drama lit1

7/25/2019 Drama Lit1

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DRAMA


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HISTORY OF WESTERNDRAMA


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DRAMA

Fiction in performance

A prose or verse composition intended forrepresentation by actors impersonating the

characters and performing the dialogue andaction

the general term for performances in which actorsimpersonate the actions and speech of fictional orhistorical characters for the entertainment of anaudience, either on a stage or by means of abroadcast

a particular example of this art, i.e. a play


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Aristotle's Drama Elements

PLOT what happens in a play; the order ofevents, the story as opposed to the theme;what happens rather than what it means.

THEME what the play means as opposed towhat happens (plot); the main idea within theplay.

CHARACTER the personality or the part anactor represents in a play; a role played by anactor in a play.


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Aristotle's Drama Elements

DICTION/LANGAGE/DIALOGE the wordchoices made by the playwright and theenunciation of the actors delivering the lines.

MSIC/RHYTHM by music Aristotle meantthe sound, rhythm and melody of the speeches.

SPECTACLE the visual elements of the

production of a play; the scenery, costumes,and special effects in a production.


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Gree! Drama

hree types of drama were composed in Athens

Sat"r

Was not ta!en serio#sl" #ntil $ree! Enli$%tenment

Tra$e&" A &rama %i(% (on(erns )etter t%an a*era$e +eo+le

,%eroes- !in$s- $o&s. %o s#er a transition rom$oo& ort#ne to )a& ort#ne- an& %o s+ea! in anele*ate& lan$#a$e

a i(tion %i(% is neit%er tr#e nor )elie*a)le

P#r$in$ o t%e so#l ,catharsis.

C%ara(ter la


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Gree! Drama

hree types of drama were composed in Athens

Sat"r

Was not ta!en serio#sl" #ntil $ree! Enli$%tenment

Tra$e&" A &rama %i(% (on(erns )etter t%an a*era$e +eo+le

,%eroes- !in$s- $o&s. %o s#er a transition rom$oo& ort#ne to )a& ort#ne- an& %o s+ea! in anele*ate& lan$#a$e

a i(tion %i(% is neit%er tr#e nor )elie*a)le

P#r$in$ o t%e so#l ,catharsis.

C%ara(ter la


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Eli0a)et%an T%eater

!art of the "nglish #enaissance heater

!lays perfomed in "ngland during the reign of$ueen "li%abeth (&''&*+)

-acobean theater ing -ames / (&*+ &*0')

1aroline theater ing 1har2es / (&*0'&*30)


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Eli0a)et%an T%eater

hree venues

Inn "ar&s

he early days of "li%abethan commercial theater

!erformances held in private 4ondon /nns. /nexpensive.

5eld indoors or the yard.

Audience capacity up to '++

6pen air amphitheaters hin2 of a public outdoor structure li2e the 1oliseum or a

small football stadium with a capacity of between &'++and +++ people


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Eli0a)et%an T%eater

hree venues

/ndoor playhouses

A small, private indoor hall.

6pen to anyone who would pay but more expensive withmore select audiences.

Audience capacity up to '++


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Eli0a)et%an T%eater

7illiam 8ha2espeare

1hristopher 9arlowe (could have been much betterthan 8ha2espeare: died young)

heatre had an unsavory reputation. 4ondonauthorities refused to allow plays within the city,so theatres outside the authority of the cityadministration


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Eli0a)et%an T%eater

he first proper theatre as we 2now it was theheatre, built at 8horeditch in &'*. >) built by thecompany in which 8ha2espeare had a sta2e


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Eli0a)et%an T%eater

he =lobe was only in use until &*&, when acanon fired during a performance of 5enry ?///caught the roof on fire and the building burned tothe ground.

heatre performances were held in theafternoon, because, of course, there was noartificial lighting. 7omen attended plays, though

often the prosperous woman would wear a mas2to disguise her identity. Further, no womenperformed in the plays. Female roles weregenerally performed by young boys.


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Mo&ern Drama

=reat influences

&>thcentury @orwegian dramatist 5enri2 /bsen

the 0+thcentury =erman theater practitioner


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Mo&ern Drama

both modernist and realist and incorporatesformal experimentation, metatheatricality, andsocial critiBue

/n terms of the traditional theoretical discourseof genre

/bsenCs wor2 has been described as the culminationof Dliberal tragedyD


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Mo&ern Drama

6ther important playwrights of the modern erainclude

August 8trindbergAnton 1he2hov, Fran2 7ede2ind,

9aurice 9aeterlinc2, Federico =arcEa 4orca,"ugene 6C@eill, 4uigi !irandello, =eorge


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FORMS


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DIFFERENT FORMS

O+era

arose during the #enaissance

attempt to revive the classical =ree2 drama

tradition in which both music and theater werecombined

Hndergone a lot of changes and has become animportant part of theater nowadays


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DIFFERENT FORMS

!antomime follow in the tradition of fables and fol2 tales, usually

there is a lesson learned, and with some help fromthe audience the heroIheroine saves the day.

uses stoc2 characters seen in masBue and againcommedia dellCarte (comedy of the art ofimprovisation), these characters include the villain(doctore), the clownIservant

(ArlechinoI5arleBuinIbuttons), the lovers etc. has an emphasis on moral dilemmas, and good

always triumphs over evil

very entertaining ma2ing it a very effective way of

reaching many people


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DIFFERENT FORMS

1reative rama

dramatic activities and games used primarily ineducational settings with children.

started in the Hnited 8tates in the early &>++s 7inifred 7ard is considered to be the founder of

creative drama in education, establishing the firstacademic use of drama in "vanston, /llinois.


