Contemporary,

Popular and
Emergent
Literature

A Modular Approach with

Compendium of Readings

Prof. Marco D. Meduranda

Navotas Polytechnic College
 Module 4:
Understanding
Contemporary Drama

At the end of the week, the pre- service

teacher (PST) should be able to:

1. examine theatrical structures of

contemporary drama; and
2. trace the changes and development of
contemporary drama.

2
 General Instructions

This module aims to acquaint you to

contemporary drama. It also seeks to immerse
you to the process of analyzing themes and
styles of contemporary drama.

The assessment tasks at the end will allow you

to demonstrate your ability to analyze a
contemporary drama.

Connect with your teacher via the learning

management system created for this particular
course. If you have clarifications and questions,
contact him via his email:
mdmed2410@gmail.com or through the
messenger chat of the class online learning
group.

Your success to this course lies in your hands.

Good luck!

MDM
 ELEMENTS OF DRAMA and the ONE ACT PLAY

Drama is a literary composition to be acted by players on a stage

before an audience. Its successful portrayal depends on the
cooperation that must exist among writers, actors, producers and audiences in
accepting the limitations and the conventions of the stage. 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 from 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.

ELEMENTS OF THE DRAMA

Ø Setting
Ø Plot and Plot structures
Ø Characters/Characterization
Ø Conflict
Ø Theme
Ø Suspense and Atmosphere

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 included 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.
 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 within 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.

Structure of the Play

The technical development or structuring of the action in a drama is similar to that of a novel.

•A preliminary exposition opens up the play, presenting background information and any
necessary explanation of the situation. It introduces the characters.

•The inciting moment follows the preliminary exposition in which the conflict is presented and
the main action begins.

•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.

•The denoument (ending) presents the final outcomes of the struggle, sometimes referred to as
the catastrophe which is the end of the struggle, but it is necessarily a tragic ending.

Developing the ACTION

Preliminary Exposition:
The beginning must be clear, brief, and interesting. Every detail must have a purpose: characters
are introduced in their roles, background information is given, the mood and tone are established,
time and place are given, and any necessary hints at the outcome or suggestion of theme that
will give understanding to the plot is provided.

Complications:
The complications which keep the plot moving forward must have some basis in real life. They
develop through series of crises that move in waves of heightened emotion, all moving upwards
to a peak of crisis or climax where the action reverses from the previous rising action and the
events go for or against the protagonist towards a final outcome. The falling action, like the
rising action, moves in waves of emotional crises. The denoument or ENDING should be natural
in its outcome, inevitable in its solutions, unless it is a surprise ending, and realistic in its
purpose.
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.
 Dramatic Emphasis:
Emphasis is maintained by demonstrating every point to the audience. Every scene or conversation
between characters must have a purpose; dialogue must not wander away from the major concerns
of the plot nor must it be directed towards superfluous or unrelated detail. Exits and entrances must
be managed with purpose and be properly timed to gain dramatic emphasis, while maintaining a
naturalness that does not destroy the continuity of events. Artistic economy must be observed at all
times, permitting no waste of movements, words, or events to obtain an overall unit and emphasis
of purpose.

Prologue and Epilogue:

A prologue is generally given by an actor before the play begins. Its purpose is to present an
explanatory poem or speech that introduces information that is needed to start the play. An
epilogue is a speech made by an actor after the play is over. It may be used by the playwright to
reveal what happened afterwards or to point out the lesson of the play. In this way he is able to
convey the meaning behind his play and its outcomes which could not be done naturally within the
plot.

Atmosphere:
The atmosphere and mood of the drama is created by the set, the lighting, the furnishings, the
music or sound effects, the opening dialogue, the facial expressions and gestures of the actors, and
the growing tension of the plot.

Stage Directions and Their Value:

As plays are intended to be seen, not read, everything in them, must be seen or heard. All informa-
tion, 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 behavior of characters and interpretations of their
speeches.

C. CHARACTERS AND CHARACTERIZATION

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.

All characters must appear natural so that their motivations and reactions as well as their
exits and entrances seem realistic to the audience.
Some dramatists introduce a wider range of characters into their plays than other authors.
Shakespeare has the widest, most developed range of any playwright.

Characters are developed through their dialogue and their actions.

