AREA OF DISCUSSIONAREA OF DISCUSSION INTRODUCTIONINTRODUCTION

THE NATURE OF DRAMATHE NATURE OF DRAMAA WORK OF LITERATURE OR A COMPOSITION WHICH DELINEATESA WORK OF LITERATURE OR A COMPOSITION WHICH DELINEATES

LIFE AND HUMAN ACTIVITY BY PRESENTENTING VARIOUS LIFE AND HUMAN ACTIVITY BY PRESENTENTING VARIOUS ACTIONS OF – AND DIALOGUES BETWEEN – A GROUP OF ACTIONS OF – AND DIALOGUES BETWEEN – A GROUP OF CHARACTERSCHARACTERS

THE HISTORY OF DRAMATHE HISTORY OF DRAMA- DRAMA IN THE MIDDLE AGES- DRAMA IN THE MIDDLE AGES- 15 TH (FIFTEENTH) CENTURY- 15 TH (FIFTEENTH) CENTURY- ELIZABETHAN DRAMA- ELIZABETHAN DRAMA- RESTORATION AND 18 TH (EIGHTEENTH) CENTURY DRAMA- RESTORATION AND 18 TH (EIGHTEENTH) CENTURY DRAMA- 19 TH (NINETEENTH) CENTURY DRAMA- 19 TH (NINETEENTH) CENTURY DRAMA- 20 TH (TWENTIETH) CENTURY DRAMA- 20 TH (TWENTIETH) CENTURY DRAMA

DEFINING THE PLAYDEFINING THE PLAY DRAMATIC STRUCTUREDRAMATIC STRUCTURE

- CLASSICAL TRAGIC STRUCTURE : RISING- CLASSICAL TRAGIC STRUCTURE : RISING ACTION,CLIMAX,FALLING ACTION, CATASTROPHEACTION,CLIMAX,FALLING ACTION, CATASTROPHE CHARACTERS AND CHARACTERIZATIONCHARACTERS AND CHARACTERIZATION LANGUANGE AND RHETORICLANGUANGE AND RHETORIC

LEARNING DRAMALEARNING DRAMAAS PART OF AS PART OF LITERARY LITERARY

APPRECIATIONAPPRECIATION

BYBY : : A. A. ISTRI YUDHI PRAMAWATIA. A. ISTRI YUDHI PRAMAWATI

Drama?????Drama????? ActingActing ScriptScript ArtArt HorrorHorror Actor and actressActor and actress DirectorDirector Dialogue,Dialogue, Music, Setting, stageMusic, Setting, stage ComedyComedy TragedyTragedy RomanticRomantic ThrillerThriller ActionAction Love storyLove story

Key wordsKey words

DialogueDialogue ActingActing Actor and ActressActor and Actress PerformancePerformance ArtArt LightingLighting ThemeTheme NarrationNarration Character = pelaku, watak, peran, tokohCharacter = pelaku, watak, peran, tokoh

Key termsKey terms

Drama = playDrama = play Dramatist = playwrightDramatist = playwright AudienceAudience = Spectator = Spectator

Literature and DramaLiterature and Drama

Two aspects of literary studyTwo aspects of literary study(Robert Huntington Fletcher):(Robert Huntington Fletcher):

- Tracing in general way, we can learn Tracing in general way, we can learn about the social lifeabout the social life

- Getting some acquaintance with the Getting some acquaintance with the lives (of the more important authors)lives (of the more important authors)

Literature : Substance Literature : Substance FormForm

Kind of LiteratureKind of Literature

Laurence Perrine (literature: Laurence Perrine (literature: structure, sound and sense)structure, sound and sense)

- Pleasure & enjoyment = EscapePleasure & enjoyment = Escape

- Interpretation = InterpretationInterpretation = Interpretation

Kind of LiteratureKind of Literature

Escape and InterpretationEscape and Interpretation

Since the invention of language, men have taken pleasure in Since the invention of language, men have taken pleasure in following and participating in the imaginary adventures following and participating in the imaginary adventures and imaginary experiences of imaginary people. and imaginary experiences of imaginary people. EnjoymentEnjoyment is the first aim and justification of reading fiction.is the first aim and justification of reading fiction.

