The document discusses dramatic structure and its key components. It defines dramatic structure as a map of a play that generally follows an introduction, development, and resolution in performance or an intro, body, and conclusion in writing. It outlines the main parts of a play including theme, major dramatic question, plot, characters, and more. It then analyzes the play Trifles specifically, identifying the protagonist and antagonist, as well as how the plot follows the classic structure through its introduction, development and resolution.

1. Dramatic StructureDramatic Structure

2. What is dramatic structure?What is dramatic structure?
 A Map of a playA Map of a play
 What are the parts?What are the parts?
– In writing? Intro Body ConclusionIn writing? Intro Body Conclusion
– In Performance? Intro Development ResolutionIn Performance? Intro Development Resolution

3. Components of a playComponents of a play
 Theme- the moral or lesson a play teaches. ForTheme- the moral or lesson a play teaches. For
instance Goldilocks theme is- Don’t use otherinstance Goldilocks theme is- Don’t use other
people’s stuff!people’s stuff!
– Major Dramatic Question- the question that must beMajor Dramatic Question- the question that must be
answered in order for the play to conclude. Example:answered in order for the play to conclude. Example:
Will Goldilocks get caught?Will Goldilocks get caught?
– Universality- Themes should apply throughout timeUniversality- Themes should apply throughout time
and to many different cultures and societies.and to many different cultures and societies.
– Concept- A statement of what the artist (or reader) feelsConcept- A statement of what the artist (or reader) feels
the play is about as well as their take on it. Example-the play is about as well as their take on it. Example-
Goldilocks is a fun story where children learn good lifeGoldilocks is a fun story where children learn good life
lessons through humor. Notice this statement is alessons through humor. Notice this statement is a
combination of theme and how I think it should becombination of theme and how I think it should be
performed (fun-humor).performed (fun-humor).

4. Components of a playComponents of a play
Plot- the events of the story in order. Ie. The threePlot- the events of the story in order. Ie. The three
bears went for a walk, then Goldilocks triedbears went for a walk, then Goldilocks tried
their porridge…their porridge…
– Intro- Where characters are introduced and theIntro- Where characters are introduced and the
conflict is foreshadowed.conflict is foreshadowed.
– Development- The ups and downs of theDevelopment- The ups and downs of the
problem.problem.
– Resolution- where the problem gets solved andResolution- where the problem gets solved and
normalcy returns.normalcy returns.

5. ThemeTheme
 Theme- the lesson, the moral?Theme- the lesson, the moral?
 Let’s talk about the themes of commonlyLet’s talk about the themes of commonly
known shows:known shows:
– Trifles- The little things matter. Or Women areTrifles- The little things matter. Or Women are
good problem solvers.good problem solvers.
– Titanic- Big ships sink too. Or Love isTitanic- Big ships sink too. Or Love is
everlasting.everlasting.
– Ed- Friendships survive allEd- Friendships survive all

6. Themes should be UniversalThemes should be Universal
 What is Universality? Across time, place, andWhat is Universality? Across time, place, and
language barriers.language barriers.
– Why should themes apply universally? The story ofWhy should themes apply universally? The story of
Oedipus is 2500 years old yet the lesson still affects allOedipus is 2500 years old yet the lesson still affects all
of us.of us.
– Examples? Romeo and Juliet? All children’s storiesExamples? Romeo and Juliet? All children’s stories
– Exceptions? Some stories can’t cross cultural barriersExceptions? Some stories can’t cross cultural barriers
because of different belief systems. For instance, inbecause of different belief systems. For instance, in
some African tribes women are given as brides.some African tribes women are given as brides.
Modern feminist theory in America would not agreeModern feminist theory in America would not agree
with this. And if that were the theme, then the playwith this. And if that were the theme, then the play
would not relate to its’ audiencewould not relate to its’ audience

7. ThemeTheme
 What is a Concept?What is a Concept?
– An underlying current driving the production.An underlying current driving the production.
– Shakespeare redone- R&J Modern? TheShakespeare redone- R&J Modern? The
Leonardo DiCapprio version certainly wasLeonardo DiCapprio version certainly was
conceptually unique.conceptually unique.
– Trifles? How would you produce Trifles?Trifles? How would you produce Trifles?

