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Drama
Drama originated over 2,500 years ago in ancient Greece as an outgrowth of worshipping the god Dionysus. During festivals, a chorus would perform hymns to Dionysus, which evolved into dramatic performances involving dialogue. Greek drama was performed in amphitheaters with a stage, orchestra, and seating area. Major playwrights included Aeschylus, Sophocles, and Euripides. Their plays explored myths and addressed philosophical themes. Roman theater was influenced by Greek drama but emphasized more entertainment elements like fights and races.
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Drama
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- 2. Drama • Prose orverse telling a story intended for representation by actors through dialogue or action
- 3. Origin of Drama •The word drama comes from the Greek meaning “to act, do or perform”, and it is inthe several subtle and diverse meanings of “to perform” that drama can be said to have begun
- 4. Origin of drama oMany say drama originated in Greece over 2,500 years ago as an outgrowth of the worship of the god Dionysus. • During Dionysian festivals, a group of 50 citizens of Athens, known as a chorus, would perform hymns of praise to the god. These were known as dithyrambic poetry. • Trivia: Thespis introduced dialogue, spoken lines representing conversation
- 5. Like the plotof a story, the plot of a play involves characters who face a problem or conflict. Climax point of highest tension; action determines how the conflict will be resolved Resolution conflict is resolved; play ends Complications tension builds Exposition characters and conflict are introduced Dramatic Structure 5 Drama?
- 6. DRAMA Drama is a compositionin prose form that presents a story entirely told in dialogue and action and written with the intention of its eventual performance before an audience.
- 7. DRAMA Drama has atwo-fold nature: LITERATURE and THEATRE.
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- 10. Setting identifies thetime and place in which the events occur. It consists of the historical period, the moment, day and season in which the incidents take place. It also includes the sceneries in the performance which are usually found in the preliminary descriptions.
- 11. Characters are thepeople in the play and thus considered as the principal material in a drama.
- 12. Character Aspects Physical Social• Physicalidentifies peripheral facts such as age, sexual category, size, race and color. It deals with external attributes which may be envisaged from the description of the playwright or deduced from what the characters say or what other characters verbalize about his appearance. • Social embraces all aspects that can be gleaned from the character’s world or environment as exemplified by the economic status, occupation or trade, creed, familial affiliation of the characters.
- 13. Character Aspects Psychological Moral •Psychological discloses the inner mechanism of the mind of the character as exemplified by his habitual responses, attitudes, longings, purposes, likes and dislikes. It is considered as the most indispensable level of character categorization because routines and emotions, thoughts, attitude and behavior enable the readers to know the character intrinsically. • Moral discloses the decisions of the characters, either socially acceptable or not, exposing their intentions, thus projecting what is upright or not.
- 14. Plot lays outthe series of events that form the entirety of the play. It serves as a structural framework which brings the events to a cohesive form and sense.
- 15. Types of Plot NaturalPlot Episodic Plot • Natural Plot is a chronological sequence of events arrangement where actions continuously take place as an end result of the previous action • Episodic Plot – each episode independently comprises a setting, climax, and resolution; therefore, a full story in itself is formed.
- 16. FRAMEWORK OF APLOT Beginning Middle Ending
- 17. Beginning identifies informationabout the place, such as geographical location, social, cultural, political background or period when the event took place. Exposition • Exposition is the point where the playwright commences his story. It reveals the identity of story’s initial crisis.
- 18. Middle is composedof a series of difficulties: Complications Crisis • Complications bring changes and alterations in the movement of the action which take place when discovery of novel information, unexpected alteration of plan, choosing between two courses of action or preface of new ideas are revealed. • Crisis reveals the peak of anticipation in the series of incidents.
- 19. Middle is composedof a series of difficulties: Obligatory Scene Discovery • Obligatory Scene identifies the open collision between two opposing characters or forces. • Discovery discloses points which are previously unknown, characterized as something mysterious, strange, unfamiliar and thus revealed through objects, persons, facts, values, or self- discovered.
- 20. Ending is thefinal major component of the story which brings the condition back to its stability. This part brings satisfaction to the audience which extends to the final curtain as peace is completely restored.