But, unless fiction gives something more than pleasure, it But, unless fiction gives something more than pleasure, it must yield not only enjoyment but must yield not only enjoyment but UnderstandingUnderstanding..Fiction may be classified into two broad categories :Fiction may be classified into two broad categories :1. Literature of Escape;1. Literature of Escape;2. Literature of Interpretation2. Literature of Interpretation

Escape literature is that written purely for entertainment – to Escape literature is that written purely for entertainment – to help us pass the time agreeably, take us away from the real help us pass the time agreeably, take us away from the real world and has its only object pleasure; it enables us world and has its only object pleasure; it enables us temporarily to forget our troubles.temporarily to forget our troubles.

Interpretive Literature is written to broaden and deepen and Interpretive Literature is written to broaden and deepen and sharpen our awareness of life, takes us through the sharpen our awareness of life, takes us through the imagination, deeper into the real world; has its object imagination, deeper into the real world; has its object pleasure plus understanding; it enables us to understand pleasure plus understanding; it enables us to understand our troubles.our troubles.

Kind of LiteratureKind of Literature

Escape LiteratureInterpretive Literature

ProsePoem

Drama

THE NATURE OF DRAMATHE NATURE OF DRAMA Drama is like prose fiction, utilizes plot and characters develops a theme, arouses Drama is like prose fiction, utilizes plot and characters develops a theme, arouses

emotion or appeals to humor and may be either escapist or interpretive in its emotion or appeals to humor and may be either escapist or interpretive in its dealings with life.dealings with life.

Like a poetry, it may draw upon all the resources of language, including verse. Like a poetry, it may draw upon all the resources of language, including verse. Much drama is poetry, but drama has one characteristic peculiar to itself. It is Much drama is poetry, but drama has one characteristic peculiar to itself. It is written primarily to be performed, not read. It normally presents its action:written primarily to be performed, not read. It normally presents its action:

1. through actors1. through actors

2. on a stage2. on a stage

3. before an audience3. before an audience

Drama is a work of literature or a composition which delineates life and human Drama is a work of literature or a composition which delineates life and human activity by means of presenting various actions of – and dialogues between- a activity by means of presenting various actions of – and dialogues between- a group of charactersgroup of characters

Drama is designed to be presented on stage. There are a few plays which are Drama is designed to be presented on stage. There are a few plays which are basically designed for reading rather than for theatrical performance and these basically designed for reading rather than for theatrical performance and these are referred to as closet dramasare referred to as closet dramas

Drama is also entertainment for it is more than representation of life and Drama is also entertainment for it is more than representation of life and characters through actions and dialoguescharacters through actions and dialogues

THE HISTORY OF THE HISTORY OF DRAMADRAMAWhy should we

learn the history of drama?

THE HISTORY OF THE HISTORY OF DRAMADRAMA Because we want to know how drama appear Because we want to know how drama appear

as an entertaining kind and to make the as an entertaining kind and to make the function of drama clearfunction of drama clear

Because drama tells the story of someone’ s Because drama tells the story of someone’ s life and his/her characters so that the life and his/her characters so that the audience is able to learn the moral values. audience is able to learn the moral values.

To understand what drama is and to know To understand what drama is and to know the first time when drama is performed. the first time when drama is performed.

To know the development of drama since the To know the development of drama since the first time it was published until todayfirst time it was published until today

Because from drama we can learn something Because from drama we can learn something regarding life and its complexitiesregarding life and its complexities

THE HISTORY OF THE HISTORY OF DRAMADRAMA

First of all, the history shows how the First of all, the history shows how the instinct for dramatic representation instinct for dramatic representation finds its outlets. It means that the finds its outlets. It means that the history records how an idea of a history records how an idea of a dramatist is, then, shaped into a great dramatist is, then, shaped into a great work. It is interesting to know how the work. It is interesting to know how the idea is transferred and meets its fame. idea is transferred and meets its fame.

THE HISTORY OF THE HISTORY OF DRAMADRAMA

Secondly, learning the history is Secondly, learning the history is important because it tells us a great important because it tells us a great deal about the workings of the deal about the workings of the popular imagination. It refers to the popular imagination. It refers to the famous titles and names of popular famous titles and names of popular dramatists. The things behind the dramatists. The things behind the fame of all well-known works and fame of all well-known works and names are a creative process and names are a creative process and the social life of the dramatists.the social life of the dramatists.

THE HISTORY OF THE HISTORY OF DRAMADRAMA

Lastly, the investigation of the history throws Lastly, the investigation of the history throws some light on the themes and conventions of some light on the themes and conventions of later drama. The various themes may rise from later drama. The various themes may rise from different views on particular things.different views on particular things.

