Introduction to DramaIntroduction to Dramaby. M. Wilsonby. M. Wilson

World Literature TextsWorld Literature Texts

Oedipus Rex by SophoclesOedipus Rex by Sophocles

The House of Bernarda Alba by The House of Bernarda Alba by F.G.LorcaF.G.Lorca

Conventions of DramaConventions of Drama

When reading a drama text you need to When reading a drama text you need to consider the following conventions:consider the following conventions:

LANGUAGE : Tone, Register, Diction, LANGUAGE : Tone, Register, Diction, Dialogue or monologueDialogue or monologue

Who speaks? Who speaks for who? Who Who speaks? Who speaks for who? Who is silent? Does their speech change? is silent? Does their speech change? Why?Why?

Who moves? Who is upstage? Who is on Who moves? Who is upstage? Who is on the side? Who is not onstage and why?the side? Who is not onstage and why?

BODY LANGUAGE: On and off the stage, BODY LANGUAGE: On and off the stage, upstage, midstage, downstage, side, upstage, midstage, downstage, side, chorus on ground, ramp, stage.chorus on ground, ramp, stage.

Is the Protagonist making gestures?Is the Protagonist making gestures? Does the body language change? Does it Does the body language change? Does it

reflect the conflict growing or changing?reflect the conflict growing or changing? Does the status of the characters changeDoes the status of the characters change Do the other characters change their Do the other characters change their

attitude via their body language?attitude via their body language?

STRUCTURE: Is it one act, three acts? STRUCTURE: Is it one act, three acts? Does the rising and falling action change Does the rising and falling action change in each act or throughout the play?in each act or throughout the play?

Is there a chorus? How does this affect Is there a chorus? How does this affect our response? What is the role of the our response? What is the role of the chorus?chorus?

Is there more than one conflict resolution?Is there more than one conflict resolution?

Dialogue vs Monologue: Dialogue vs Monologue:

Dialogue is more than one person Dialogue is more than one person speakingspeaking

Monologue can be: Dramatic monologue, Monologue can be: Dramatic monologue, soliloquy, asidesoliloquy, aside

Dialogue between two or more characters Dialogue between two or more characters can be witnessed by other characters e.g. can be witnessed by other characters e.g. priests or servants can be listening to the priests or servants can be listening to the conversation.conversation.

Dialogue can reveal setting, conflict and Dialogue can reveal setting, conflict and theme as well as characterisation.theme as well as characterisation.

Monologue: Dramatic monologueMonologue: Dramatic monologue Often there is a monologue at the Often there is a monologue at the

beginning of a play, or act. This allows us beginning of a play, or act. This allows us to see the view of that character and can to see the view of that character and can reveal the conflict. reveal the conflict.

Sometimes the chorus gives us a Sometimes the chorus gives us a monologue e.g. Alfieri in View From a monologue e.g. Alfieri in View From a BridgeBridge

Monologue: Monologue: Soliloquy: this is when the character is Soliloquy: this is when the character is

thinking aloud and the audience can thinking aloud and the audience can understand his internal conflicts. No one understand his internal conflicts. No one else on the stage can hear him and activity else on the stage can hear him and activity can continue around the character.can continue around the character.

It is designed to encourage the audience It is designed to encourage the audience to side or sympathise with their ‘problem’to side or sympathise with their ‘problem’

Monologue: AsideMonologue: Aside

Asides are directed to the audience Asides are directed to the audience directly. They are intended to break directly. They are intended to break through the ‘fourth wall’ and include the through the ‘fourth wall’ and include the audience to make people feel as if they audience to make people feel as if they are witnessing the conflict, or part of the are witnessing the conflict, or part of the story.story.

A stage has four walls: A stage has four walls: Back stage wallBack stage wall Two side wallsTwo side walls Fourth wall: behind which the audience sit Fourth wall: behind which the audience sit

and watch.and watch. When an aside addresses the audience When an aside addresses the audience

directly, they are speaking through the directly, they are speaking through the implied fourth wall.implied fourth wall.

