1-the structure of drama-intro

8/3/2019 1-The Structure of Drama-Intro

http://slidepdf.com/reader/full/1-the-structure-of-drama-intro 1/75

CHAPTER FIVE:CHAPTER FIVE:THE STRUCTURE OFTHE STRUCTURE OF

DRAMADRAMA

CHAPTER FIVE:CHAPTER FIVE:THE STRUCTURE OFTHE STRUCTURE OF

DRAMADRAMA

Introduction to Theatre Arts Introduction to Theatre Arts

The Stage and the School The Stage and the School

Introduction to Theatre Arts Introduction to Theatre Arts

The Stage and the School The Stage and the School



FOCUS QUESTIONSFOCUS QUESTIONS What are the narrative essentials of a writtenWhat are the narrative essentials of a written

play?play?

What influence has Aristotle had on drama?What influence has Aristotle had on drama?

How does modern drama differ fromHow does modern drama differ from

traditional drama?traditional drama?

What does the exposition of a play reveal?What does the exposition of a play reveal?

What are the narrative essentials of a writtenWhat are the narrative essentials of a writtenplay?play?

What influence has Aristotle had on drama?What influence has Aristotle had on drama?

How does modern drama differ fromHow does modern drama differ from

traditional drama?traditional drama?

What does the exposition of a play reveal?What does the exposition of a play reveal?



FOCUS QUESTIONSFOCUS QUESTIONS

How is a plot divided into parts?How is a plot divided into parts?

How do playwrights create characters?How do playwrights create characters?

What is the theme of a play?What is the theme of a play?

How do playwrights use dialogue, action, andHow do playwrights use dialogue, action, and

situation?situation?

How is a plot divided into parts?How is a plot divided into parts?

How do playwrights create characters?How do playwrights create characters?

What is the theme of a play?What is the theme of a play?

How do playwrights use dialogue, action, andHow do playwrights use dialogue, action, and

situation?situation?



VOCABULARYVOCABULARY

Protagonist

ExpositionAtmosphere

Mood

SituationPlot

Antagonist

Protagonist

ExpositionAtmosphere

Mood

SituationPlot

Antagonist

Preliminary Situation

Denouement Soliloquy

Theme

MoralDialogue

Action

Preliminary Situation

Denouement Soliloquy

Theme

MoralDialogue

Action



The play is the central element of theThe play is the central element of the

art of theater.art of theater.

It is brought to life by the actors;It is brought to life by the actors;

expressed through the media of color,expressed through the media of color,

light, and movement against alight, and movement against a

background of stage and scenery; andbackground of stage and scenery; and

unified by the creative vision of theunified by the creative vision of the

director.director.

The play is the central element of theThe play is the central element of the

art of theater.art of theater.

It is brought to life by the actors;It is brought to life by the actors;

expressed through the media of color,expressed through the media of color,

light, and movement against alight, and movement against a

background of stage and scenery; andbackground of stage and scenery; and

unified by the creative vision of theunified by the creative vision of the

director.director.



A play has four narrativeessentials:

Exposition

Plot

CharactersTheme

A play has four narrativeessentials:

Exposition

Plot

CharactersTheme



These four elements areThese four elements arecommunicated through thecommunicated through the

dialogue and action of a drama.dialogue and action of a drama.

The way the playwright arrangesThe way the playwright arranges

and presents these four narrativeand presents these four narrativeessentials is the structure of theessentials is the structure of the

play.play.

These four elements areThese four elements arecommunicated through thecommunicated through the

dialogue and action of a drama.dialogue and action of a drama.

The way the playwright arrangesThe way the playwright arranges

and presents these four narrativeand presents these four narrativeessentials is the structure of theessentials is the structure of the

play.play.



Whatever the future structure ofWhatever the future structure of

drama may be, the plays that willdrama may be, the plays that will

survive will be those that revealsurvive will be those that revealthe heights and depths of humanthe heights and depths of human

experience and serve as anexperience and serve as an

uplifting and creative force inuplifting and creative force in

civilization.civilization.

Whatever the future structure ofWhatever the future structure of

drama may be, the plays that willdrama may be, the plays that will

survive will be those that revealsurvive will be those that revealthe heights and depths of humanthe heights and depths of human

experience and serve as anexperience and serve as an

uplifting and creative force inuplifting and creative force in

civilization.civilization.



An early attempt to identify the

basic principles of playwriting

came from the Greek philosopher

Aristotle (384-322 B.C.) in the

Poetics.