THE HISTORY OF DRAMATHE HISTORY OF DRAMA When we speak of drama as a genre we must be aware of the When we speak of drama as a genre we must be aware of the

different forms that genre has adopted over several thousand different forms that genre has adopted over several thousand years. William Butler Yeast felt that drama is the epitome of all the years. William Butler Yeast felt that drama is the epitome of all the artsarts

The beginningThe beginningIt is commenced with religious celebration: out of the various It is commenced with religious celebration: out of the various pagan rites and festivals arose the earliest dramas of an pagan rites and festivals arose the earliest dramas of an entertaining kind, specifically Greek Tragedy and Greek Comedyentertaining kind, specifically Greek Tragedy and Greek Comedy

Greek TragedyGreek TragedyFrom the very start GT addressed itself to serious dimensions of life and From the very start GT addressed itself to serious dimensions of life and human characters, the standards defined by Aristotle in his famous human characters, the standards defined by Aristotle in his famous poetics. For him, usually there was to be a central character with some poetics. For him, usually there was to be a central character with some particular “tragic flaw” (hamartia). That is a character is led into despair, particular “tragic flaw” (hamartia). That is a character is led into despair, death or misery through some sort of error, either in himself or in his death or misery through some sort of error, either in himself or in his action: the most often cited flaw is hubris, which means excessive, self action: the most often cited flaw is hubris, which means excessive, self destructive pride.destructive pride.

The Basic Idea of Geek TragedyThe Basic Idea of Geek Tragedy- the man learns from suffering- the man learns from suffering- the experience of suffering often leads into new and enlarged - the experience of suffering often leads into new and enlarged

awareness of awareness of both self and existenceboth self and existence

- the audience should be purged of both pity and fear by time the - the audience should be purged of both pity and fear by time the tragedy comes totragedy comes to

an endan end

THE HISTORY OF DRAMATHE HISTORY OF DRAMA

Greek ComedyGreek ComedyAlso developed out of early religious celebration Also developed out of early religious celebration specifically from Dionysian rites of fertility, phallic specifically from Dionysian rites of fertility, phallic ceremoniesceremoniesDivided into: Old comedy, middle comedy, new comedyDivided into: Old comedy, middle comedy, new comedy

- Old comedy- Old comedy : a great deal of boisterous comment : a great deal of boisterous comment on affairs of state through political satire. on affairs of state through political satire.

- Middle comedy has no surviving examples- Middle comedy has no surviving examples- New comedy- New comedy : deals with romantic : deals with romantic

situationssituations

Roman Comedy Roman Comedy ::New comedy exemplified by Menander was greatly New comedy exemplified by Menander was greatly

imitated by the Roman Comedy writers, in particular by imitated by the Roman Comedy writers, in particular by Plautus and Terence Plautus and Terence

Greek tragedy VS Greek Greek tragedy VS Greek comedy…………..comedy…………..

The eventsThe events The subject mattersThe subject matters The mood and emotionThe mood and emotion The charactersThe characters

Greek tragedy VS Greek Greek tragedy VS Greek comedy…………..comedy…………..

TragedyTragedy ComedyComedy

The eventsThe events Climax in Unhappy Climax in Unhappy Disaster,Disaster,

Pleasing and Happy Pleasing and Happy ResolutionResolution

The subjectThe subject

mattersmatters

DarkDark LightLight

The mood/The mood/

emotionemotion

Tears/ Somber Tears/ Somber PessimismPessimism

Laugh/ Cheerful Laugh/ Cheerful OptimismOptimism

The charactersThe characters Is defeated by the Is defeated by the power out of his power out of his controlcontrol

Solves the problems Solves the problems in humorous wayin humorous way

THE HISTORY OF THE HISTORY OF DRAMADRAMA

DRAMA IN THE MIDDLE AGESDRAMA IN THE MIDDLE AGES 15 TH CENTURY15 TH CENTURY ELIZABETHAN PERIODELIZABETHAN PERIOD RESTORATION AND 18 TH CENTURY DRAMARESTORATION AND 18 TH CENTURY DRAMA 19 TH CENTURY19 TH CENTURY 20 TH CENTURY20 TH CENTURY

THE HISTORY OF DRAMATHE HISTORY OF DRAMA

I. DRAMA IN THE MIDDLE AGESI. DRAMA IN THE MIDDLE AGES

Medieval drama was established as a secular Medieval drama was established as a secular entertainment (related to certain church services)entertainment (related to certain church services)