Their dialogue carries the plot and theme of the play and must be adapted
to their individual characters. If dialogue is unrealistic, it must still reveal their character.

Characters must be strongly drawn, consistent and believable.

Sudden changes in character, inappropriate gestures, wrong dialogue, mistimed facial
expressions or smiles when the mood is sad or hostile must be avoided if the play is to be
consistent in its portrayal and effective emotionally and intellectually for the audience.
D. CONFLICT
Drama is created by conflict.
It usually involves opposing forces, sometimes external and physical, sometimes internal and
psychological. There may be a clash of wills in a conflict of purposes, or there may be a mental
or emotional conflict within on person.

E. THEME
Theme in a drama is similar in its aspects to those of the short story or novel. Theme is the main idea
or purpose of the story, which the playwright is trying to convey to the audience.

ONE-ACT PLAYS
A one-act play is similar to a short story in its limitations. It is a complete drama within one act. It is
brief, condensed, and single in effect. One situation or episode is presented, permitting no minor plots
or side actions that may distract attention for the single purpose and effect being developed. Charac-
ters are few in number, quickly introduced, and very limited in character development. Dialogue and
plot must carry the action forward smoothly and quickly.

One-acts can run anywhere from fifteen minutes to an hour or more. While technically, the one-act
play gets its name from having only one act (however long that might be), it's more commonly
thought of as a play that isn't long enough to constitute a full evening. Arguably the most popular
length for one-acts is around a half-hour.

A good one-act focuses on one main action or problem; there's not time to get into complicated layers
of plot. And for practical reasons, it's a good idea to keep your play to one set and as few scenes as
possible. You will be asked to write your one-act with the most minimal set and technical demands
possible.

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
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 abrupt, but must be concise and full of
meaning. Any lines that do not point to the focus of the play should be carefully considered for
whether they are needed

Dramatic Analysis and Construction of the One-Act-Play

I. The Theme of the One-Act play

II. The Technique of the One-Act play
a. The characters in the one-act play
b. The plot of the one act play
1. The beginning of the one-act play
2. The middle of the play
3. The end of the play
III. Dialogue of the play