An early attempt to identify the

basic principles of playwriting

came from the Greek philosopher

Aristotle (384-322 B.C.) in the

Poetics.

TRADITION ANDINNOVATION IN DRAMATRADITION ANDINNOVATION IN DRAMA



As part of his discussion of tragedy,Aristotle describes what heconsidered to be the key elements

to a successful play.

Aristotle stresses that drama is an

imitation of life, that we learnthrough imitation, and thatlearning something is the greatestpleasure in life.

As part of his discussion of tragedy,Aristotle describes what heconsidered to be the key elements

to a successful play.

Aristotle stresses that drama is an

imitation of life, that we learnthrough imitation, and thatlearning something is the greatestpleasure in life.



ARISTOTLE·S KEYELEMENTS OF A PLAYARISTOTLE·S KEYELEMENTS OF A PLAY

Spectacle (the visible part of a play)

Sound (the audible part of a play) Diction (language/word choice)

Character (a person in a play)

Reasoning (the way speech is used to present allaspects of the play, including the production of

emotions such as pity, terror, and anger)

Plot (the action and events of a play)

Spectacle (the visible part of a play)

Sound (the audible part of a play) Diction (language/word choice)

Character (a person in a play)

Reasoning (the way speech is used to present allaspects of the play, including the production of

emotions such as pity, terror, and anger)

Plot (the action and events of a play)



Aristotle also points out that

human happiness or misery takes

the form of action.

He therefore identifies plot as themost important element in a play.

Aristotle also points out that

human happiness or misery takes

the form of action.

He therefore identifies plot as themost important element in a play.



it must be complete in itself, with a

distinct beginning, middle, and end.

events must occur in logical order and

must reach a plausible conclusion.

it must be complete in itself, with a

distinct beginning, middle, and end.

events must occur in logical order and

must reach a plausible conclusion.

Aristotle maintained thatthe action must have

unity:

Aristotle maintained thatthe action must have

unity:



the actions and speech of the

protagonist must be believable as

well.

the protagonist(s) should be

´average or betterµ persons who

experience happiness or misery as aresult of their reactions to the

situations of the plot.

the actions and speech of the

protagonist must be believable as

well.

the protagonist(s) should be

´average or betterµ persons who

experience happiness or misery as aresult of their reactions to the

situations of the plot.



the resolution of the action in a

tragedy should purge theemotions of the audience

through pity and fear and

reveal a universal truth.

the resolution of the action in a

tragedy should purge theemotions of the audience

through pity and fear and

reveal a universal truth.



Aristotle·s theories gradually

came to be considered rules,and these rules have been

applied through the years by

many dramatists.

Aristotle·s theories gradually

came to be considered rules,and these rules have been

applied through the years by

many dramatists.



Although Aristotle only calls forunity of action and briefly

mentions unity of time, the French

and Italian neoclassicists of thesixteenth century set up rules

requiring the use of three unities:

Time

Action

Place

Although Aristotle only calls forunity of action and briefly

mentions unity of time, the French

and Italian neoclassicists of thesixteenth century set up rules

requiring the use of three unities:

Time

Action

Place



These new rules demanded thata play should consist of one

action that occurs in one place

within one twenty-four hourperiod.

The three unities becameessential in French classical

tragedy.

These new rules demanded thata play should consist of one

action that occurs in one place

within one twenty-four hourperiod.

The three unities becameessential in French classical

tragedy.



Later playwrights began todisregard many of the

traditional rules.

Later playwrights began todisregard many of the

traditional rules.



There was a tradition, forThere was a tradition, for

example, for all plays to beexample, for all plays to be

divided into three to five acts.divided into three to five acts.The climax came at the end ofThe climax came at the end of

the second act in threethe second act in three--actact

plays and at the end of theplays and at the end of the

third act in fivethird act in five--act plays.act plays.

There was a tradition, forThere was a tradition, for

example, for all plays to beexample, for all plays to be

divided into three to five acts.divided into three to five acts.The climax came at the end ofThe climax came at the end of

the second act in threethe second act in three--actact

plays and at the end of theplays and at the end of the

third act in fivethird act in five--act plays.act plays.



Now many plays consist of one orNow many plays consist of one or

two parts or of several scenes withtwo parts or of several scenes with

a single intermission or ,a single intermission or ,occasionally, no intermission at all.occasionally, no intermission at all.

This change affected what, forThis change affected what, formany years, had been accepted asmany years, had been accepted as

the traditional plot structure.the traditional plot structure.