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MINDANAO DRAMA


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Terms in Min&anao Drama

#itual and dance

8ina2ulo

a 4enten play that is a dramatic presentation of the

!assion of -esus 1hrist (his trial, suffering anddeath).

performed during 5oly 7ee2 in the !hilippines foreight nights, from !alm 8unday to "aster, to

present the entire sina2ulo.


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Terms in Min&anao Drama !asyon

a verse narrative of the life and suffering of -esus1hrist

structured in fiveline stan%as, with each line

containing eight syllables commonly sung during 5oly 7ee2, starting 5oly

9onday

5uge crowds gather around the reader of the

pasyon to listen and reflect. he reading of thepasyon is a traditional religious practice in the!hilippines.

/t is seen by many of its practitioners as a vow or

panata.


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omedya I moromoro

colorful theatrical tradition in the !hilippines thatdescribes the conflicts between the 9uslims and

the 1hristians used by the 8panish as a method to spread

1hristianity in the country

performed at the local fiesta


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omedya I moromoro

9oro9oro is a type of 8ecular omedya

portrays the clash between the 9uslims and the

1hristians where the forbidden romance between theprince and the princess is settled by having the non1hristian be converted to 1hristianity or by his or herdeath followed by a resurrection through divineintervention.

ibag or ara2ya is a popular secular 2omedya which isfeatured during the annual 8antacru%an. he storyevolves on the search for the 5oly 1ross by $ueen "lenaand her son, "moperor 1onstantino


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omedya I moromoro

he #eligious omedya is also called omedya de8anto centers on the life of 1hrist or of any saint.

/t usually seen during church celebrations. he actors move in a styli%ed way, have

extravagant costumes and elaboratelychoreographed war scenes.


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Awit he awit is a form of Filipino poetry

it is closer to the narrative

he following are characteristics observed in theawit, Florante at 4aura

3 linesIstan%a;

a rhyme scheme of AAAA

a slight pause on the sixth syllable each stan%a is usually a complete grammaticallycorrect

sentence

each stan%a is full of figures of speech

the author is usually anonymous


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orido

Ang 2orido ay isang uri ng paniti2ang pilipino

isang uri ng tulang na2uha natin sa impluwensya ng

mga "spanyol /to ay may su2at na walong pantig bawat linya at

may apat na linya sa isang stan%a.

Ang 2orido ay binibig2as sa pamamagitan ng

pa2antang pagpapahayag ng mga tula.


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Awit vs. orido

Ang 2aibahan ng awit at 2orido ay maaaring nasasu2at at anyo:

9abilis ang big2as ng 2orido, may 2abagalan naman angawit

Ang 2orido ay may walong pantig at binibig2as sa2umpas ng martsa JallegroK, samantala ang awit ay maylabindalawang pantig at inaawit na mabagal sa saliw ng

gitara o bandurya JallegroK Ang i2inaganda ng awit ay sa mga aral na ipinahihiwatig

samantala sa 2orido ang i2inawiwili ng mga mambabasaay ang 2uwento o 2asaysayang napapaloob dito


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8arswela ("spanyol: %ar%uela big2as)

Ang sarswelaay isang astilang uri ng liri2adramati2o

nagpapalit mula sa binibig2as patungo sa inaawitna mga e2sena

sinasama ang malaopera at tanyag na awitin,

gayon din ang sayaw lumawa2 ang uring ito sa mga 2olonya ng "spanya,

2abilang ang !ilipinas na naging isang tradisyon


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SEDITIOS DRAMA


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Se&itio#s

8edition is a term of law which refers to overtconduct, such as speech and organi%ation, thatis deemed by the legal authority as tendingtoward insurrection against the establishedorder.

/t includes subversion of a constitution andincitement of discontent (or resistance) to lawful

authority. 8edition may include any commotion,though not aimed at direct and open violenceagainst the laws.

A seditionist is one who engages in or promotesthe interests of sedition.


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Se&itio#s &rama

J...6n its feet, rabid with fury and fren%y, forthree hours...K

Filipino patriots who, devastated by a superior

military power, with meager financial resources,wrote play after play in the vernacular,creatively transforming theater into guerillawarfare, as a desperate lastditch struggle to

2eep revolutionary flames burning until therestoration of /ndependence.


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Walan$ S#$at

8editious ramaL

7ho are the main characters of the playL

7hat happened in the storyL

7hat are the conflicts of the playL 5ow is thisrelated to the history of the !hilippinesL

7hat are the elements of a sarswelaL 5ow are

these elements shown in 7alang 8ugatL 7hat was the role of the servant character in

giving comic relief to the audienceL


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Se&itio#s &rama

8editious play writers

A#relio Tolentino ahapon @gayon at

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