A one-act play deals with a single dominant situation, and aims at producing a single
effect, though the methods used may vary greatly from tragedy to farce, according to the
nature of the effect desired. As the play is short and the action takes place within a short
period of time, greatest economy and concentration is required. Everything unneeded is
to be strictly avoided. The play must be close knit and the greatest attention must be paid
to its structure. It is a highly artistic form and has immense possibilities for development.
Though short in form the one-act play can have as its theme a large number of varied
subjects. In fact every subject between heaven and earth is fit for the one-act play. It, of
course, deals with only one action to produce the maximum of effect. Some tense situation
or some particular phase in the life of an individual is chosen and is depicted in an effect-
tive manner. All attention is concentrated on that particular moment and the story of the
play hangs on it.
Various problems connected with the life of the individual are discussed. Thus various
sort of things – love, marriage, divorce, justice, crime, punishment, law, superstitions,
customs and manners – are all suitable themes for a one-act play. According to its theme
the one-act play can be divided into different types as – realistic plays, problem plays,
phantasies, costume plays, satire, romance, etc. In short, the playwright has a large and
varied choice of subjects which can be discussed equally well in the one-act play.
The One-Act Play, like the longer drama, should have a beginning, middle and an end. It
may be divided into four stages: the Exposition, the Conflict, the Climax and the
Denouement. All these stages may be distinctly marked as in the larger play, but more
often than not, they tend to overlap in a one-act play.
The Exposition serves as an introduction to the play. The situation and the themes of the
play are explained to the audience and the important characters are also introduced. The
part of the story that has already happened and which it is necessary to know for an
understanding of the play, is also told to the audience. But as the one-act play is very
short, the dramatist cannot devote much time to this introduction-and explanation.
Therefore, the exposition of a one-act play is usually brief.
The exposition is followed by the conflict. It is through the conflict that the action of the
drama develops. The conflict means a struggle between two opposing forces. The conflict
may take different forms. There may be a struggle between two opposite interests, ideas,
persons, group of persons, or the hero and his fate or circumstances. There may also be an
inner conflict between two opposite ideas or urges in the mind of the hero, who may not
be able to decide what to do and so may suffer great agony of spirit as a consequence. The
conflict is the very backbone of the one-act play. Complications after complications arise
and the readers are in constant suspense about the outcome of the conflict.
After the conflict comes the climax. It is the turning point of the drama. One of the two
contending forces now gains supremacy over the others. It is now clear which of the two
would win in the end. The climax is an important part of the one-act play and constitutes
its moment of supreme interest.
The Denouement is the next and the final stage of the one-act play. The play now reaches
its end. One of the two contending forces now definitely gets victory over the other and the
action of the drama concludes. As the space at the disposal of the writer of one-act plays is
limited, the denouement is very brief and often overlaps with climax. The plays come to an
end just after the climax.
There are three dramatic unities which are observed in the One-Act Play as far as
possible. The unities are – the unity of time, unity of place and the unity of action. If the
drama is to be probable and natural, these three unities are to be observed by the
dramatist. Of course, sometimes it is difficult to observe these unities, but effort is to be
made to observe them as far as possible.
The characters in a one-act play are limited in number. The space at the disposal of the
playwright is limited and if he introduces too many characters, it would result in
overcrowding and lessen the effect of the drama. Of course, there is no hard and fast rule
as to the number of characters in a play. But generally there are not more than two or
three principal characters.
Not only are the characters limited in number, there is also no full development of
character. The dramatist has no time to present the characters through the different
stages of their development. All the different aspects of a character are not presented. The
attention is focused on only one or two unique aspects of character and they are brought
out by placing the characters in different situations and circumstances.
Besides this, the characters in the modern one-act play are ordinary men and women.
They are neither saints nor devils. They have all the faults and weaknesses, as well as all
the virtues that ordinary human beings have. If they are otherwise, it would make the play
unnatural, unrealistic and unconvincing.
Dialogue is of the greatest importance in the One-Act Play. As the drama is short, all
wordiness is to be avoided. Absolute economy of means should be used. Every word is to
be carefully chosen and sentences must be compact and condensed. Effort should be made
to say, whatever is to be said, in the least possible words. Thus the language of the
dialogue should be simple, brief and easy to understand. Long speeches and arguments
and long sentences would be out of place and would lessen the charm and interest of the
play.
Detailed stage-directions are invariably introduced by the dramatist in the one-act play.
The space at the disposal of the playwright is limited and so he cannot supply us with
detailed information through a lengthy exposition or during the action of the play itself.
This purpose is served by the stage directions. Moreover these stage directions, describing
the minute details of the scene, give an air of realism to the drama.
Besides, the play is not meant only for acting but for reading as well. The reader can know
of the entire scene through the stage direction and can, to a great extent, appreciate the
real spirit of the drama. The stage directions function to make the play perfectly clear to
the reader. They impart realism and authenticity to the one-act play.

###
 Assessment Task
1. Read the one-act play, “The First Fireworks.”
2. Then, answer the Play Analysis Worksheet below:

4
 THE FIRST FIREWORKS
by ALEX BROUN

CHARACTERS
HELEN
DAWN

SETTING
A park bench.

TIME
New Year’s Eve.

CAUTION: Professionals and amateurs are hereby warned that

The First Fireworks is subject to a royalty. It is fully protected
under the copyright laws of the United States of America, and of
all countries covered by the International Copyright Union
(including the Dominion of Canada and the rest of the British
Commonwealth), and of all countries covered by the Pan-
American Copyright convention and the Universal Copyright
Convention, and of all countries with which the United States has
reciprocal copyright relations. All rights, including professional
and amateur stage performing, motion picture, recitation,
lecturing, public reading, radio broadcasting, television, video or
sound taping, all other forms of mechanical or electronic
reproduction, such as information storage and retrieval systems
and photocopying, and the rights of translation into foreign
languages, are strictly reserved.

Inquiries concerning all rights should be addressed to the author

at abroun@bigpond.net.au

Copyright © 2002 by Alex Broun

 THE FIRST FIREWORKS
[New Year’s Eve. Close to midnight. A bench on a hillside.]

[DAWN, a frail woman in her sixties enters, wearing a white

hospital gown. Her feet are bare. She slowly makes her way to
the bench. She sits on the bench, panting heavily. Pause.]