Now many plays consist of one orNow many plays consist of one or

two parts or of several scenes withtwo parts or of several scenes with

a single intermission or ,a single intermission or ,occasionally, no intermission at all.occasionally, no intermission at all.

This change affected what, forThis change affected what, formany years, had been accepted asmany years, had been accepted as

the traditional plot structure.the traditional plot structure.



Another trend in recent years isAnother trend in recent years is

that playwrights· styles havethat playwrights· styles havebeen influenced by the type ofbeen influenced by the type of

stage for which a play isstage for which a play is

intended.intended.

Another trend in recent years isAnother trend in recent years is

that playwrights· styles havethat playwrights· styles havebeen influenced by the type ofbeen influenced by the type of

stage for which a play isstage for which a play is

intended.intended.



Today the open stage is increasinglyToday the open stage is increasingly

used. Unlike the proscenium arch,used. Unlike the proscenium arch,

which strictly separates thewhich strictly separates the

audience from the actors, the openaudience from the actors, the openstagesstages³³ the arena and the thrustthe arena and the thrust

stagestage³³ eliminate the principle ofeliminate the principle of

aesthetic distance (the reminderaesthetic distance (the reminderthat a play is a play and notthat a play is a play and not

reality).reality).

Today the open stage is increasinglyToday the open stage is increasingly

used. Unlike the proscenium arch,used. Unlike the proscenium arch,

which strictly separates thewhich strictly separates the

audience from the actors, the openaudience from the actors, the openstagesstages³³ the arena and the thrustthe arena and the thrust

stagestage³³ eliminate the principle ofeliminate the principle of

aesthetic distance (the reminderaesthetic distance (the reminderthat a play is a play and notthat a play is a play and not

reality).reality).



NARRATIVE ESSENTIALS:NARRATIVE ESSENTIALS:EXPOSITIONEXPOSITIONNARRATIVE ESSENTIALS:NARRATIVE ESSENTIALS:EXPOSITIONEXPOSITION

As soon as possible after a playAs soon as possible after a play

begins, the audience must know:begins, the audience must know:

what kind of play is being presented.what kind of play is being presented.

where and when it is taking place.where and when it is taking place.

who the leading characters are.who the leading characters are.

in what situations and conflicts thein what situations and conflicts the

characters find themselves.characters find themselves.

As soon as possible after a playAs soon as possible after a play

begins, the audience must know:begins, the audience must know:

what kind of play is being presented.what kind of play is being presented.

where and when it is taking place.where and when it is taking place.

who the leading characters are.who the leading characters are.

in what situations and conflicts thein what situations and conflicts the

characters find themselves.characters find themselves.



These facts constitute the

literary setting.

The process of making these

facts apparent to the audienceis called the exposition.

These facts constitute the

literary setting.

The process of making these

facts apparent to the audienceis called the exposition.



Playwrights know thatPlaywrights know that

exposition is necessary, but atexposition is necessary, but atthe same time they realize thatthe same time they realize that

information without action isinformation without action is

often uninteresting.often uninteresting.

Playwrights know thatPlaywrights know that

exposition is necessary, but atexposition is necessary, but atthe same time they realize thatthe same time they realize that

information without action isinformation without action is

often uninteresting.often uninteresting.



A skillfully written exposition is

brief and unobtrusive.

It tells the where, when, why,

and who in a subtle way.

A skillfully written exposition is

brief and unobtrusive.

It tells the where, when, why,

and who in a subtle way.



Today the time and the place

are usually clearly printed in

the program.

However, sometimes a

playwright has a character

state the facts instead.

Today the time and the place

are usually clearly printed in

the program.

However, sometimes a

playwright has a character

state the facts instead.



Shakespeare did this many times

because he had no scenery toshow the place and no programs

to supply the information.

Shakespeare did this many times

because he had no scenery toshow the place and no programs

to supply the information.



The exposition also establishes the

atmosphere and the mood of the

play.

Atmosphere is the environment of

the play, largely created by stagingand lighting.

The various tempos of speech andmovement and the choice of

language also contribute to the

atmosphere.

The exposition also establishes the

atmosphere and the mood of the

play.

Atmosphere is the environment of

the play, largely created by stagingand lighting.

The various tempos of speech andmovement and the choice of

language also contribute to the

atmosphere.



The atmosphere helps bring out

the feelings that create the

mood , or emotional feeling ofthe play.

The characters, setting, lighting,and dialogue all help bring out

the mood.