- 21. Theme is consideredas the unifying element that defines the dramatized idea of the play. It is the over-all sense or implication of the action. It defines the problem, emphasizes the ethical judgment and suggest attitude or course of action that eliminates the crisis is an acceptable way.
- 22. Style refers tothe mode of expression or presentation of the play which points out the playwright’s position or viewpoint in life.
- 23. Major Dramatic Attitude RealismNon-realism • Realism is an accurate detailed, and life-like description in a play where things are presented as real as can be set in actual life, with dialogues sounding like day-to-day conversation. • Non-realism is method of presentation identified as something stylized or theatricalized whereby artist uses his feral imagination in projecting his ideas.
- 25. TRAGEDY Tragedy is atype of drama that shows the downfall and destruction of a noble or outstanding person, traditionally one who possesses a character weakness called a tragic flaw. The tragic hero, through choice or circumstance, is caught up in a sequence of events that inevitably results in disaster.
- 26. COMEDY Comedy is atype of drama intended to interest and amuse the audience rather than make them deeply concerned about events that happen. The characters overcome some difficulties, but they always overcome their ill fortune and find happiness in the end.
- 27. TRAGICOMEDY Tragicomedy is aplay that does not adhere strictly to the structure of tragedy. This is usually serious play that also has some of the qualities of comedy. It arouses thought even with laughter.
- 28. FARCE Farce is aplay that brings laughter for the sake of laughter, usually making use grossly embellished events and characters. It has very swift movements, has ridiculous situations, and does not stimulate thought.
- 29. MELODRAMA Melodrama shows eventsthat follow each other rapidly, but seems to be governed always by chance. The characters are victims in the hands of merciless fate.
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- 31. The Greek Theater •5th Century B. C. • Golden Age of Greek Drama • Dramatic festivals were popular • People witnessed tragic and comic plays
- 32. Types of GreekDrama Tragedy: character is confronted with a difficult moral choice and usually ends in his or her death. Comedy: a humorous entertaining performance with a happy ending.
- 33. Overview of GreekTheatre • The land The myths The stage
- 34. The Land • Greecehas thousands of inhabited islands and dramatic mountain ranges • Greece has a rich culture and history • Democracy was founded in Greece • Patriarchal (male dominated) society • Philosophy, as a practice, began in Greece (Socrates, Plato, Aristotle)
- 35. The Land Located inEurope in the Aegean Sea
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- 38. Overview of GreekTheatre The land The myths The stage
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- 40. The StageThree Main Portionsof Greek Theatre: Skene – Portion of stage where actors performed (included 1-3 doors in and out) Orchestra – “Dancing Place” where chorus sang to the audience Theatron – Seating for audience
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- 42. The Stage • Greekplays were performed during religious ceremonies held in honor of Dionysus, the Greek god of wine and revelry (altars generally on stage) • Banks would shut down for days, people would travel from all around to see the drama competitions—even prisoners were temporarily released to see the plays • Tragedy means “goat song” (relates to Dionysian rituals)
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- 44. Where and howwere the dramas performed? …In an amphitheatre …With a chorus who described most of the action. …With masks …With all the fighting and movement going on off stage. ….With tragedy first, then comedy later.