8. PlotPlot
 The mapping of a play- How the eventsThe mapping of a play- How the events
unfoldunfold
 Above is a linear, or Aristotlean progression. The eventsAbove is a linear, or Aristotlean progression. The events
build and build until a climax and then resolve. In the lastbuild and build until a climax and then resolve. In the last
century a cyclical pattern was often usedcentury a cyclical pattern was often used

9. IntroductionIntroduction
– Prologue-Prologue- Used originally in Greek theatre, aUsed originally in Greek theatre, a
chorus member would speak directly to thechorus member would speak directly to the
audience and set up the events and characters.audience and set up the events and characters.
– Feather Duster Scene-Feather Duster Scene- When realismWhen realism
brought about a distaste for speakingbrought about a distaste for speaking
directly to the audience, playwrights oftendirectly to the audience, playwrights often
put a maid on stage who would dust whileput a maid on stage who would dust while
speaking to herself about the problems inspeaking to herself about the problems in
the house and the characters involved.the house and the characters involved.
Nifty huh?Nifty huh?
– Exposition-Exposition- simply when the audiencesimply when the audience
is being fed informationis being fed information

10. DevelopmentDevelopment
– Conflict- The problem of the playConflict- The problem of the play
– Rising Action- Building of the problemRising Action- Building of the problem
– Point of Attack- At the end of the exposition andPoint of Attack- At the end of the exposition and
the beginning of the problemthe beginning of the problem
– Build- Another term for Rising AcionBuild- Another term for Rising Acion
– Point of no Return- The point at which thePoint of no Return- The point at which the
antagonist has chosen he must solve the [problemantagonist has chosen he must solve the [problem
and cannot rest until he does.and cannot rest until he does.
– Climax- The biggest confrontation- where theClimax- The biggest confrontation- where the
problem is tackledproblem is tackled

11. ResolutionResolution
– FallingFalling Action- Refer to the chart, the play begins at peaceAction- Refer to the chart, the play begins at peace
and builds to a climax, but also falls back to peace.and builds to a climax, but also falls back to peace.
– Putting the Pieces Back-Putting the Pieces Back- Just another way of sayingJust another way of saying
Falling ActionFalling Action
– Denouement-Denouement- French from untying- the final resolutionFrench from untying- the final resolution

12. CharactersCharacters
 ProtagonistProtagonist.. the central character of a story. Pthe central character of a story. Protagonistrotagonist
is the term used by literary critics. In most cases we see the plotis the term used by literary critics. In most cases we see the plot
from the point of view of the protagonist, though some storiesfrom the point of view of the protagonist, though some stories
have a narrator who is not the protagonist.have a narrator who is not the protagonist.
 AntagonistAntagonist.. This is the character who causes or leads theThis is the character who causes or leads the
conflict against the protagonist. The antagonist is usually aconflict against the protagonist. The antagonist is usually a
villain, but not always. Every story has a protagonist, but somevillain, but not always. Every story has a protagonist, but some
stories do not have an antagonist, as some types of conflict dostories do not have an antagonist, as some types of conflict do
not require one.not require one.
 ConfidantConfidant.. Many stories include a secondary characterMany stories include a secondary character
whose main function is to listen to the protagonist. The confidantwhose main function is to listen to the protagonist. The confidant
(or confidante, if a woman) may play a part in the character(or confidante, if a woman) may play a part in the character
development of the protagonist, but even more often, he givesdevelopment of the protagonist, but even more often, he gives
the protagonist an excuse to provide plot information for thethe protagonist an excuse to provide plot information for the
reader.reader.

