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WHAT IS DRAMA?
Since the turn of the twentieth century, modern drama has become the greatest form
of mass entertainment in the western world. Experimentation and innovation are basic to this
century’s dramatist. Through movies and television, everyone has experienced the excitement
and emotional involvement that gives the drama its important place in our lives today.
The drama is difficult to read because it is meant to be seen, not read. It demands
much imagination and attention on the part of the reader to enable him to hear the tones and
see the actions of the actors against an imaginary background. The reader has only the
dialogue form which to visualize the costumes, the situation, the facial expressions, and the
movements of the actors.
The drama is also difficult to write because the playwright must be aware of the
interests and opinions of the actors and producer as well as his audience. He must also
recognize the limitation of the stage and work within the many conventions and restrictions it
imposes on the actions of his characters and the locations of his settings.
A. Setting
D. Conflict
E. Theme
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The literary elements of the drama include setting, plot, characters and theme.
Essential to the effective presentation of these elements are conflict, structure, suspense
and atmosphere. Each of these elements are inherent in any narrative composition, but
drama adds extra elements of stage direction, lighting effects, and the visual presence of
the actors, the set and costumes.
A. Setting
The setting of a drama presented on stage must be adapted to the limitations of the stage
area. The playwright must confine his locations to scenes that can be constructed on the
stage and limited to as a few changes as possible. The actions must be physically
restricted on the stage, and depend on dialogue, lighting, and sound effects to carry the
actions and events that cannot be presented visually. It is this physical confinement that
makes writing plays more difficult than any other narrative form.
B. Plot
The plot of the drama, although limited in its physical actions and changes of location
or scene, is similar to that of the novel or short story. It must have the same
characteristics of development and structuring, and depend on conflict, suspense and
mood to carry the action forward.
1. Technical Divisions – Acts and scenes are the divisions of a play. Shakespeare’s
plays are mainly five acts in length, with many changes of scene with each act.
However, the modern theatre audience is accustomed to sitting for only two to
three hours to watch a play. This means the average modern play must be limited
to three acts, which also has the benefit of keeping set changes minimum. A few
modern plays run longer and have five or six acts.
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• A preliminary exposition opens up the play, presenting background
information and any necessary explanation of the situation. It introduces
the characters.
• The rising action then develops through a series of incidents and minor
crises which lead up to the climax or the turning point of the struggle when
the action turns against the protagonist.
• The falling action follows the climax as the conflict works itself out either
for or against the protagonist.
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place are given, and any necessary hints at the outcome or suggestion of theme
that will give understanding to the plot is provided.
• Suspense: Suspense in situations which rouse our concern for the welfare
of the characters can be created in many ways in a play. It can be
accomplished through a series of crises and a major crisis or climax,
foreshadowing, surprise or use of the unexpected, withholding
information, disguise, and the intervention of chance or fate.
• Stage Directions and Their Value: As plays are intended to be seen, not
read, everything in them, must be seen or heard. All information,
emotions, attitudes, and reactions must be presented through speech and
action. This means that stage direction must succeed in reaching the
audience through effective use of speech, action, furnishing, lighting,
exits, entrances, and sound effects. Stage directions must determine the
actor’s movements, choice of costumes, as well as the behaviour of
characters and interpretations of their speeches.
Characters in a play are portrayed by actors who speak the dialogue and carry out the
action of the play. Sometimes characters may be merely instruments in the plot; at other
times, they have control of the action.
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to their individual characters. If dialogue is unrealistic, it must still reveal
their character.
D. Conflict
E. Theme
Theme in a drama is similar in its aspects to those of the short story or novel.
1. Action or plot
2. Character
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3. Thought
4. Language
• Action or plot – For Aristotle, a play’s action is of the utmost importance. By the term unity
of action, he means that the best drama, particularly tragedies, are limitations of an
action that is unified and complete. In this instance, unified means that all the scenes
in the play are linked together by “probability and necessity.” That is to say, unlike
the historian or journalist who reports events that may be the result of accident or
anomaly, the skillful tragedian introduces only those incidents that follow probably or
logically from those that precede them. Different plots or actions demand different
kinds of characters thought, and language, but all of these elements of drama,
originate in a plays action. This action is constructed in a play, which in turn provides
the blueprint for performance or the script.