- 45. Masks of GreekTheater
- 46. The masks wereworn for many reason including: 1. Visibility 2. Acoustic Assistance 3. Few Actors, Many Roles 4. Characterization
- 47. Some general categoriesof masks 1. OLD MEN Smooth-Faced, White, Grizzled, Black-Haired, Flaxen and More Flaxen 2. YOUNG MEN Common, Curled, More Curled, Graceful, Horrid, Pale and Less Pale 3. SLAVES Leathern, Peaked-Beard, Flat Nose 4. WOMEN Freed Old Woman, Old Domestic, Middle Aged, Leathern, Pale- Disheveled, Pale Middle Aged, Whorish-Disheveled, Virgin, Girl 5. SPECIALIST MASKS Some made for specific characters, others for: Mourning, Blindness, Deceit, Drunkenness...etc. (The comic masks, those especially of old comedy, were as like as possible to true persons they represented, or made to appear more ridiculous)
- 49. Masks of GreekTheater
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- 52. Modern-day replicas Hero-King Comedy (Servantor Herald ) Tragedy (Weeping Chorus)
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- 55. Major Greek Dramatists Aeschylus524 B.C. Seven Against Thebes Sophocles 496 B.C. Antigone Oedipus Euripides 480 B.C. Medea Dramatist Born Wrote
- 56. Sophocles’ Antigone • Setin Thebes (a city in ancient Greece) • Antigone is the daughter of Oedipus and Jocasta • Antigone’s brothers, Eteokles and Polyneces, took opposite sides in a war • Eteokles and Polyneces killed each other in battle • Antigone’s uncle, Kreon, became king of Thebes
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- 59. Greek Comedy andAristophanes
- 61. Euripides’ Medea • Medeais a princess from Colchis • Medea marries Jason, who is in Colchis on a quest for the Golden Fleece • Medea betrays her father and murders her brother for her love of Jason • Medea has magical powers • Jason takes Medea back to his homeland, Corinth, where they have children • Jason takes another wife, the king of Corinth’s daughter
- 62. Jason’s Voyage onthe Argo Jason and Medea meet Corinth: Where Jason and Medea settle down
- 63. Overview of GreekTheatre • The land The myths The stage
- 64. Myths played akey role in Greek drama
- 65. The Myths –Why they were written 1. Explained the unexplainable 2. Justified religious practices 3. Gave credibility to leaders 4. Gave hope 5. Polytheistic (more than one god) 6. Centered around the twelve Olympians (primary Greek gods)
- 66. Explained the Unexplainable •When Echo tried to get Narcissus to love her, she was denied. • Saddened, she shriveled to nothing, her existence melting into a rock. • Only her voice remained. • Hence, the echo!
- 67. To justify religiouspractices • Dionysian cults in ancient Greece were founded to worship Dionysus, god of grapes, vegetation, and wine.
- 68. Roots in Worshipof Dionysus God of wine and revelry
- 69. Theater of Dionysus •Dionysia was an annual festival in honor of the god Dionysus • Theater of Dionysus was an open-air Theater with room for fifteen thousand spectators
- 70. Theater of Dionysus •carved out of a stone hillside • looked like a semicircle with steeply rising tiers of seats
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- 72. Theater of Dionysus •At the bottom was the rounded orchestra or performance area where the chorus sang and danced
- 73. Dionysus Theater inAthens
- 74. Theater of Dionysus •Behind the orchestra was an open, almost bare, stage where actors spoke their lines from behind huge masks
- 75. Dionysus Theater inAthens
- 76. Dionysus Theater inAthens
- 77. Theater of Dionysus •Male actors performed all the roles • Actors switched masks to play a number of roles – both female and male
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- 79. To give credibilityto leaders Used myths to create family trees for their leaders, enforcing the made-up idea that the emperors were related to the gods and were, then, demigods.
- 80. To give hope •The ancient citizens of Greece would sacrifice and pray to an ORACLE. • An oracle was a priest or priestess who would send a message to the gods from mortals who brought their requests. Where DID hope come from? After unleashing suffering, famine, disease, and many other evils, the last thing Pandora let out was HOPE.
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- 85. Mount Olympus… …Where the Olympians lived. Whoare the Olympians?
- 86. The Olympian s Are the 12Main Gods
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- 88. Zeus • King ofgods • Heaven • Storms • Thunder • lightning
- 89. Poseidon Zeus’s brother King ofthe sea Earthquakes Horses
- 90. Hades Brother to Zeusand Poseidon King of the Underworld (Tartarus) Husband of Persphone
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- 93. Apollo God of thesun Music Poetry Fine arts Medicine
- 94. Hermes • Messenger tothe gods • Trade • Commerce • Travelers • Thieves & scoundrels
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- 100. Aphrodite Goddess of loveand beauty
- 101. Artemis Goddess of hunting andthe moon.