Gradually the presentation were moved from the church to Gradually the presentation were moved from the church to the outdoorsthe outdoors

Religious play based on certain events in biblical historyReligious play based on certain events in biblical history

The story of man and the life of Christ became the main The story of man and the life of Christ became the main subject of all medieval dramasubject of all medieval drama

THE HISTORY OF THE HISTORY OF DRAMADRAMA

II. FIFTEENTH (15II. FIFTEENTH (15THTH) CENTURY ) CENTURY

MORALITY PLAYS AND INTERLUDESMORALITY PLAYS AND INTERLUDES

PRESENTED ON STAGE BY ACTORS IN BIZARRE COSTUMESPRESENTED ON STAGE BY ACTORS IN BIZARRE COSTUMES

THE MORALITY PLAYS LED SLOWLY INTO THE CREATION OF THE MORALITY PLAYS LED SLOWLY INTO THE CREATION OF INTERLUDES WHICH WERE RELATIVELY SHORT DRAMAS INTERLUDES WHICH WERE RELATIVELY SHORT DRAMAS BRIEF ENOUGH TO BE PRESENTED IN BETWEEN THE OTHER BRIEF ENOUGH TO BE PRESENTED IN BETWEEN THE OTHER EVENTS AT FEASTS, ENTERTAINMENTEVENTS AT FEASTS, ENTERTAINMENTTHE INTERLUDES WERE EXTREMELY POPULAR AND OFTEN THE INTERLUDES WERE EXTREMELY POPULAR AND OFTEN CONSISTED OF A DIALOGUE BETWEEN ONLY TWO CONSISTED OF A DIALOGUE BETWEEN ONLY TWO CHARACTERSCHARACTERS

THE HISTORY OF DRAMATHE HISTORY OF DRAMA

III. ELIZABETHAN PERIODIII. ELIZABETHAN PERIOD

By the late of sixteenth century, Elizabethan By the late of sixteenth century, Elizabethan Drama had become the best in the history of Drama had become the best in the history of dramadramaPeople from various professions begin writing People from various professions begin writing playsplaysBeginning of new kinds of plays, the romantic Beginning of new kinds of plays, the romantic comedies, the revenge and murder dramacomedies, the revenge and murder dramaThe period of unbelievable number of new and The period of unbelievable number of new and talented playwrighttalented playwrightIntroduced a whole galaxy of new kinds of Introduced a whole galaxy of new kinds of secular drama, many of which survive to the secular drama, many of which survive to the present daypresent day

THE HISTORY OF THE HISTORY OF DRAMADRAMA

IV. RESTORATION AND 18 TH CENTURY DRAMAIV. RESTORATION AND 18 TH CENTURY DRAMA

Heroic plays became extremely popularHeroic plays became extremely popular

Heroic drama was a kind of tragedy or Heroic drama was a kind of tragedy or tragicomedy characterized by excesses-tragicomedy characterized by excesses-violence, explosive, dialogues, greatly violence, explosive, dialogues, greatly tormented character element of spectacle tormented character element of spectacle and various epic dimensionsand various epic dimensions

The born of comedy of manners which usually The born of comedy of manners which usually concerned with the manners and customs of concerned with the manners and customs of very synthetic or artificial highbrow societyvery synthetic or artificial highbrow society

THE HISTORY OF THE HISTORY OF DRAMADRAMA

V. Nineteenth (19 th) CenturyV. Nineteenth (19 th) Century

Melodrama with excessive emotionalismMelodrama with excessive emotionalism

A revived interest in more serious drama like that of A revived interest in more serious drama like that of Elizabethan periodElizabethan period

VI. Twentieth (20 th) CenturyVI. Twentieth (20 th) Century

Under the leadership of Irish dramaUnder the leadership of Irish drama

Problem plays and domestic tragediesProblem plays and domestic tragedies

New kind of rebellious dramaNew kind of rebellious drama

Defining the playDefining the play????????????????????????????????????????????????????????????????????????????????????????????????????????????????????

????????????????????????????????????????