The atmosphere helps bring out

the feelings that create the

mood , or emotional feeling ofthe play.

The characters, setting, lighting,and dialogue all help bring out

the mood.



The audience should be able to

identify the mood at the start

of the play.

The mood of a play is subject to

change or reversal as the play

progresses.

The audience should be able to

identify the mood at the start

of the play.

The mood of a play is subject to

change or reversal as the play

progresses.



The most important part of the

exposition is the preliminarysituation , sometimes called the

antecedent action.

The most important part of the

exposition is the preliminarysituation , sometimes called the

antecedent action.



The preliminary situation is a clearly

defined explanation of events that

have occurred in the lives of theleading characters before the action

of the play begins.

These events place the characters in

the situation in which we find them

at the beginning of the play.

The preliminary situation is a clearly

defined explanation of events that

have occurred in the lives of theleading characters before the action

of the play begins.

These events place the characters in

the situation in which we find them

at the beginning of the play.



Playwrights use various devices tohandle the exposition of thepreliminary situation.

The most common technique is tohave minor characters bring theaudience up-to-date.

More original methods are the use ofprologues, telephone conversations,narrators, and ingenious scenic

effects.

Playwrights use various devices tohandle the exposition of thepreliminary situation.

The most common technique is tohave minor characters bring theaudience up-to-date.

More original methods are the use ofprologues, telephone conversations,narrators, and ingenious scenic

effects.



NARRATIVE ESSENTIALS:

PLOT

NARRATIVE ESSENTIALS:

PLOT

The plot of the play is the series of

related events that take placebefore the audience.

It is the development andresolution of the major conflict.

The plot of the play is the series of

related events that take placebefore the audience.

It is the development andresolution of the major conflict.



In literature there is usually a

problem facing the protagonist.

From that problem a conflict

arises between the protagonist

and the antagonist , the person

or force opposing the

protagonist.

In literature there is usually a

problem facing the protagonist.

From that problem a conflict

arises between the protagonist

and the antagonist , the person

or force opposing the

protagonist.



The problem might be a clash ofwills or wits.

It might be a psychological strugglebetween phases of the

protagonist·s personality and the

environment.

It might be a battle between

groups with ideological differences.

The problem might be a clash ofwills or wits.

It might be a psychological strugglebetween phases of the

protagonist·s personality and the

environment.

It might be a battle between

groups with ideological differences.



Whether physical, mental, orWhether physical, mental, or

emotional, the conflictingemotional, the conflictingelements must give rise toelements must give rise to

suspense and then be resolvedsuspense and then be resolved

in some manner.in some manner.

Whether physical, mental, orWhether physical, mental, or

emotional, the conflictingemotional, the conflictingelements must give rise toelements must give rise to

suspense and then be resolvedsuspense and then be resolved

in some manner.in some manner.



The plot usually unfolds in severalstages. They are:

Preliminary SituationInitial Incident

Rising Action

Climax

Falling Action

Conclusion

The plot usually unfolds in severalstages. They are:

Preliminary SituationInitial Incident

Rising Action

Climax

Falling Action

Conclusion



PLOT STRUCTURE:

RISING ACTION

PLOT STRUCTURE:

RISING ACTION

This is the first important eventfrom which the rest of the plot

develops. It will make the

audience wonder what willhappen next.

This is the first important eventfrom which the rest of the plot

develops. It will make the

audience wonder what willhappen next.



PLOT STRUCTURES:PLOT STRUCTURES:

RISING ACTIONRISING ACTION


RISING ACTIONRISING ACTION

This is the series of events followingThis is the series of events following

the initial incident. All or nearly allthe initial incident. All or nearly allof the important characters areof the important characters are

introduced, and the goals andintroduced, and the goals and

obstacles facing the protagonists areobstacles facing the protagonists arerevealed then. A series of situationsrevealed then. A series of situations

develops from the conflict to lift thedevelops from the conflict to lift the

level of interest.level of interest.

This is the series of events followingThis is the series of events following

the initial incident. All or nearly allthe initial incident. All or nearly allof the important characters areof the important characters are

introduced, and the goals andintroduced, and the goals and

obstacles facing the protagonists areobstacles facing the protagonists arerevealed then. A series of situationsrevealed then. A series of situations

develops from the conflict to lift thedevelops from the conflict to lift the

level of interest.level of interest.



PLOT STRUCTURES:CLIMAX

PLOT STRUCTURES:CLIMAX

This the turning point of theaction. It is the moment of

intense crisis that determines

the outcome of the conflict. Itis at this point that the problem

is solved.