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- 106. Brief Roman History 509B.C • Etruscan (from Etruria) ruler was expelled, and Rome became a republic (just as Athens became a democracy). • Roman theatre and festivals highly influenced by Etruscan practices
- 107. by 345 B.C •There were over 175 festivals a year 240 B.C • The beginnings of Roman theatre recorded • The first record of drama at the ludi Romani (Roman Festival or Roman Games). Brief Roman History
- 108. 55 B.C • Firststone theatre built in Rome by order of Julius Caesar. Brief Roman History
- 109. Roman Theatre • BorrowedGreek ideas and improved (?) upon them • Topics less philosophical • Entertainment tended to be grandiose, sentimental, diversionary
- 110. • Included morethan drama : • acrobatics • gladiators • jugglers • athletics • chariots races • naumachia (sea battles) • boxing • venationes (animal fights) Roman Theatre
- 112. 3 Major Influences •Greek Drama • Etruscan influences, which emphasized circus-like elements • Fabula Atellana – which introduced FARCE (Atella was near Naples). Roman Theatre
- 113. Roman Theatre Farce • Shortimprovised farces, with stock characters, similar costumes and masks • based on domestic life or mythology • burlesque, parody • Most popular during the 1st century B.C., then frequency declined
- 114. Roman Theatre Farce • Probablywas the foundation for commedia dell ‘Arte • Productions included “stock” characters: • Bucco: braggart, boisterous • Pappas: foolish old man • Dossenus: swindler, drunk, hunchback
- 115. Roman Theatre Pantomime • solodance, with music (lutes, pipes, cymbals) and a chorus. • Used masks • The story-telling was usually mythology or historical stories, usually serious but sometimes comic.
- 116. Roman Theatre Mime • overtookafter 2nd century A.D. • The Church did not like Mime • Most common attributes of mime: • Spoken • Usually short • Sometimes elaborate casts and spectacle
- 117. Roman Theatre • Seriousor comic (satiric) • No masks • Had women • Violence and sex depicted literally (Heliogabalus, ruled 218-222 A.D., ordered realistic sex) • Scoffed at Christianity
- 118. Roman Festivals ludi =official religious festivals these were preceded by pompa = religious procession
- 119. Roman Tragedy Characteristics ofRoman Tragedy • 5 acts/episodes divided by choral odes • included elaborate speeches • interested in morality • unlike Greeks, they depicted violence on stage
- 120. Roman Tragedy Characteristics ofRoman Tragedy • characters dominated by a single passion which drives them to doom (ex: obsessiveness or revenge) • developed technical devices such as: soliloquies, asides, confidants • interest in supernatural and human connections
- 121. Roman Tragedy Seneca (5or 4 B.C. – 65 A.D.) • only playwright of tragedy whose plays survived • Nine extant tragedies, five adapted from Euripides (Gr.) • Though considered to be inferior, Seneca had a strong effect on later dramatists.
- 122. Roman Tragedy Seneca (5or 4 B.C. – 65 A.D.) • WroteThe Trojan Women, Media, Oedipus, Agamemnon, etc., which were all based on Greek originals • His plays were probably closet dramas—never presented, or even expected to be.
- 123. Roman Comedy Characteristics ofRoman Comedy • Chorus was abandoned • No act or scene divisions • Concerned everyday, domestic affairs • Action placed in the street
- 124. Roman Comedy Material fromonly 2 playwrights survived • Platus (c. 254-184 B.C.) • Terence (195 or 185-159 B.C.)