GestureGesture TasteTaste PlotPlot PronunciationPronunciation MimicMimic IntonationIntonation StyleStyle CharacterCharacter DialogueDialogue ThemeTheme CostumeCostume DurationDuration SettingSetting MusicMusic Delivering storyDelivering story BackgroundBackground ActingActing

Defining the playDefining the play The actorThe actor The themeThe theme The charactersThe characters The plotThe plot The point of view : 1The point of view : 1stst person,3 person,3rdrd person, person, The content of the storyThe content of the story Kind of storyKind of story SettingSetting The scriptThe script DurationDuration StageStage CostumeCostume AudienceAudience LightingLighting Sound systemSound system PlacePlace

Defining The PlayDefining The Play

The Physical World Of The PlayThe Physical World Of The Play The Central ThemeThe Central Theme CharactersCharacters PlotPlot SourcesSources StyleStyle Outstanding Features of The PlayOutstanding Features of The Play

Defining The PlayDefining The PlayThe Physical World Of The PlayThe Physical World Of The Play

It would be futile to enter immediately into a discussion of It would be futile to enter immediately into a discussion of the play without some brief explanation of the physical world in the play without some brief explanation of the physical world in which it takes place. This means, first of all, explaining location which it takes place. This means, first of all, explaining location (where does the action take place) and what is the length of the play (where does the action take place) and what is the length of the play (the time of day)(the time of day)

The Central ThemeThe Central ThemeEvery play has one dominating idea which we call the Every play has one dominating idea which we call the

theme. This is the ultimate significance of any drama and that theme. This is the ultimate significance of any drama and that dimension of the artist’s labor which outlives entertainment value. dimension of the artist’s labor which outlives entertainment value. In defining the play, one has to delineates the meaning of the play In defining the play, one has to delineates the meaning of the play (what the play is about)(what the play is about)

CharacterCharacterThe play has a certain number of characters that is The play has a certain number of characters that is

major and minormajor and minor

Defining The PlayDefining The Play

Plot Plot

A brief synopsis of the major action of the drama in A brief synopsis of the major action of the drama in question so that the character’s relationships will become question so that the character’s relationships will become clarified by reference to the main events of the play (what clarified by reference to the main events of the play (what actually happens that shows correlation between the action actually happens that shows correlation between the action and the theme, how does the action translate into meaningand the theme, how does the action translate into meaning

SourcesSourcesIt refers to the place where the play story was coveredIt refers to the place where the play story was covered

Defining The PlayDefining The PlayStyleStyle

Dealing with the language used. The general category Dealing with the language used. The general category of style includes diction, the use of figurative language, of style includes diction, the use of figurative language, patterns of imagery, rhetorical devices, emphasis and even patterns of imagery, rhetorical devices, emphasis and even logic. Whether the play is written in ornate or plain style, as logic. Whether the play is written in ornate or plain style, as well as whether the dialogue is mostly in the vernacular or is well as whether the dialogue is mostly in the vernacular or is formal, is rhymed or unrhymed.formal, is rhymed or unrhymed.

Outstanding feature of the playOutstanding feature of the play

Any aspects of a play which is conspicuous in some Any aspects of a play which is conspicuous in some sensesense

dRaMatic StRucTurEdRaMatic StRucTurEStructure refers to the total organization of a literary Structure refers to the total organization of a literary

work. It is a summary of the full scheme of plan of the work. It is a summary of the full scheme of plan of the

work. The analysis of structure is twofold: work. The analysis of structure is twofold:

outlining the way in which the play is put together and outlining the way in which the play is put together and why the playwright chose a particular way of why the playwright chose a particular way of assembling the events of the playassembling the events of the play

Classical Tragic StructureClassical Tragic Structure

One of the most dominating theories of structure is One of the most dominating theories of structure is that which classically pertained to tragedies for a that which classically pertained to tragedies for a tragedy deals with conflict, ancient, critics, thought of tragedy deals with conflict, ancient, critics, thought of the plays as tying and untying knots. The structure of the plays as tying and untying knots. The structure of the play divided into four large categories. the play divided into four large categories.