This the turning point of theaction. It is the moment of

intense crisis that determines

the outcome of the conflict. Itis at this point that the problem

is solved.



PLOT STRUCTURES:

FALLING ACTION

PLOT STRUCTURES:

FALLING ACTION

This is the series of events following

the climax. It is usually shorterthan the rising action. The

incidents must be significant. This

is where the playwright ties up allthe loose ends and starts to bring

everything together.

This is the series of events following

the climax. It is usually shorterthan the rising action. The

incidents must be significant. This

is where the playwright ties up allthe loose ends and starts to bring

everything together.



PLOT STRUCTURES:

CONCLUSION

PLOT STRUCTURES:

CONCLUSION

This is the logical outcome ofThis is the logical outcome ofthe preceding action: thethe preceding action: the

success or failure, happiness orsuccess or failure, happiness or

sorrow of the characters.sorrow of the characters.

This is the logical outcome ofThis is the logical outcome ofthe preceding action: thethe preceding action: the

success or failure, happiness orsuccess or failure, happiness or

sorrow of the characters.sorrow of the characters.



Another term for the conclusionis the denouement , French for

´untying the knot.µ

Denouement addresses the

untangling of complications ina play and the resolution of

these complications.

Another term for the conclusionis the denouement , French for

´untying the knot.µ

Denouement addresses the

untangling of complications ina play and the resolution of

these complications.



SITUATIONSITUATIONSITUATIONSITUATION

TheThe situationsituation is the predicament oris the predicament or

problem the plot revolves around.problem the plot revolves around.

Georges Polti, in his bookGeorges Polti, in his book TheThe

ThirtyThirty--Six Dramatic SituationsSix Dramatic Situations, ,

proposes the following situations asproposes the following situations as

the basis of all dramas.the basis of all dramas.

TheThe situationsituation is the predicament oris the predicament or

problem the plot revolves around.problem the plot revolves around.

Georges Polti, in his bookGeorges Polti, in his book TheThe

ThirtyThirty--Six Dramatic SituationsSix Dramatic Situations, ,

proposes the following situations asproposes the following situations as

the basis of all dramas.the basis of all dramas.



THE THIRTY-SIX

DRAMATIC SITUATIONS

THE THIRTY-SIX

DRAMATIC SITUATIONS

1.1. SupplicationSupplication

2.2. DeliveranceDeliverance3.3. Crime pursued by vengeanceCrime pursued by vengeance

4.4. Vengeance taken for kindred uponVengeance taken for kindred upon

kindredkindred

5.5. PursuitPursuit

6.6. DisasterDisaster

7.7. Falling prey to cruelty or misfortuneFalling prey to cruelty or misfortune

1.1. SupplicationSupplication

2.2. DeliveranceDeliverance3.3. Crime pursued by vengeanceCrime pursued by vengeance

4.4. Vengeance taken for kindred uponVengeance taken for kindred upon

kindredkindred

5.5. PursuitPursuit

6.6. DisasterDisaster

7.7. Falling prey to cruelty or misfortuneFalling prey to cruelty or misfortune



8.8. RevoltRevolt9.9. Daring enterpriseDaring enterprise

10.10. AbductionAbduction

11.11. The enigmaThe enigma

12.12. ObtainingObtaining

13.13. Enmity of kinsmen (Family feuding)Enmity of kinsmen (Family feuding)

14.14. Rivalry of kinsmenRivalry of kinsmen

15.15. Murderous adulteryMurderous adultery

16.16. Madness (Insanity)Madness (Insanity)

8.8. RevoltRevolt9.9. Daring enterpriseDaring enterprise

10.10. AbductionAbduction

11.11. The enigmaThe enigma

12.12. ObtainingObtaining

13.13. Enmity of kinsmen (Family feuding)Enmity of kinsmen (Family feuding)

14.14. Rivalry of kinsmenRivalry of kinsmen

15.15. Murderous adulteryMurderous adultery

16.16. Madness (Insanity)Madness (Insanity)



17.17. Fatal imprudenceFatal imprudence18.18. Involuntary crimes of loveInvoluntary crimes of love

19.19. Slaying of a kinsman unrecognizedSlaying of a kinsman unrecognized

20.20. SelfSelf--sacrificing for an idealsacrificing for an ideal21.21. SelfSelf--sacrifice for kindredsacrifice for kindred