- 125. Roman Comedy Platus (c.254-184 B.C.) • Very popular. • Plays include: Pot of Gold, The Menaechmi, Braggart Warrior • All based on Greek New Comedies, probably, none of which has survived
- 126. Roman Comedy Platus (c.254-184 B.C.) • Added Roman allusions, Latin dialog, witty jokes • varied poetic meters • Developed Slapstick & Songs
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- 128. Roman Theatre Design •First permanent Roman theatre built 54 A.D. (100 years after the last surviving comedy)
- 129. Roman Theatre Design GeneralCharacteristics • Built on level ground with stadium-style seating (audience raised)
- 130. Roman Theatre Design GeneralCharacteristics • Stage raised to five feet • Stages were large – 20-40 ft deep 100-300 ft long
- 131. Roman Theatre Design GeneralCharacteristics • Theatre could seat 10-15,000 people • dressing rooms in side wings • stage was covered with a room
- 132. Roman Theatre Design GeneralCharacteristics • trap doors were common • cooling system – air blowing over streams of water • awning over the audience to protect them from the sun
- 133. Roman Theatre Design Scaena •“stage house” • joined with audience to form one architectural unit
- 134. Roman Theatre Design Scaenafrons • front/façade of the stage house • was painted and had columns, niches, porticoes, statues
- 135. Roman Theatre Design Orchestra •becomes half-circle • was probably used for gladiators and for the display and killing of wild animals • if entertainment permitted, people were sat here
- 136. Roman Theatre Design Vomitoria •corridors under the seats that lead onto the orchestra
- 137. Roman Theatre Design Pulpitum •the stage Cavea • the auditorium
- 138. Roman Theatre Design Otherstructures included: Circus Maximus Ampitheatres
- 139. Roman Theatre Design CircusMaximus • Primarily for Chariot racing • Permitted 12 chariots to race at once
- 140. Roman Theatre Design Ampitheatres •For gladiator contests, wild animal fights, and occasionally naumachia • Had space with elevators below to bvring up animals, etc.
- 141. Roman Acting • Referredto as histriones, cantores (means declaimers), and mimes – later primarily histriones • Mostly male – women were in mimes
- 142. Roman Acting • Mimeswere considered inferior; some believed they were slaves. • In the 1st century B.C., a "star" performer seems to have been emphasized
- 143. Roman Acting Style ofActing • Mostly Greek traditions – masks, doubling of roles • Tragedy – slow, stately, • Comedy—more rapid and conversational
- 144. Roman Actors Style ofActing • Movements likely enlarged • Actors probably specialized in one type of drama, but did others • Encores if favorite speeches given (no attempt at "realism")
- 145. Roman Actors Style ofActing • Mimes – no masks • Used Greek or Roman costumes • Lots of music
- 146. Egyptian and HebrewDrama History of Drama
- 147. Drama Origins • Drama“to do or act” • Originating through primitive dance revolving around religion • Eventually a speaking actor emerged, hence drama was born • Can still be seen in hula dances, sun dances, corn dances, etc.
- 148. Egyptian Drama • Egyptiandrama dates to 3000 B.C. • Main concern was life after death • Pyramids were built as tombs for the afterlife • Drama revolved around life after death
- 149. 5 Types ofEgyptian Plays 1. Pyramid Plays • written on tomb walls, included characters, plot & stage directions • Showed resurrection of body • Done to ensure safe passage to the afterlife 2. Coronation Festival • Play performed at the crowning of a new pharaoh • Performed by priests
- 150. 5 Types ofEgyptian Plays 3. Heb Sed • Celebrated pharaoh's 30th year on the throne • Reenacted events from his reign 4. Medicinal Play • Evolved around magical healing
- 151. 5 Types ofEgyptian Play 5. Abydos “Passion” Play • Earliest scripted drama presentation recorded • Characters: Set (or Seth): god of evil Osiris: Set’s brother Isis: Osiris’s wife
- 152. Plot: Abydos “Passion”PlaySet is jealous of Osiris, tricks him into a coffin, nails it shut and throws it in the Nile. Isis finds the coffin and brings Osiris to life so they can conceive a child. Osiris becomes King of the Dead. Their child grows up and defeats Set to avenge his father’s death. video
- 153. Hebrew Drama • Noreference of definite theater in Bible • 2 books have dramatic structure – Job – Song of Songs • J.B. – Archibald MacLeish
- 154. The Book ofJob • While Job is not considered drama, it is sometimes performed in dramatic structure • Dramatic readings • Dramatic structure – Prologue (prose) – Main Body (poetry) – Epilogue (prose)
- 155. The English dramafrom the Middle Ages to the Restoration
- 156. The English dramafrom the Middle Ages to the Restoration The Medieval drama The Elizabethan drama The Restoration drama General features Themes Structure Language Audience Authors and works