• Character - Aristotle believed that dramatic action was so significant that a tragedy “cannot
exist without a plot, but it can without characters,” citing epic poems of his age as
examples. Nevertheless, the history of drama since Aristotle often appears to suggest
just the opposite: that the most influential plays are so influential precisely because
they create unique characters or “personalities.’
• Though and Language - Language in drama is generally communicated in one of the three
forms: dialogue, monologue (including asides or direct addresses to the audience),
and soliloquies. Dialogues like that in André’s Mother, frequently accomplishes
several things at once: It reveals something about the characters speaking; it usually
reveals something about his /her attitude towards the characters with whom he or she
is speaking and about the topics they are discussing; it may aid in advancing the plot,
either by providing necessary exposition of the past or foreshadowing of the future; it
may contribute for the or rhythm of the play; it may help orient the audience to the
fictive space in which the action occurs; it may imply a larger, meaning, in topic, or
issue the play will develop as the action progress.
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• Spectacle- When Aristotle denigrated “the visual adornment of the dramatic persons” as the
“least artistic element” or tragic drama, he seemingly was referring to excess: to
violence on stage and lavish visual displays. But in fact, drama in performance
appeals to both the eye and the ear. This also means the visual elements of the
production of a play; the scenery, costumes, and special effects in a production.
TYPES OF DRAMA
A. Historical
B. Tragedy
C. Comedy
D. Social Criticism
A. HISTORICAL DRAMA:
1. The Medieval Mystery play dealt with stories of the bible and its
characters. God’s enactments were dramatized for the congregations who
were unable to read or understand the Latin Services.
3. Chronicle Plays, like the Miracle plays, dealt with the lives of the saints.
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and singing were more important than the action. Usually allegorical, the
actors personified religious, political, satirical or moral qualities.
B. TRAGEDY
Is drama which involves the ruin of the leading character(s). Examples are
Shakespeare’s tragedies, Macbeth, Hamlet, and Othello. Modern tragedy includes
Death of a Salesman.
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3. Romantic Tragedy- Requires a greater development of character and
theme of plot. Allows for humour and the grotesque. Elizabethan tragedies
are mainly romantic tragedies.
4. Modern Tragedy- combines all forms of tragedy and uses plays from each
of the previous centuries. Shakespearean plays continue to find large
audiences; and modern tragedies, based on the same Greek and
Shakespearean use of the tragic hero with his tragic flaw have become
classics of the twentieth century.
C. Comedy is drama which involves real but temporary difficulties of the leading
characters. The ending is happy in that the conflict is resolved to the advantage of
the protagonist(s). There are several types of comedy:
One-Act Plays
A one-act play is a play that has only one act, as distinct from plays that occur over
several acts. One-act plays may consist of one or more scenes. In recent years the 10-minute
play known as "flash drama" has emerged as a popular sub-genre of the one-act play,
especially in writing competitions. The origin of the one-act play may be traced to the very
beginning of drama: in ancient Greece, Cyclops, a satyr play by Euripides, is an early
example.
Like all drama, one act plays are made up of the same elements that are necessary for
short stories : Theme, Plot, Character, and dialogue.
Theme
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The one-act needs to have a theme or thought just as a full-length does. What is the play
about? Revenge? Self-discovery? Whatever your choice, it needs to be clear in your mind
what your theme is. In a full-length play, all characters, plots, and subplots need to point to
and support the theme. The one-act is not much different, except the subplots will likely be
absent.
Plot
This is much different in the one-act than in the full-length. For a full-length play, the plot is
the series and sequence of events that lead the hero (and the audience) on the journey. In a
one-act play there is really only time for one significant event. This is the determining place
for the hero, where all is won or lost. Events that lead up to this must be incorporated into the
script without the benefit of the audience seeing them. And any events that follow must be
inferred or understood by the audience that they will occur.
Character
There is really only enough time in this to get to know one character well -- the hero. In the
short time that the one-act play is going, it is the hero's event that the audience is
experiencing; again, there isn't time for more than that. Some characteristics of the supporting
characters, including the antagonist, will need to be portrayed for the story to move forward,
but it is the character of the protagonist that is vital to the story line.
