Group 2 Lesson 2 Drama

GROUP 2
LESSON 2
DRAMA
WHAT IS DRAMA?
 “DRAMA IS A COMPOSITION VERSE OR
PROSE INTENDED TO PORTRAY LIFE OR
CHARACTER OR TELL A STORY USUALLY
IVOLVING CONFLICTS AND EMOTIONS
THROUGH ACTION AND DIALOGUE AND
TYPICALLY DESIGNED FOR THEATRICAL
PERFORMANCE.”
PLAY
 PLAY IS A COMPOSITION DESIGN TO TELL
STORIES, PERFORM SITUATIONS, EXPRESS
EMOTIONS, ANALYZE AND ADVOCATE IDEAS.
DRAMATIC PERFORMACE
 DRAMATIC PERFORMANCE INVOLVES AN
INCRATE PROCESS OF REHEARSAL BASED
UPON ON IMAGERY INHERENT IN THE
DRAMATIC TEXT.
STAGE
 STAGE IS THE PLATFORM ON WHICH
PLAYS AND OPERAS PERFORMED.
PLAYWRIGHT
 A WRITER OF PLAYS
ELEMENTS OF DRAMATIC LITERATURE
PLOT ACTION AND CONFLICT

PLOT IN DRAMA AS IN FICTION, IS AN
ORDERED CHAIN OF PHYSICAL ,
EMOTIONAL OR INTELLECTUAL EVENTS
THAT TIES THE ACTION TOGETHER.
CHARACTER
A PERSON CREATED BY THE PLAYWRIGHT

TO CARRY THE ACTION, LANGUAGE,
IDEAS AND EMOTION OF THE PLAY.
SETTING SETS AND SCENERY

IN THE TE IN OF A PLAY, THE SETTIN IS
USALLY DESCRIBED THE OPENING STAGE
DIRECTIONS.
DICTION IMAGERY STYLE AND LANGUAGE
THEIR DIALOGUE MAY REFLECT THE

DETAILS OF THEIR DEEPEST THOUGHTS
ABOUT THEIR LIFE.
TONE AND ATMOSPHERE

TONE IN DRAMA AS IN OTHER LITERATURE,
SIGNIFIES THE WAY MOODS AND
ATTITUDES ARE CREATED AND
PRESENTED
SYMBOLISM AND ALLEGORY
AS IN FICTION AND POETRY, DRAMATIC SYMBOLS
REPRESENTS MEANING OR SIGNIFIES BEYOND
THE INTRINSIC IDENTITY OF THE SYMBOL ITSELF.
SUBJECT AND THEME

PLAYWRIGHTS DO WRITE THEIR PLAY WITH DESIGN
TO DRAMATIZED IDEAS ABOUT THE HUMAN
CONDITION , WHICH EXPLORE TO CONSTITUTE
THE PLAYS SUBJECT.
KINDS OF PLOT
 MAIN PLOT
FOCUS ACTION OF THE TEXT.
 SUB PLOT
AN EVENT THAT EITHER DIRECTLY OR INDIRECTLY

AFFECTS THE MAIN PLOT.
 SINGLE PLOT
ONE PLOT WAS DESIGNED FOR THE TEXT.

 DOUBLE PLOT
TWO DIFFERENT BUT RELATED LINES OF ACTION

GOING ON AT THE SAME TIME.
GUSTAV FREYTAG (1816-1895)
 GERMAN CRITIC
 HE COMPARES A REGULAR PLAY PATTERN
OF A PYRAMID IN WHICH THE RISING
ACTION LEADS UP TO THE POINT OF
CRISIS OR CLIMAX AND IS FOLLOWED BY
THE FALLING ACTION.
STAGES OF A PLAY
 FIRST STAGE
 SECOND STAGE
 THIRD STAGE OR FINAL STAGE
PYRAMIDS OF A PLAY’S STAGE BY GUSTAV FREYTAG (1816-
1895)
SECOND STAGE
FIRST STAGE THIRD STAGE