22.22. All sacrificed for a passionAll sacrificed for a passion

23.23. Necessity of sacrificing loved onesNecessity of sacrificing loved ones

24.24. Rivalry of superior and inferiorRivalry of superior and inferior

25.25. AdulteryAdultery

17.17. Fatal imprudenceFatal imprudence18.18. Involuntary crimes of loveInvoluntary crimes of love

19.19. Slaying of a kinsman unrecognizedSlaying of a kinsman unrecognized

20.20. SelfSelf--sacrificing for an idealsacrificing for an ideal21.21. SelfSelf--sacrifice for kindredsacrifice for kindred

22.22. All sacrificed for a passionAll sacrificed for a passion

23.23. Necessity of sacrificing loved onesNecessity of sacrificing loved ones

24.24. Rivalry of superior and inferiorRivalry of superior and inferior

25.25. AdulteryAdultery



26.26. Crimes of loveCrimes of love27.27. Discovery of the dishonor of a lovedDiscovery of the dishonor of a loved

oneone

28.28. Obstacles to loveObstacles to love29.29. An enemy lovedAn enemy loved

30.30. AmbitionAmbition

31.31. Conflict with a godConflict with a god32.32. Mistaken jealousyMistaken jealousy

33.33. Erroneous judgmentErroneous judgment

26.26. Crimes of loveCrimes of love27.27. Discovery of the dishonor of a lovedDiscovery of the dishonor of a loved

oneone

28.28. Obstacles to loveObstacles to love29.29. An enemy lovedAn enemy loved

30.30. AmbitionAmbition

31.31. Conflict with a godConflict with a god32.32. Mistaken jealousyMistaken jealousy

33.33. Erroneous judgmentErroneous judgment



34. Remorse

35. Recovery of a lost one

36. Loss of loved ones

Although the phrasing is dated, no

one has ever discovered any

additional plot situations.

34. Remorse

35. Recovery of a lost one

36. Loss of loved ones

Although the phrasing is dated, no

one has ever discovered any

additional plot situations.



In other words, it makes no

difference whether a play is four

hundred years old or will bewritten four hundred years from

now, these are the conflicts on

which all dramatic literature is

based.

In other words, it makes no

difference whether a play is four

hundred years old or will bewritten four hundred years from

now, these are the conflicts on

which all dramatic literature is

based.




CHARACTERSCHARACTERS


CHARACTERSCHARACTERS

There are few things in the world asThere are few things in the world as

interesting as people.interesting as people.

The characters in a play should be peopleThe characters in a play should be people

who can hold the audience·s interestwho can hold the audience·s interestthroughout the play.throughout the play.

There are few things in the world asThere are few things in the world as

interesting as people.interesting as people.

The characters in a play should be peopleThe characters in a play should be people

who can hold the audience·s interestwho can hold the audience·s interestthroughout the play.throughout the play.



In a well-written play, even themost minor characters haveinteresting, unique personalities.

Some plays, particularly in thetwentieth century, use groupprotagonists , a number ofpeople who together serve as theprotagonist.

In a well-written play, even themost minor characters haveinteresting, unique personalities.

Some plays, particularly in thetwentieth century, use groupprotagonists , a number ofpeople who together serve as theprotagonist.



Characters in a play must be vivid

and varied in personality, with

their dominant traits made evidentthrough their speeches and actions.

We often remember a well-developed characterization long

after we have seen or read a play.

Characters in a play must be vivid

and varied in personality, with

their dominant traits made evidentthrough their speeches and actions.

We often remember a well-developed characterization long

after we have seen or read a play.



A playwright developsA playwright develops

characters mostly through theircharacters mostly through their

words and actions.words and actions.

The characters· actions mustThe characters· actions mustsuit their positions in life andsuit their positions in life and

their past experiences.their past experiences.

A playwright developsA playwright develops

characters mostly through theircharacters mostly through their

words and actions.words and actions.

The characters· actions mustThe characters· actions mustsuit their positions in life andsuit their positions in life and

their past experiences.their past experiences.



The playwright also revealsThe playwright also reveals

characters by what they say tocharacters by what they say toand about each other.and about each other.

The playwright also revealsThe playwright also reveals

characters by what they say tocharacters by what they say toand about each other.and about each other.



In writing theIn writing the dialoguedialogue , or lines , or linesof the play, the dramatist mustof the play, the dramatist must

make a character speak as themake a character speak as theaudience would expect the menaudience would expect the menand women in the character·sand women in the character·s

time, social class, community,time, social class, community,and experience to speak.and experience to speak.