Dialogue
Economy is the key here. Each line must be crafted carefully to focus on the theme, the
incident, and the character of the protagonist. The dialogue need not be terse, but must be
concise and full of meaning. Any lines that do not point to the focus of the play should be
carefully considered whether they are needed.
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1. The Theme of the On-Act play
2. Connect these details into patterns; we relate them so they begin to make sense to
us.
4. Formulate from our inferences a consistent and coherent interpretation of the play.
Further complicating our evaluation of a play is the extent to which we appreciate and
enjoy its literary and theatrical artistry. For example, we may admire the way playwrights
structure plots, largely by dangling before us a series of temporarily unanswered questions.
We may find merit in portrayals of characters or the symbolic use of costume and setting. We
may be affected by the language of the play, both on long speeches and in briefer exchanges
of dialogue. We may derive aesthetic pleasure from these and many other exhibitions of
stagecraft. And the enjoyment we derive, coupled with our assessment of what we understand
as the playwright’s central values or controlling idea, constitute the basis for our evaluation.
So the evaluation of any play is tied to our interpretation of it. But our interpretation is
affected by our perception of the moral and cultural values it exhibits. In identifying the
play’s central concerns and in deciding which values are endorsed by the playwright, we shift
back and forth between interpretation and evaluation. We do not first interpret the play and
then evaluate it. We perform the two acts together. We evaluate and interpret a play,
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moreover, in conjunction with a subjective and immediate response to our experience of it.
We can say, then, that each aspect of reading (experience, interpretation, and evaluation)
affects the other, and the three aspects of reading drama taken together define or “reading” of
any play.
2. Casting of characters
5. Schedule of rehearsals.
The play selected should be one in which everyone will enjoy working. A play
having not more than five or six characters is usually most satisfactory, since larger
groups find it difficult to schedule rehearsals; moreover, a small stage is inadequate
for the movement of many people. The characterizations should be stimulating to all
members of the cast and, if possible, should offer parts which are quite different from
those played previously.
As soon as you have decided upon your play you will need to order additional
copies from the publisher. While awaiting the arrival of these you will have an
opportunity to plan all the details of the production.
Prompt book- is one of the important techniques to be learned from the project. It is
important because the production of a play is not a haphazard affair, but rather the
result of organized planning, effective leadership, and coordinated responsibilities,
without which there is chaos. The prompt book for a major production is compiled
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and kept by the director. It is a working handbook of all of the details connected with
the play.
Director
3. Style of production
4. Ground plan
6. Rehearsal schedule
7. Prop plot
8. Costume plot
9. Make-up plots
B. Supervise rehearsals
E. Be familiar with the movement and business of each character so that you can
take an actor’s play during the rehearsal.
A. Prepare for the set the prop plot, which lists all necessary props on stage and in the
wings when necessary props on stage and in the wings when the curtain rises.
B. Prepare the personal prop chat, which lists by character all props carried or
handles by the actors.
C. Supervise all the collection of necessary props and safe return of all borrowed
items.
A. Prepare the costume plot, do any necessary research on period costumes, and draw
costumes sketches for each character.
C. Supervise the collection of costume articles, the making and pressing of costumes,
and the safe return of all borrowed items.
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D. Supervise the costume wardrobes during the dress rehearsals and production.
Establish and maintain clean, orderly dressing rooms
D. Operate the sound and music effects during the rehearsals and production.
A. Design the make-up charts for each actor, specifying the exact materials used.
D. Be responsible for the cleanliness of the make-up room and for returning make-up
supplies.
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E. Provide ushers, a host for invited guests, and an announcer for the
production.
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ELEMENTS OF DRAMA / ONE ACT PLAY
EDL 231
A Report
Presented to:
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Prof. Rosario Dumagpi
Submitted by:
M Ed. ESL- II
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BIBLIOGRAPHY:
- “Aristotle’s Six Elements of Drama” (n.d.) Retrieved last August 8,2010 from
http://www.kyshakes.org/Resources/Aristotle.html
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