SETTING: Intradialogic or extradialogicSETTING: Intradialogic or extradialogic Intradialogic: When a playwright includes Intradialogic: When a playwright includes

the setting inside the dialogue. For the setting inside the dialogue. For example Shakespeare in Macbeth allows example Shakespeare in Macbeth allows King Duncan to comment on what a lovely King Duncan to comment on what a lovely day it is and what a lovely castle Macbeth day it is and what a lovely castle Macbeth has. This is in contrast to modern has. This is in contrast to modern playwrights who produce realistic settings.playwrights who produce realistic settings.

Extradialogic: Extradialogic: Realist texts have highly detailed settings Realist texts have highly detailed settings

which are set out at the beginning of the which are set out at the beginning of the play. Ibsen’s plays are highly detailed in play. Ibsen’s plays are highly detailed in their description of furniture, props, and their description of furniture, props, and costumes. costumes.

Settings often have props/symbols/literary Settings often have props/symbols/literary devices:devices:

Oedipus has the riddle of the sphynx, the Oedipus has the riddle of the sphynx, the prophecy from the oracle and the blind prophecy from the oracle and the blind seerseer

View had the phone call, View had the phone call, Some plays revolve around a Some plays revolve around a

letter/note/phone call, all part of the settingletter/note/phone call, all part of the setting

Setting is temporal and spatial:Setting is temporal and spatial: Temporal: Time, century, day, seasonTemporal: Time, century, day, season Oedipus is ancient set in a superstitious Oedipus is ancient set in a superstitious

period of time in Greeceperiod of time in Greece

Bernarda Alba is set in Spain, during a Bernarda Alba is set in Spain, during a Civil War, when villagers were old Civil War, when villagers were old fashioned, traditional and had rigid moral fashioned, traditional and had rigid moral codes.codes.

CONFLICT: this may be internal, as CONFLICT: this may be internal, as expressed through soliloquys or asidesexpressed through soliloquys or asides

OrOr It may be external between two or more It may be external between two or more

characters as expressed through dialogue characters as expressed through dialogue or the chorusor the chorus

CHARACTERS: Dramatic texts usually CHARACTERS: Dramatic texts usually have a protagonist/hero an have a protagonist/hero an antagonist/villain and a variety of antagonist/villain and a variety of supporting roles. Oedipus has a traditional supporting roles. Oedipus has a traditional chorus which is a group representing the chorus which is a group representing the voice of the people (vox populi) in View we voice of the people (vox populi) in View we have Alfieri as a modern chorus of one have Alfieri as a modern chorus of one character who is acting as the popular character who is acting as the popular conscience of the time, the voice of conscience of the time, the voice of reason.reason.

Characters are created by:Characters are created by: What they say and how they speakWhat they say and how they speak What other characters say about them in What other characters say about them in

their dialoguetheir dialogue What they doWhat they do What the chorus says about themWhat the chorus says about them

Minor Characters: Minor Characters: They can be pivotal: the action revolves They can be pivotal: the action revolves

around something they say or doaround something they say or do

They can be a foil: contrasting the major They can be a foil: contrasting the major characters e.g. beauty vs ugly, good vs characters e.g. beauty vs ugly, good vs evil, sensible vs frivolousevil, sensible vs frivolous

Every character contributes to the Every character contributes to the development of the conflict and themedevelopment of the conflict and theme

DRAMATIC IRONY:DRAMATIC IRONY: This is when something is said or done This is when something is said or done

which is ironic. which is ironic. Sometimes because what is said is Sometimes because what is said is

contrary to the truthcontrary to the truth Sometimes the audience knows the truth Sometimes the audience knows the truth

and the protagonist does not e.g. Oedipusand the protagonist does not e.g. Oedipus Sometimes one action is ironic compared Sometimes one action is ironic compared

to another on stage.to another on stage.

Drama works because of the build up of Drama works because of the build up of tension suspense and the willingness of tension suspense and the willingness of the audience to engage in the story, to the audience to engage in the story, to believe in the plot.believe in the plot.