In writing theIn writing the dialoguedialogue , or lines , or linesof the play, the dramatist mustof the play, the dramatist must

make a character speak as themake a character speak as theaudience would expect the menaudience would expect the menand women in the character·sand women in the character·s

time, social class, community,time, social class, community,and experience to speak.and experience to speak.



At the same time the playwrightAt the same time the playwright

must advance the plot, motivatemust advance the plot, motivate

the actions of the characters,the actions of the characters,

and place the characters inand place the characters in

exciting or amusing situations.exciting or amusing situations.

At the same time the playwrightAt the same time the playwright

must advance the plot, motivatemust advance the plot, motivate

the actions of the characters,the actions of the characters,

and place the characters inand place the characters in

exciting or amusing situations.exciting or amusing situations.



The playwright must oftenThe playwright must often

sacrifice beauty of language tosacrifice beauty of language to

naturalness of speech, yet thenaturalness of speech, yet thecharacters cannot talk aimlesslycharacters cannot talk aimlessly

as people often do in reality,as people often do in reality,

every word must function in theevery word must function in thedevelopment of the play.development of the play.

The playwright must oftenThe playwright must often

sacrifice beauty of language tosacrifice beauty of language to

naturalness of speech, yet thenaturalness of speech, yet thecharacters cannot talk aimlesslycharacters cannot talk aimlessly

as people often do in reality,as people often do in reality,

every word must function in theevery word must function in thedevelopment of the play.development of the play.



Clever lines are valuable inClever lines are valuable in

comedy, but they should becomedy, but they should be

consistent with the character of theconsistent with the character of the

person speaking them.person speaking them.

Witty dialogue might actually hurtWitty dialogue might actually hurta play if it is not in harmony witha play if it is not in harmony with

the overall aim of the playwright.the overall aim of the playwright.

Clever lines are valuable inClever lines are valuable in

comedy, but they should becomedy, but they should be

consistent with the character of theconsistent with the character of the

person speaking them.person speaking them.

Witty dialogue might actually hurtWitty dialogue might actually hurta play if it is not in harmony witha play if it is not in harmony with

the overall aim of the playwright.the overall aim of the playwright.



Sometimes playwrights useSometimes playwrights use

soliloquies (speeches in whichsoliloquies (speeches in which

actors talk aloneactors talk alone³³think aloudthink aloud³³about themselves and theirabout themselves and their

motives or about othermotives or about other

characters and situations) tocharacters and situations) toreveal character.reveal character.

Sometimes playwrights useSometimes playwrights use

soliloquies (speeches in whichsoliloquies (speeches in which

actors talk aloneactors talk alone³³think aloudthink aloud³³about themselves and theirabout themselves and their

motives or about othermotives or about other

characters and situations) tocharacters and situations) toreveal character.reveal character.



Soliloquies were accepted as a vital partSoliloquies were accepted as a vital partof drama until realistic plays becameof drama until realistic plays became

popular.popular.

In life, people do not talk aloud toIn life, people do not talk aloud to

themselves often.themselves often.

The soliloquy is such a simple way toThe soliloquy is such a simple way toreveal a character·s inner thoughts,reveal a character·s inner thoughts,

however, that modern playwrights stillhowever, that modern playwrights still

use it occasionally.use it occasionally.

Soliloquies were accepted as a vital partSoliloquies were accepted as a vital partof drama until realistic plays becameof drama until realistic plays became

popular.popular.

In life, people do not talk aloud toIn life, people do not talk aloud to

themselves often.themselves often.

The soliloquy is such a simple way toThe soliloquy is such a simple way toreveal a character·s inner thoughts,reveal a character·s inner thoughts,

however, that modern playwrights stillhowever, that modern playwrights still

use it occasionally.use it occasionally.



The most important phase ofThe most important phase of

characterization ischaracterization isunderstanding your characters·understanding your characters·

motivation.motivation.

The most important phase ofThe most important phase of

characterization ischaracterization isunderstanding your characters·understanding your characters·

motivation.motivation.



Every action of a characterEvery action of a character

must have a reason behind it,must have a reason behind it,

which in turn must the result ofwhich in turn must the result of

both the character·s personalityboth the character·s personality

and the situation of theand the situation of themoment.moment.

Every action of a characterEvery action of a character

must have a reason behind it,must have a reason behind it,

which in turn must the result ofwhich in turn must the result of

both the character·s personalityboth the character·s personality

and the situation of theand the situation of themoment.moment.