DECORUM
THE FITTING OF THE LANGUAGE TO DRAMATIC
CIRCUMSTANCES.
ACCENTS
A VOCAL STRESS OR EMPHASIS GIVEN TO A WORD.
DIALECT
ALANGUAGE OR GROUP OF LANGUAGES WITH
DISTINGUISIHING CHARACTERISRICS BUT RELATED
IN THEIR ORIGINS.
KINDS OF CHARACTER
 PROTAGONIST - HEROIN
 ANTAGONIST - VILLAIN
 ROUND CHARACTER - DYNAMIC
 FLAT CHARACTER - UNDEVELOPED
FORMS OF CHARACTER
 REALISTIC CHARACTERS
ARE NORMALLY ACCURATE IMITATIONS OF
INDIVIDUALIZED MEN AND WOMEN.
 NON REALISTIC CHARACTERS
STRIPPED OF SUCH INDIVIDUALIZING TOUCHES.
 SYMBOLIC CHARACTERS
REPRESENTS AN IDEA, A WAY OF LIFE, MORAL VALUE OR
SOME OTHER ABSTRACTION.
 STEREO TYPE CHARACTERS
ALSO KNOWN AS STOCK CHARACTERS.
KINDS OF PERSPECTIVES
 ASIDE
THE WORDS SPOKEN BY AN ACTOR AND
SUPPOSED TO BE HEARED BY THE
AUDIENCE BUT NOT BY THE OTHER
ACTORS.
 SOLILOQUY
A SPEECH MADE BY AN ACTOR WHILE
ALONE ON THE STAGE, REVEALING HIS
THOUGHTS TO THE AUDIENCE.
CONVEYORS OF TONE
 VOICE TONE
 STAGE GESTURES
TYPES OF SYMBOL
 UNIVERSAL SYMBOL
GENERALLY UNDERSTOOD BY THE AUDIENCE OR READER
REGARDLESS ON THE CONTEXT OM WHICH THEY APPEAR.
 PRIVATE SYMBOLS
DEVELOP THEIR IMPACT ONLY WITHIN THE CONTEXT OF A
SPECICFIC PLAY OR EVEN A PARTICULAR SCENE.
SUGGESTED PLAY’S SUBJECT
 LOVE
 RELIGION
 HATRED
 WAR
 AMBITION
 DEATH
 ENVY
TYPES OF DRAMA
 TRAGEDY
A DRAMA IN WHICH A CHARACTER IS BROUGHT TO A DISASTROUS END IN HIS OR
HER WITH A SUPERIOR FORCE.
 MELODRAMA
A TERM APPLIED TO ANY LITERARY WORK THAT RELIES ON IMPLAUSIBLE EVENTS
AND SENSATIONAL ACTION FOR ITS EFFECTS.
 COMEDY
IT IS A WORK INTENDED TO INTEREST, INVOLVED AMUSE THE READER OR
AUDIENCE IN WHICH NO TERRIBLE DISASTERS OCCURS AND THAT ENDS HAPPILY
FOR THE MAIN CHARACTER.
 FARCE
A PLAY THAT THAT IS CHARACTERIZED BY BROAD HUMOR, WILD ANTICS AND
OFTEN SLAPSTICK, PRATFALLS OR THE PYHSICAL HUMOR.
CLASSIFICATION OF SUPERIOR FORCE
 THE GOD(S)
 FORTUNE
 SOCIAL FORCE
 UNIVERSAL VALUES
 SELF
REQUIREMENTS OF TRAGEDY
 THE PLAY MUST CONSERN A SERIOUS
SUBJECT.
 THE LEADING CHARACTER MUST BE A GREAT
FIGURE.
 THE INCIDENTS MUST BE ABSOLUTELY
HONEST AND WITHOUT THE ELEMENT OF
COINCIDENCE OR CHANCE.
 THE BASIC OF EMOTIONS ARE THOSE OF PITY
AND FEAR
 IN THE FINAL ANALYSIS, THE PROTAGONIST
MUST DEFEAT, BUT BEFORE THE DEFEAT
CATHARSIS OF ARISTOTLE
 A PURIFYING OR THE REVEALING OF THE EMOTIONS.
REQUIREMENTS OF MELODRAMA
 IT TREATS OF A SERIOUS SUBJECT.
 THE CHARACTERS ARE MORE LOOSELY DRAWN THAN IN
TRAGEDY.
 IT IS EPISODIC AND THE MOST EXCITING INCIDENTS POSSIBLE
ARE BROUGHT INTO THE PLAY.
 THERE MAY BE AN EMOTION OF PITY, BUT IN ORDERS ON
SENTIMENTALITY.
 THERE IS NO REAL ENLIGHTENMENT EVEN IN DEFEAT, AND IN