This is known as “suspending our This is known as “suspending our disbelief” That is why it is vital that you do disbelief” That is why it is vital that you do not talk or your phone rings during a play, not talk or your phone rings during a play, it breaks our concentration and we cannot it breaks our concentration and we cannot suspend our disbelief in the play.suspend our disbelief in the play.

Oedipus Rex Oedipus Rex by Sophocles is an Ancient by Sophocles is an Ancient Greek Tragedy.Greek Tragedy.

It is the first of three plays in a trilogyIt is the first of three plays in a trilogy Oedipus Rex means Oedipus the KingOedipus Rex means Oedipus the King The title encapsulates the conflict: how did The title encapsulates the conflict: how did

Oedipus become the King?Oedipus become the King?

Oedipus is based on a simple theme:Oedipus is based on a simple theme: You cannot cheat fate or deny the GodsYou cannot cheat fate or deny the Gods

His parents Laius and Jocasta send to the His parents Laius and Jocasta send to the oracle at Delphi to find out if their new son oracle at Delphi to find out if their new son will be a great king. The oracle tells them will be a great king. The oracle tells them that the child will: that the child will:

Kill his father and marry his mother!Kill his father and marry his mother!

They reject the newborn baby boy, cripple his They reject the newborn baby boy, cripple his ankles (hence his name) and a shepherd takes ankles (hence his name) and a shepherd takes him away to abandon him to die. Instead he him away to abandon him to die. Instead he saves him and the King of Corinth adopts him.saves him and the King of Corinth adopts him.

As Oedipus grows up he hears of the prophecy As Oedipus grows up he hears of the prophecy and thinks he will murder his new father. and thinks he will murder his new father. Therefore, he leaves Corinth and goes to see Therefore, he leaves Corinth and goes to see the oracle. On the way he meets, argues with the oracle. On the way he meets, argues with and kills Laius, who is also going to the oracle and kills Laius, who is also going to the oracle because his city has been devastated since he because his city has been devastated since he abandoned his son against the wishes of the abandoned his son against the wishes of the Gods.Gods.

Meanwhile to punish Laius and Jocasta Meanwhile to punish Laius and Jocasta the Gods have sent plagues and famine the Gods have sent plagues and famine and a sphynx to sit outside the city and kill and a sphynx to sit outside the city and kill anyone who doesn’t know the answer to anyone who doesn’t know the answer to the riddle:the riddle:

What crawls on fourWhat crawls on four Walks on twoWalks on two Walks on three?Walks on three? The answer is Man: crawls on four, walks The answer is Man: crawls on four, walks

on two feet and three feet when old with a on two feet and three feet when old with a cane.cane.

Oedipus solves the riddle, enters the city Oedipus solves the riddle, enters the city where the new widow Jocasta declares where the new widow Jocasta declares him a hero and marries him. They have him a hero and marries him. They have four children and the play starts twenty four children and the play starts twenty years later when once again there is years later when once again there is famine and Oedipus has sent to the oracle famine and Oedipus has sent to the oracle for advice.for advice.

The priests and chorus/people of ThebesThe priests and chorus/people of Thebes Approach Oedipus begging him to help Approach Oedipus begging him to help

them.them.

Role of the Chorus in ancient Greek Role of the Chorus in ancient Greek tragedies:tragedies:

To introduce conflictsTo introduce conflicts To represent the peopleTo represent the people To add to the growing suspense To add to the growing suspense To witness the downfall of the heroTo witness the downfall of the hero

Oedipus is a traditional Greek hero/protagonist Oedipus is a traditional Greek hero/protagonist figurefigure

Greek Tragedies have a technique called a Greek Tragedies have a technique called a flawed hero. He is unaware that he is the flawed hero. He is unaware that he is the problem, that his actions have caused the problem, that his actions have caused the famine and misery.famine and misery.