To define the character·s

motivation and personality, aplaywright must continually

ask the following questions

about each character.

To define the character·s

motivation and personality, aplaywright must continually

ask the following questions

about each character.



The questions are:The questions are:

What does this character need orWhat does this character need orwant?want?

Who or what stands in the way of theWho or what stands in the way of the

character·s needs or wants?character·s needs or wants?

What conditions affect theWhat conditions affect the

character·s thoughts, words, andcharacter·s thoughts, words, and

actions.actions.

Why does this character say or doWhy does this character say or do

certain things?certain things?

The questions are:The questions are:

What does this character need orWhat does this character need orwant?want?

Who or what stands in the way of theWho or what stands in the way of the

character·s needs or wants?character·s needs or wants?

What conditions affect theWhat conditions affect the

character·s thoughts, words, andcharacter·s thoughts, words, and

actions.actions.

Why does this character say or doWhy does this character say or do

certain things?certain things?




THEMETHEME


THEMETHEME

TheThe themetheme is the basic idea of ais the basic idea of aplay, which the authorplay, which the author

dramatizes through the conflictsdramatizes through the conflicts

of characters.of characters.

TheThe themetheme is the basic idea of ais the basic idea of aplay, which the authorplay, which the author

dramatizes through the conflictsdramatizes through the conflicts

of characters.of characters.



Sometimes the author states theSometimes the author states the

theme in words spoken by atheme in words spoken by acharacter, but often it is left tocharacter, but often it is left to

the interpretation of thethe interpretation of the

audience or the reader.audience or the reader.

Sometimes the author states theSometimes the author states the

theme in words spoken by atheme in words spoken by acharacter, but often it is left tocharacter, but often it is left to

the interpretation of thethe interpretation of the

audience or the reader.audience or the reader.



There are many ideas presentedThere are many ideas presented

in a play, but do not mistake ain a play, but do not mistake a

minor truth for the main theme.minor truth for the main theme.

TheThe themetheme of a play is theof a play is the

specific idea that gives unity andspecific idea that gives unity andpurpose to everything thatpurpose to everything that

happens.happens.

There are many ideas presentedThere are many ideas presented

in a play, but do not mistake ain a play, but do not mistake a

minor truth for the main theme.minor truth for the main theme.

TheThe themetheme of a play is theof a play is the

specific idea that gives unity andspecific idea that gives unity andpurpose to everything thatpurpose to everything that

happens.happens.



Sometimes the writer states theSometimes the writer states the

theme in the title.theme in the title.

Sometimes in a key line.Sometimes in a key line.

Sometimes the writer states theSometimes the writer states the

theme in the title.theme in the title.

Sometimes in a key line.Sometimes in a key line.



Sometimes it is emphasized orSometimes it is emphasized or

expressed by the leadingexpressed by the leading

character as a personalcharacter as a personal

philosophy of life, and thenphilosophy of life, and then

carried out in the situationscarried out in the situationsresulting from this philosophy.resulting from this philosophy.

Sometimes it is emphasized orSometimes it is emphasized or

expressed by the leadingexpressed by the leading

character as a personalcharacter as a personal

philosophy of life, and thenphilosophy of life, and then

carried out in the situationscarried out in the situationsresulting from this philosophy.resulting from this philosophy.



AA moralmoral , on the other hand, is a , on the other hand, is alesson or principle containedlesson or principle contained

within a play or taught by awithin a play or taught by a

play.play.

Although some plays make aAlthough some plays make amoral statement, many playsmoral statement, many plays

have no particular moral.have no particular moral.

AA moralmoral , on the other hand, is a , on the other hand, is alesson or principle containedlesson or principle contained

within a play or taught by awithin a play or taught by a

play.play.

Although some plays make aAlthough some plays make amoral statement, many playsmoral statement, many plays

have no particular moral.have no particular moral.



The plays that do not contain aThe plays that do not contain a

moral are instead written tomoral are instead written to

show how a certain type ofshow how a certain type ofindividual would react underindividual would react under

certain circumstances or simplycertain circumstances or simply

to portray an interesting phaseto portray an interesting phase

of life.of life.

The plays that do not contain aThe plays that do not contain a

moral are instead written tomoral are instead written to

show how a certain type ofshow how a certain type ofindividual would react underindividual would react under

certain circumstances or simplycertain circumstances or simply

to portray an interesting phaseto portray an interesting phase

of life.of life.

1-the structure of drama-intro

Documents