Four catagories of classical tragic structureFour catagories of classical tragic structure

1.1. Rising actionRising action2.2. ClimaxClimax3.3. Falling ActionFalling Action4.4. CatastropheCatastrophe

(Chistopher Russel Reaske)(Chistopher Russel Reaske)

Four catagories of classical tragic Four catagories of classical tragic structurestructure

Rising actionRising actionRising action is the entire first part of the play in Rising action is the entire first part of the play in which the forces creating conflict are delineated, which the forces creating conflict are delineated, enlarged and prepared for some disaster. It is the enlarged and prepared for some disaster. It is the introduction or exposition, a short section directly introduction or exposition, a short section directly in the beginning in which we are made acquainted in the beginning in which we are made acquainted with certain facts, usually pertaining to event with certain facts, usually pertaining to event which have occured before the beginning of the which have occured before the beginning of the time of the playtime of the play

ClimaxClimaxThe end of rising action, for it constitutes major The end of rising action, for it constitutes major turning point in the playturning point in the play

Four catagories of classical tragic Four catagories of classical tragic structurestructure

Falling actionFalling actionIt follows climax and usually It follows climax and usually presents the ways in which the hero presents the ways in which the hero is slowly over poweredis slowly over powered

CatastropheCatastropheThe main action of the play or a The main action of the play or a logical result of the rising and falling logical result of the rising and falling actionaction

CharactersCharactersCharacter is a fictitious creation and thus the dramatist or novelist may Character is a fictitious creation and thus the dramatist or novelist may

both be judged with regard to their ability in the art of both be judged with regard to their ability in the art of characterizationcharacterization

Character in actionCharacter in action

The different character of one another can be observed closely by the The different character of one another can be observed closely by the actions presentedactions presented

We learn a great deal about the characters in a play by closely We learn a great deal about the characters in a play by closely observing their actions. We ask, primarily, why a character does what observing their actions. We ask, primarily, why a character does what he does and conclude that it must be because he is a certain kind of he does and conclude that it must be because he is a certain kind of personperson

Character determining plotCharacter determining plot

The plot develops out the character themselves. The plot with all of The plot develops out the character themselves. The plot with all of its small episodes and incidents, its complications and simplification its small episodes and incidents, its complications and simplification is motored by the natures of the charactersis motored by the natures of the characters

NUMBERS OF CHARACTERSNUMBERS OF CHARACTERSIn analyzing drama, one must pay some immediate attention to In analyzing drama, one must pay some immediate attention to the number of characters in the playthe number of characters in the play

Major CharacterMajor Character: Active Character: Active Character : Central: CentralMinor CharacterMinor Character: Passive Character: Passive Character : Supporting: Supporting

Major Character : Characters who are developed extensively Major Character : Characters who are developed extensively and has a large role in the playand has a large role in the playMinor Character : Characters who are not fully developed and Minor Character : Characters who are not fully developed and only has a small role in the playonly has a small role in the play

Basic Character RoleBasic Character RoleProtagonistProtagonist : The main character in the plot of any drama.: The main character in the plot of any drama.They are considered as a hero or a noble manThey are considered as a hero or a noble manAntagonistAntagonist : The opponent of protagonist who has unkind : The opponent of protagonist who has unkind personality and tend to do many destructionpersonality and tend to do many destruction

REFERENCESREFERENCESReaske. C.R. 1966. Reaske. C.R. 1966. How to analyze drama. How to analyze drama. …….: …….: Monarch PressMonarch Press

Literature : Structure, Sound, and Sense, Literature : Structure, Sound, and Sense, Laurence Perrine, 1970 Southern Methodist Laurence Perrine, 1970 Southern Methodist

UniversityUniversity

Literature : An Introduction to Fiction, Poetry, and Literature : An Introduction to Fiction, Poetry, and DramaDrama

XJ Kennedy and Dana Gioia, 2003 LongmanXJ Kennedy and Dana Gioia, 2003 Longman

Literature : Life, Language, LiteratureLiterature : Life, Language, LiteratureLinda Robinson Fellag 1993 Heinle & HeinleLinda Robinson Fellag 1993 Heinle & HeinleBell, Roger T. 1991. Bell, Roger T. 1991. Translation and Translating: Translation and Translating:

Theory and Practice.Theory and Practice. New York : Longman New York : Longman

MotivationMotivationMotivationMotivation : identifiable motives behind the : identifiable motives behind the

character. Most plays have central motives and in character. Most plays have central motives and in general these are the giant human emotions which general these are the giant human emotions which motivate most people in real lifemotivate most people in real life

The most The most common motivationcommon motivation of the character in of the character in

drama are:drama are:

1. Hope for reward1. Hope for reward

2. Love2. Love

3. Fear of failure3. Fear of failure

4. Religious feeling4. Religious feeling

5. Revenge5. Revenge

6. Greed6. Greed

7. Jealousy7. Jealousy

The The rounded personalityrounded personality : Characters come to us as: Characters come to us as

complex human personalities with many facetscomplex human personalities with many facets