MOST INSTANCES THE PROTAGONIST DOES WIN IN HIS BATTLE.
KINDS OF COMEDY
 HIGH COMEDY
VERBAL WIT.
 LOW COMEDY
ASSOCIATED WITH PHYSICAL ACTION AND IS LESS
INTELLECTUAL.
 ROMANTIC COMEDY
INVOLVES A LOVE AFFAIR THAT MEETS WITH
VARIOUS OBSTACLES BUT OVERCOMES THEM TO
END IN BLISSFUL UNION.
REQUIREMENTS OF COMEDY
 TREATS ITS SUBJECT IN LIGHTER VEIN
EVEN THOUGH THE SUBJECT MAY BE
SERIOUS ONE.
 PROVOKES WHAT CAN BE DEFINED AS
“THOUGHTFUL LAUGHTER.”
 IS BOTH POSSIBLE AND PROBABLE.
 GROWS OUT OF CHARACTER RATHER
THAN THE SITUATION.
 IS HONEST IN ITS PORTRAYAL OF LIFE.
REQUIREMENTS OF FARCE
 HAS ITS OBJECT RIGHTIOUS LAUGHTER AND
ESCAPE.
 ASK THE AUDIENCE TO ACCEPT THE CERTAIN
IMPROBABILITIES, BUT FROM THAT POINT
PROCEEDS IN LIFE LIKE MANNER.
 IS DOMINATED BY SITUATION RATHER THAN
CHARACTER, AND CALLS FOR LITTLE OR NO
THOUGHT.
 MUST MOVE EVERY RAPIDLY IN AN EPISODIC
MANNER AND IS BELIEVABLE ONLY FOR THE
MOMENT.
TEST OF A PLAY’S GREATNESS
BY HAROLD HOBSON
 AN INTENSE EXPERIENCE IN A FREE
MIND.
 TRANSLATED WITH ECSTACY.
 EFFECTIVE THEATRICAL TERMS.
PRINCIPLES OF THEATRE ART
BY WILLIAM P. HALSTEAD, HARRY D. ALBRIGHT AND LEE
MITCHELL
 THE INTENSITY OF THE PLEASURE AT THE MOMENT
OF PERCEPTION.
 THE DURATION OF THAT PLEASURE IN RETROSPECT.
 THE QUALITY OF PLEASURE UPON WITNESSING A
SECOND PERFORMANCE.
 THE QUALITY OF THE AFTER IMPRESSION.
 COMPARISON OF THE PLEASURE WITH THAT
CAUSED BY SIMILAR COMPOSITIONS.
FIVE QUESTIONS TO ATTEST A PLAY’S CLAIM TO GREATNESS
BY JOSEPH MERSAND
 POSSESS UNIVERSALITY OF APPEAL IN TIME
AND SPACE?
 CREATE LIVING CHARACTERS IN CONVINCING
SITUATIONS?
 STIR, MOVE, ENRICH OR TRANSFORM US?
 EXPRESS ITS THOUGHT IN BEAUTIFUL OR
APPROPRIATE LANGUAGE?
 TEACH LIFE’S MEANING AND STRENGTHEN OUR
OWN HAND IN FACING LIFE’S PROBLEMS?
CRITICISM APPROACHES
 LITERARY CRTICISIM
A SYSTEMATIC STUDY AND EVALUATION OF LITERARY WORKS.
 BIOGRAPHICAL CRTICISIM
BEGINS WITH THE SIMLPE BUT CENTRAL INSIGHT THAT
LITERATURE IS WRITTEN BY ACTUAL PEOPLE AND THAT
UNDERSTANDING AN AUTHOR’S LIFE CAN HELP READERS
MORE THOUROUGHLY COMPREHEND THE WORK.
 CULTURAL CRITICISM
AN APPROACH TO LITERATURE THAT FOCUSES ON THE
HISTORICAL AS WELL AS SOCIAL, POLITICAL AND ECONOMIC
CONTEXTS OF WORKS.
DECONSTRUCTIONISM
AN APPROACH TO LITERATURE WHICH SUGGESTS
THAT LITERARY WORKS DO NOT YIELD FIXED,
SINGLE MEANINGS, BECAUSE LANGUAGE CAN
NEVER SAY EXACTLY WHAT WE INTENDED TO
MEAN.
 FEMINIST CRITICISIM
AN APPROACH TO LITERATURE THAT SEEKS TO
CORRECT OR SUPLEMENT WHAT MAY BE REGARDED
AS A PREDOMINANTLY MADE DOMINATED CRITICAL
PERSPECTIVE WITH A FEMINIST CONSCIOUSNESS .
FAORMALIST CRITICISM
AN APPROACH TO LITERATURE THAT