[HELEN, a well-dressed woman in her late thirties enters.]

HELEN
Mum? Mum!
[SHE GOES TO DAWN.]

HELEN
What are you doing? Dad’s going out of his mind.

DAWN
He’ll be alright.

HELEN
The whole hospital’s turned upside down. Everybody’s looking for you.

DAWN
But you’re the only one who found me.
[PAUSE.]

HELEN
How did you get up here?

DAWN
There’s a hole in the fence.

HELEN
I know but how did you get up here? The steps almost killed me.

DAWN
I’m not sure.

HELEN
It’s a good spot. Wonder more people don’t get up here.

2
ALEX BROUN 3

DAWN
They don’t know about the hole.
[PAUSE.]
Shouldn’t you be at your party ?

HELEN
I was until Dad called and told me you’d vanished.

DAWN
He will be annoyed.

HELEN
Dad?

DAWN
No. What’s his name?

HELEN
You know his name.

DAWN
Do I? What is it again? Gordon, Gormond –

HELEN
Garan.

DAWN
That’s right – Garan. Sounds like some kind of rash. “Oh no. I’ve got a nasty case
of Garan on my arse.”

HELEN
Mum, he’s my husband.

DAWN
More fool you. I always liked that other one. Simon. He was –

HELEN
Wet.

DAWN
Considerate. He was always so nice to me.

HELEN
Probably fancied you.
 THE FIRST FIREWORKS 4

DAWN
Me? Really?

HELEN
Really.

DAWN
But I’m twice his age.

HELEN
Trust me.

DAWN
Garan reminds me too much of someone else.

HELEN
Who?

DAWN
My husband.

HELEN
Dad’s alright.

DAWN
You try being married to him for forty years.
[PAUSE.]

HELEN
Come on, we better get you back.

DAWN
I’m not going back.

HELEN
Don’t be silly Mum. Come on.

DAWN
Helen – I’m not going back. I hate that awful room full of all that stuff. People
keep ringing me and saying “What can I bring you?” I say, “Don’t bring me
anything!” I don’t want any more things.
[DAWN TAPS THE BENCH ALONG SIDE HER. HELEN SITS.]

DAWN
Beautiful clothes. They look very expensive.
ALEX BROUN 5

HELEN
They are. So I guess Gormond is good for one thing.

DAWN
[TAPPING HELEN’S STOMACH]
Maybe two.

DAWN
How did you work it out where I was?

HELEN
It wasn’t hard. New Year’s Eve. Where else would you be?

DAWN
My chair. My view. Surprised you remembered where it was.

HELEN
Come on Mum, it hasn’t been that long.

DAWN
Five years.

HELEN
Five? Really.
[DAWN NODS. PAUSE.]

HELEN
I still remember when you first brought me here. I was eight years old.

DAWN
Long time ago.

HELEN
Twenty years.
[PAUSE.]
I remember it like yesterday. We got here just as the sun was going down. My little
legs got tired so you had to carry me up the last fifty steps. And I kept asking:
“What is it Mum ? Why are we here ?” And you just smiled and said : “We’re
going to my chair. The best view in the city.”

DAWN
I remember.
 THE FIRST FIREWORKS 6

HELEN
And I kept asking: “But what are we going to see?” And you wouldn’t answer.
You just put your finger over my lips and said:

DAWN
“You’ll see my love.”

HELEN
And then when it got dark you pointed to the sky and said “Look” and suddenly
the sky was full of light. Huge explosions of colour. Orange, pink, blue, green.
And noise. Terrible noise. I had to cover my ears the explosions were so loud. I’ll
never forget it. Looking up at that clear night sky, the colour and the stars. The
muffled explosions ringing in my ear. It was my first fireworks.

DAWN
You never forget your first fireworks.

HELEN
Did you ever bring Dad here?
[DAWN SHAKES HER HEAD.]

DAWN
No matter how much I loved your father I needed to keep something to myself.
And this was mine. My chair and my fireworks.

HELEN
But you brought me here.

DAWN
Back then when I thought of you - it wasn’t like we were two people. We were the
same person so it made sense to bring you. I knew it would mean the same for you
as it did to me. Maybe I thought you needed to see it.

HELEN
Do you still think that? We’re one person.