13. More characters…More characters…
 FoilFoil.. This is a character, usually a secondary one, who helpsThis is a character, usually a secondary one, who helps
us to understand the protagonist or another major character byus to understand the protagonist or another major character by
providing a contrast. In the old western movies, the hero wasproviding a contrast. In the old western movies, the hero was
always tall and handsome, had a good singing voice, wore aalways tall and handsome, had a good singing voice, wore a
white hat, rode a palomino stallion, and was strong and brave.white hat, rode a palomino stallion, and was strong and brave.
His sidekick was always short and fat, had a gravelly voice,His sidekick was always short and fat, had a gravelly voice,
wore a ridiculous-looking hat, often rode a pinto pony, and waswore a ridiculous-looking hat, often rode a pinto pony, and was
weak and timid. Technically speaking, this sidekick was a foilweak and timid. Technically speaking, this sidekick was a foil
(as well as a confidant). He made the hero look more heroic just(as well as a confidant). He made the hero look more heroic just
by standing next to him.by standing next to him.
 NarratorNarrator.. This is the character who tells the story. TheThis is the character who tells the story. The
narrator may be a realistic or fictionalized version of the authornarrator may be a realistic or fictionalized version of the author
or an entirely imaginary character whom we accept for the sakeor an entirely imaginary character whom we accept for the sake
of the story, though we know he is not really the author. Theof the story, though we know he is not really the author. The
narrator may be a main character or a minor one, may or maynarrator may be a main character or a minor one, may or may
not know all of the facts of the story, and may benot know all of the facts of the story, and may be reliablereliable oror
unreliableunreliable..

14. Now let’s look at Trifles-Now let’s look at Trifles-
 What were the events in the plot?What were the events in the plot?
– Which parts were the introduction?Which parts were the introduction?
– The development?The development?
– Resolution?Resolution?
Well that depends on the who we think the playWell that depends on the who we think the play
was about and what the Major Dramaticwas about and what the Major Dramatic
Question was?Question was?

15. MDQ- Will the women cover forMDQ- Will the women cover for
Mrs. WrightMrs. Wright
 Introductory elementsIntroductory elements
– Exposition about what happened when theExposition about what happened when the
neighbor and sheriff arrived last night.neighbor and sheriff arrived last night.
– We find out they are looking for motive.We find out they are looking for motive.
– We see early that the men view the women’sWe see early that the men view the women’s
things as unimportant (trifles).things as unimportant (trifles).
– The women start to notice clues as to Mrs.The women start to notice clues as to Mrs.
Wright’s guilt.Wright’s guilt.

16. MDQ- Will the women cover forMDQ- Will the women cover for
Mrs. WrightMrs. Wright
 DevelopmentDevelopment
– The women find the bird cage, stitching, andThe women find the bird cage, stitching, and
other clues that clearly point towards her guilt.other clues that clearly point towards her guilt.
– They discuss the woman’s role. And how mostThey discuss the woman’s role. And how most
men, including Mr. Wright, abuse that role.men, including Mr. Wright, abuse that role.
– They indirectly discuss whether or not to coverThey indirectly discuss whether or not to cover
for Mrs. Wright.for Mrs. Wright.

17. MDQ- Will the women cover forMDQ- Will the women cover for
Mrs. WrightMrs. Wright
 ClimaxClimax
– They hide the clues and change the subjectThey hide the clues and change the subject
when the men re-enter. Notice how this answerswhen the men re-enter. Notice how this answers
our MDQ.our MDQ.
– Now there is no doubt about the fate of theNow there is no doubt about the fate of the
play. All of the rising action has pointed to thisplay. All of the rising action has pointed to this
decision to cover the information.decision to cover the information.

18. MDQ- Will the women cover forMDQ- Will the women cover for
Mrs. WrightMrs. Wright
 ConclusionConclusion
– This play has a pretty quick resolution. TheThis play has a pretty quick resolution. The
clues are hidden and the women make a fewclues are hidden and the women make a few
snide comments to the investigators about theirsnide comments to the investigators about their
arrogance and ignorance and the play ends.arrogance and ignorance and the play ends.

19. Trifle’s CharactersTrifle’s Characters
 Protagonist- The women- probably Mrs.Protagonist- The women- probably Mrs.
Hale who talks Mrs. Peters into covering.Hale who talks Mrs. Peters into covering.
 Antagonist- The men – who represent theAntagonist- The men – who represent the
law.law.
 Confidant- The women serve this role toConfidant- The women serve this role to
each other as they share stories about howeach other as they share stories about how
men have mistreated women.men have mistreated women.

20. ENDEND