reality for a time c. Clapping to show your appreciation for the actors d. Agreeing not to talk during the performance

2. Dramatic literature has its roots in _____. a. comedy b. patterns c. the theater of Classical Greece d. the of Gilgamesh

3. In a tragedy, the hero... a. is destined to overcome the antagonist. b. possesses a critical weakness or flaw in his or her character. c. generally finds support from the gods or other supernatural forces. d. is exaggerated and often presented as a stereotype.

4. Gustav Freytag wrote Die Technik des Dramas, a study of dramatic structure, in which he laid out what is known as ______. a. Freytag?s pyramid b. Freytag?s ladder c. Freytag?s five stages of drama d. Freytag?s twist

(1) b, (2) c, (3) b, (4) a Glossary audience ? The group of people who view, encounter, or participate in drama performance or other works of art. t hem e ? what the work is supposed to mean clim ax ? The turning point of a dramatic work or story, the point at which a protagonist?s fate changes. com edy ? Comedies are designed to be humorous and are lighter in tone than other works of drama. Writers of comedy want their audiences to laugh and, therefore, fill their works with witty remarks, unusual characters, and strange circumstances. dénouem ent ? The final events of a dramatic work or story, from the end of the falling action to the end, in which a resolution is presented and a sense of normality returns. exposit ion ? The introduction and background information presented at the beginning of a literary work to provide context for a reader or audience. falling act ion ? The events and consequences that result from a work?s climax. 10 | Literature and Western Civilization

farce ? A type of comedy that is generally nonsensical, and features a story, characters, and situations that are exaggerated to the point of improbability.

Freyt ag?s pyram id ? The depiction of dramatic structure described by German playwright and novelist Gustav Freytag. According to Freytag, a drama is divided into five parts, or acts: exposition, rising action, climax, falling action, and dénouement.

m elodram a ? A melodrama is a play in which the characters are presented as stereotypes rather than individuals. The story and situations of a melodrama are generally exaggerated to the point of improbability.

pat t ern ? A pattern is the dramatic structure, style, and action associated with a particular type of drama (play or movie). Conventional patterns help audience members know what to expect from a work.

rising act ion ? The series of events, presented after the opening exposition, that builds toward a work?s climax.

sat ire ? A satire provides political or social commentary by viewing current events and people through a comic lens.

spect acle ? Spectacle includes all aspects of a dramatic work that contribute to its sensory effects: costumes, scenery, the gestures of the actors, the sound of the music, and the resonance of the actors' voices. Aristotle, in his Poetics, listed spectacle as one of the six components of tragedy.

st yle: dram a ? The style of a literary work creates the moor or spirit of the work. In drama, style is a combination of staging, direction, language, and performance.

t ragedy ? A dramatic work written with serious themes -- death and disaster -- and in a serious, often elevated style. In a tragedy, things can and do go wrong, and there is resolution. The protagonist or tragic hero must pay for it at great cost or sacrifice.

t ragicom edy ? A tragicomedy features the sincerity and earnestness of tragedy, but without the inevitability of impending disaster, or the kindly and tolerant attitude of comedy without its underlying spirit of humor.

hist orical dram a ? Historical dramas can be tragedies, comedies, or a combination, and are distinguished by their focus on actual historical events. Toolbox

Resource 1 Title: Six Aristotelian Elements of a Play Resource 1 URL: https://www.bellevuecollege.edu/artshum/materials/drama/Hoffman /101SIXARISTOAPLAYspr03.asp Resource 1 Author/Creator: Bonnie Hoffman Resource 1 Description: A list of the six elements of a play described by Aristotle in his Poetics. Resource 1 Length:

Resource 2 Title: Drama Resource 2 URL: https://literarydevices.net/drama/ Resource 2 Author/Creator: Literary Devices Resource 2 Description: A description of drama and a breakdown on its different types with Drama | 11

examples. Resource 2 Length:

Resource 3 Title: The Characters Start Talking: Playwrights 2011 (Working In The #397)

Resource 3 URL: https://www.youtube.com/watch?v=TSlVSYoqQAs&list=PL263DeMAg

ZdAppT9jBrAm8fknfQUfhT68

Resource 3 Author/Creator:American Theater Wing

Resource 3 Description: The panel of playwrights - Annie Baker, Rinne Groff, Karen Hartman and Alfred Uhry - talk about their writing process; the role of the dramaturg; writing adaptations; collaborating with directors; whether they have a specific actor in mind when they're writing; and how they see the role of the playwright in theatre today.

Resource 3 Length: 57:56 Learning Object ives

List and define the characteristics of drama.

Describe the dramatic structure presented in Freytag?s pyramid.

Identify major types of drama. Lit eracies and Com pet encies

Int erpersonal Lit eracy: Knowing how to understand, relate to, and interact with other people across a broad spectrum of personal and professional contexts.

Creat ivit y Com pet ency: Ability to imagine and devise new, innovative ways of addressing problems, answering questions or expressing meaning through the application, synthesis or repurposing of knowledge. At t ribut ions

Figure 1.1: ?Disused Cinema? by Felix Mooneeram is licensed under CC0. https://unsplash.com/search/photos/theater?photo=evlkOfkQ5rE

Figure 1.2: "Wells Theatre Norfolk Virginian? is licensed under CC0. https://pixabay.com/en/wells-theatre-norfolk-virginian-210914/

Figure 1.3: ?The Blind Oedipus Commending his Children to the Gods? by Bénigne Gagneraux is in the public domain. https://commons.wikimedia.org/wiki/File:B%C3%A9nigne_Gagneraux,_The_Blind_Oedipus_

Commending_his_Children_to_the_Gods.jpg

Figure 1.4: ?Trial Scene from ?The Merchant of Venice?? by Rex Whistler is in the public domain. https://commons.wikimedia.org/wiki/File:Rex_Whistler_-_Trial_Scene_from_%27The_

Merchant_of_Venice%27_1925.jpg