DAWN
Sometimes.
[PAUSE.]
I knew you’d come. I wanted it to be just the two of us. Me and you. Our twentieth
anniversary fireworks.

HELEN
It’s not fair to Dad. He should be here too.
ALEX BROUN 7

DAWN
I’ve said my goodbyes to him. And besides forty year’s of being a wife, thirty
years of being a mother. About time to just be me.

HELEN
Mum –

DAWN
This is my last fireworks Helen. And I wanted to share them with you. If I can’t
play favourites now, then when can I. Can I tell you something?

HELEN
Of course.

DAWN
Big secret. Biggest secret ever. Never told before.

HELEN
Tell me.

DAWN
Not even your father knows.

HELEN
Cross my heart and hope to die.

DAWN
Before you were a born - I always wanted a boy.

HELEN
Mum!

DAWN
My own little Tiger Tim. My Percy Piddler.

HELEN
Mum!

DAWN
But once you came out – once I saw the child you were, the woman you were
growing into – I got down on my hand and knees and thanked God for sending me
such a gift. I have been so lucky to have you as my daughter.
[DAWN PRESSES HER EAR TO HELEN’S STOMACH.]
 THE FIRST FIREWORKS 8

DAWN
Promise me something?

HELEN
What?

DAWN
That you’ll bring her one day to watch the fireworks. And tell her about me.

HELEN
Of course.

DAWN
What was, what is and what is about to be. Three generations of Pringles.

HELEN
Our name is Heath.

DAWN
My husband’s name is Heath.

HELEN
Mum!

DAWN
My name is Pringle. And so is yours. Helen Pringle Heath.

HELEN
It’s actually Rogers now.

DAWN
But you’re still a Pringle. You are continuing in a long line of proud, strong
Pringle women.
[PAUSE.]
I remember when we almost lost you. About a month before you were due.

HELEN
Don’t remind me. I still get goose bumps.

DAWN
I woke up in the middle of the night. Blood everywhere. Neil rushed me to the
hospital. I was hemorrhaging. Seemed you were just too big for me to keep inside.
They thought they were going to lose you. And me. Had to get you out – right
away.
ALEX BROUN 9

HELEN
Christ.

DAWN
And they did.

HELEN
Lucky for me.

DAWN
Your father sat beside my bed all night. Holding my hand. I think that’s why I
made it through the night. Hung in so long. Just looking up at his eyes. I knew he
wouldn’t be able to bear losing me. So I pulled through. I survived. Like my
mother before me and her mother before. We’re survivors. Just like you. That’s
why I never had any more children.

HELEN
I feel like I should say sorry.

DAWN
Why? We already had the most wonderful child you could hope for. A beautiful
baby girl. How could we begrudge God that.
[HELEN WIPES AWAY A TEAR.]

DAWN
Don’t be sad my daughter. I’ve had a good life. People who loved me. A husband
who worshipped me. A daughter. I had a home. I had a family.

HELEN
I’m going to miss you.

DAWN
And I’m going to miss you. Just don’t be so successful in your work you forget to
be a good Mum. And if Gormond ever starts rooting around – tell him to piss off.

HELEN
Thanks for the advice.

DAWN
Your welcome.
[DAWN LOOKS AT HELEN. SHE TAKES HELEN’S FACE IN
HER HANDS AND STROKES HER HAIR.]

DAWN
Twenty years. It all goes by so … fast.
 THE FIRST FIREWORKS 10

[HELEN SMILES. DAWN LIES DOWN ON THE BENCH. SHE

PUTS HER HEAD ON HELEN’S LAP.]

DAWN
I’m just going to lie down for a little while. Wake me up when they start.

HELEN
Mum …

DAWN
Quiet now. No more words. No … more … words.
[DAWN CLOSES HER EYES. PAUSE. WE HEAR A DISTANT
EXPLOSION.]

[FIREWORKS EXPLODE OVER HEARD, SHOWERING THEM

IN BRIGHT BURSTS OF COLOUR.]

HELEN
Mum … It’s starting.
[DAWN DOES NOT RESPOND.]
It’s starting.
[BUT DAWN DOES NOT MOVE. HELEN WATCHES THE
FIREWORKS.]

[FADE.]

***