- 157. Medieval drama General features Medievaldrama flourished in the 15th century; it developed out of liturgical ceremonies: the origin of medieval plays can be found in the Church and in its rituals After music was introduced into churches (6th century) and words were later fitted to the melodies, a dramatic dialogue began to take place in the form of an alternation of chants between the priest and the choir Later processional and scenic effects were added which increased dramatic action: liturgical drama evolved into Miracle and Mystery plays and these ones into Morality plays
- 158. Medieval drama Themes Mystery playsusually dealt with Gospel events: their main subject was the redemption of man Miracle Plays were concerned with episodes from the lives of saints Moralities too were religious plays, but they focused on the conflict between good and evil; their aim was to improve people’s moral behaviour
- 159. Medieval drama Structure TheMiracles grew in popularity, so the plays left the Church to be performed first in the Church yard, then in other open spaces of the town Each play was repeated several times in different parts of the town with the help of a pageant, a carriage in the form of small house with two vertical rooms: in the lower room the actors prepared themselves, in the upper one they played their parts
- 160. Medieval drama Language In theMiracles, Latin that was slowly replaced by vernacular, and secular elements became more and more frequent The Morality plays were didactic in content and allegorical in form. They presented personifications of vices and virtues and generalized characters. The lines were rhymed as in the Miracles, but the atmosphere was more melancholy
- 161. Medieval drama Audience The cyclesof Mistery plays appealed to all social classes, from royalty to peasants: they all came in to watch the plays. Cycles instilled a love of drama in the people Moralities were intended for more learned people, with some cultural background
- 162. Medieval drama Authors andworks The Myracle plays were grouped in 4 cycles, known by the names of the towns where they were performed: Chester, York, Coventry, Wakefield The best Morality play is Everyman (about 1500)
- 163. Elizabethan drama General features Dramabecame the national literary manifestation of the time: the theatres were open to everybody Moralities and interludes were still a living memory, since they had instilled a great interest in drama in the people A new interest in classical drama had been introduced by Humanism
- 164. Elizabethan drama Themes The theatrewas a mirror of society, whose structure was modelled on the divine order of the universe, inside which man had to respect a precise hierarchy (God, angels, men, animals and inanimate objects): drama derived from the breaking of this order The new hero, full of passions and doubts, replaced the old allegorical character The relationship between the laws of man and nature was emphasized: prodigious phenomena were presented as consequence or presage of criminal actions
- 165. Elizabethan drama Structure Thetheatres (The Globe, The Swan, The Rose), built on the model of the old inns, were designed as large wooden structures circular or octogonal in shape, with three tiers of galleries surrounding a yard or pit, open to the sky. The stage was divided in three parts: outer, inner and upper stage The scenery was very little: simple objects simbolized a place or the role of an actor (e.g., a table stood for a room, a crown for a king, etc.)
- 166. Elizabethan drama Language The language,alive and direct, was affected by the concept of hierarchy Being in verse, the Elizabethan theatre borrowed from poetry the use of metaphors and the blank verse
- 167. Elizabethan drama Audience The Elizabethanaudience was a cross- section of society. All social classes went to the theatre: nobles, commoners, citizens, lawyers… people with different tastes and cultural background The audience were involved in the performance, since they were in direct comunication with the actors
- 168. Elizabethan drama Authors andworks C. Marlowe (1564-1593) - Tamburlane the Great - Doctor Faustus - The Jew of Malta B. Jonson (1572-1637) - Volpone - Bartholomew Fair W. Shakespeare (1564- 1616) - Hamlet - Romeo and Juliet - King Lear...
- 169. Restoration drama Authors andworks John Dryden (1631-1700) - The conquest of Granada - All for love William Congreve (1670- 1729) - The Way of the World - Love for Love
- 170. William shakesphere • WilliamShakespeare was an English poet, playwright, and actor, widely regarded as the greatest writer in the English language and the world's pre-eminent dramatist. • He is often called England's national poet and the "Bard of Avon His extant works, including some collaborations, consist of about 38 plays 154 sonnets, two long narrative poems, and a few other verses, the authorship of some of which is uncertain.
- 171. • His playshave been translated into every major living language and are performed more often than those of any other playwright.