FOCUSES ON THE FORMAL ELEMENTS OF
A WORK , SUCH AS LANGUAGE,
STRUCTURE AND TONE.
 GAY AND LESBIAN CRITICISM
FOCUSES ON HOW HOMOSEXUALS ARE
REPRESENTED IN LITERATURE.
GENDER CRITICISM

EXPLORE HOW IDEAS ABOUT MEN AND
WOMEN WHAT IS MASCULINE AND
FEMININE CAN BE REGARDED AS SOCIALLY
CONSTRUCTED BY PARTICULAR CULTURES.
 HISTORICAL CRITICISM
AN APPROACH TO LITERATURE THAT USES
HISTORY AS A MEANS OF UNDERSTANDING
LITERARY WORK MORE CLEARLY.
MARXIST CRITICISM
AN APPROACH TO LITERATURE THAT FOCUSES
ON THE IDEOLOGICAL CONTENT OF WORK OF
KARL MARX.
 MYTHOLOGICAL CRITICISM
AN APPROACH TO LITERATURE THAT SEEKS TO
IDENTIFY WHAT IN A WORK CREATES DEEP
UNIVERSAL RESPONSE IN READERS, BY PAYING
CLOSE ATTENTION TO THE HOPERS , FEARS
AND EXPECTATIONS OF THE ENTIRE CULTURE.
NEW CRITICISM

FOCUSES ON EXPLICATION EXTREMELY
CLOSE TEXTUAL ANALYSIS.
 NEW HISTORICISM
EMPHASIZES THE INTERACTION BETWEEN
THE HISTORIC CONTEXT OF THE WORK
AND A MODERN READER’S
UNDERSTANDING AND OF THE WORK.
POST COLONIAL CRITICISM
APPROACH TO LITERATURE THAT FOCUSES

ON THE STUDY OF CULTURAL BEHAVIOR
AND EXPRESSION IN RELATIONSHIP TO
THE COLONIZED WORD.
 PSYCHOLOGICAL CRITICISM
DRAWS UPON PSYCHOANALYTIC
THEORIES
SOCIOLOGICAL CRITICISM

EXAMINES SOCIAL GROUPS, RELATION
SHIP AND VALUES AS THEY ARE
MANIFESTED IN LITERATURE.
 STRUCTURALISM
EXAMINES HOW LITERARY TEXT ARRIVE
AT THEIR MEANINGS RATHER THAN THE
MEANING ITSELF.
JAQUES DERRIDA
DEVELOPED THE METHOD OF

DECONSTRUCTIONISM OF
LITERARY CRITICISM AND
CHARACTERIZED MULTIPLE
INTERPRETATIONS OF A GIVEN
WORK.
THE END
EISLEY AREJOLA
ESTPHANIE LEI GAMBE
VANESSA SANTIAGO
HUMSS 11-4

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Group 2 Lesson 2 Drama

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GROUP 2

PLOT ACTION AND CONFLICT

A PERSON CREATED BY THE PLAYWRIGHT

SETTING SETS AND SCENERY

THEIR DIALOGUE MAY REFLECT THE

TONE AND ATMOSPHERE

SUBJECT AND THEME

AN EVENT THAT EITHER DIRECTLY OR INDIRECTLY

ONE PLOT WAS DESIGNED FOR THE TEXT.

TWO DIFFERENT BUT RELATED LINES OF ACTION

FIRST STAGE THIRD STAGE

 EXPRESS ITS THOUGHT IN BEAUTIFUL OR

AN APPROACH TO LITERATURE THAT

AN APPROACH TO LITERATURE THAT

AN APPROACH TO LITERATURE THAT

APPROACH TO LITERATURE THAT FOCUSES

AN APPROACH TO LITERATURE THAT

DEVELOPED THE METHOD OF

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