On the other hand we, the audience know it is On the other hand we, the audience know it is his fault and his ‘blindness’ to the truth is the his fault and his ‘blindness’ to the truth is the main conflict within the playmain conflict within the play

Greek tragedies are often homilies:Greek tragedies are often homilies: They teach a moral story in this case if you They teach a moral story in this case if you

defy the Gods will you will be punished defy the Gods will you will be punished even if you are a king.even if you are a king.

There is no escaping your fate.There is no escaping your fate.

Oedipus was doomed from birth and the Oedipus was doomed from birth and the prophecy was carried out because his prophecy was carried out because his parents were morally unsound and they parents were morally unsound and they were too proud to obey the Gods.were too proud to obey the Gods.

As Shakespeare says “ All are punished”As Shakespeare says “ All are punished”

The audience leaves feeling content that The audience leaves feeling content that the Gods are controlling their worldthe Gods are controlling their world

Greek Plays also have a concept known Greek Plays also have a concept known as Catharsisas Catharsis

This means an intense emotional release.This means an intense emotional release. The conflict and tension increase, to the The conflict and tension increase, to the

point where the audience are emotionally point where the audience are emotionally involved. The climax of the story release involved. The climax of the story release our emotions and we feel drained, our emotions and we feel drained, shattered, content that the problem is shattered, content that the problem is solved.solved.

Greek Theatres:Greek Theatres: They were constructed as amphitheatres, They were constructed as amphitheatres,

usually close to temples or oracles as usually close to temples or oracles as most stories were linked to the Gods, fate most stories were linked to the Gods, fate or man’s weaknesses.or man’s weaknesses.

They had a simple stage, no setting, They had a simple stage, no setting, ramps on each side for the chorus to enter ramps on each side for the chorus to enter and leave and seats in a semi circle for the and leave and seats in a semi circle for the audienceaudience

Greek Theatres and plays had male actors Greek Theatres and plays had male actors only (like Shakespeare’s time) the only (like Shakespeare’s time) the characters wore masks which indicated characters wore masks which indicated their status and their mood e.g some their status and their mood e.g some masks smiled, some were angry or sad.masks smiled, some were angry or sad.

There was minimal movement across the There was minimal movement across the stage and it was ceremonial in its actions.stage and it was ceremonial in its actions.

The Role of Women in Greek Tragedy:The Role of Women in Greek Tragedy: Women were either Goddesses, or usually Women were either Goddesses, or usually

the flaw or problem around which the the flaw or problem around which the action revolved.action revolved.

Jocasta had been given a necklace to Jocasta had been given a necklace to keep her young and beautiful, therefore keep her young and beautiful, therefore the Gods interfered again. Oedipus the Gods interfered again. Oedipus married her to gain the throne and married her to gain the throne and because of her beauty.because of her beauty.

Issues within the play”Issues within the play” Oedipus can physically see, but cannot Oedipus can physically see, but cannot

see the truthsee the truth Teiresias the blind seer, cannot see, but Teiresias the blind seer, cannot see, but

knows the truthknows the truth Oedipus ignores him, challenges him and Oedipus ignores him, challenges him and

this builds the suspense as the audience this builds the suspense as the audience knows what Teiresias knows, that Oedipus knows what Teiresias knows, that Oedipus did kill his father. Every word after this did kill his father. Every word after this adds to our growing sense of horror and adds to our growing sense of horror and dismaydismay..

Dramatic Irony in Oedipus:Dramatic Irony in Oedipus: The audience knows that the oracle has The audience knows that the oracle has

sent Teiresias the blind seer to tell the sent Teiresias the blind seer to tell the truth and reveal Oedipus as the killer.truth and reveal Oedipus as the killer.

Oedipus declares that he will punish the Oedipus declares that he will punish the killer. As he goes on about how he will killer. As he goes on about how he will punish the man, the audience cringes, punish the man, the audience cringes, knowing that this fate will befall him.knowing that this fate will befall him.

Thus his ignorance creates dramatic ironyThus his ignorance creates dramatic irony