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- 173. From Classic to Modern Drama toexplore the way in which tragedy evolved into the 20th century (AO4) Classical drama – usually refers to literature written in ancient Greece or Rome Epic drama – refers to literature which has a grand or ambitions theme (Shakespeare and Marlow are part of the Early Modern Tragedy category and wrote epic dramas) Domestic drama – refers to drama set in a household (it does not have a grand or ambitions theme) how modern Drama is different from Classical Drama
- 174. THE ‘NEW’ TRAGICHERO • Greece: Aristotle’s protagonist (330 BC) = a man of high rank, power or fortune. They can be noble (of noble birth) or show wisdom (by virtue of their birth). • Rome: Seneca (45? AD) = continued the Greek tradition of tragedy (particularly the unities and the noble protagonist), but with far more spectacle and gore. Theatre became more for entertainment than for civic/religious ‘lessons’. • England: Christopher Marlow (1588-9) writes The Tragical History of Dr. Faustus – he sells his soul to the devil for infinite power (tragic flaw = ambition). – Not of noble birth, but has wisdom and academic abilities (hence, the DR.) – Despite several divine interventions, Faustus makes a pact with Lucifer (he is blind to his own salvation by ambition) and eventually is dragged to his place in hell (big time punishment!) – Dr. Faustus fits into a new type of tragic hero who is both a hero and a villain = anti-hero who embraces disorder by their actions, which are usually motivated by greed, jealousy, lust and ambition (enter the seven deadly sins…!). Such characters follow ‘nature’ too readily and tend to ignore ‘civilised’ behaviour. …one move away from order can lead to tragedy! how modern Drama is different from Classical Drama
- 175. Order Disorder Orthodox behaviourUnorthodox behaviour Goodness Evil Aware of self Self-conceited Peaceful actions Violent actions Ignoring temptation Following temptation Tradition Subvert tradition Live within one’s means Greed and ambition Natural passion controlled Natural passion unrestricted Not coveting others Jealousy Seven deadly sins avoided Seven deadly sins embraced Accepting God’s order Rebelling against God’s order Christian Pagan Grace and mercy Despair and judgement Repetance Damnation USING THE TYPE OF BEHAVIOUR DESCRIBED ON YOUR PIECE OF PAPER – WHICH SIDE DO YOU THINK YOU ARE ON, ORDER OR DISORDER?
- 176. • Part ofthe reason for writing tragedies, therefore, is to offer the audience a sense of what value systems are important to us as human beings, and which systems we should try to prevent from taking hold. • Tragedy can educate and help society to change… if the audiences want to… • Unfortunately, tragedy in mid-19th century became ‘watered down’ and only used to serve as spectacle; audiences wanted to be entertained and have the social order of their world reinforced and maintained. how modern Drama is different from Classical Drama
- 177. MODERN EUROPEAN TRAGEDY:THE LATE 19TH CENTURY• Konstantin Stanislavski created a ‘system’ which changed the face of acting forever. Rather than just ‘demonstrating’ on stage, actors were to explore the character inside and out so that their acting, as well as the drama, was more realistic on stage. –Naturalism = theatre which aims to depict human action and emotion in a ‘realistic’ way –Fourth wall = an imaginary wall which divides the stage from the audience in a box set (a realistic three-dimentional set with the 4th wall cut out) how modern Drama is different from Classical Drama
- 178. • Henrik Ibsen,August Strindburg (Scandinavia) and Anton Checkov (Russia) began to write more realistic tragedies in which real lives are depicted and would typically deal with taboo subjects – • sexual disease, • infidelity, • female liberation, • social injustice, • the breakdown of the family. • Although there would still be a resolution (like in a Greek tragedy), there would be no grand speech, major battle or brave sacrifice; • these plays ended simply with either a small act of defiance, a quiet definite act, or (breaking completely from Aristotle’s rules) sometimes the characters just had to simply go on. 1/5/2015 178 how modern Drama is different from Classical Drama
- 179. 1/5/2015 179 Plays weremet with hostility; bringing the difficulties and pain of tragedy into the normal, social sphere was radical in the extreme Audiences were not used to watching dilemmas they might face performed without the certainty of a positive outcome, so there was a resistance to these works for many years. BUT tragedy was revived and made both explicitly political and uncomfortably real because there were ‘ordinary’ people in tragic situations on stage = domestic drama how modern Drama is different from Classical Drama