The Nature of Drama

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Drama Drama The Nature of Drama The Nature of Drama

description

this material covers definition and history of drama

Transcript of The Nature of Drama

Drama Drama

The Nature of DramaThe Nature of Drama

About dramaAbout drama

• A piece of literary works , that are supposed to be PERFORMED, A piece of literary works , that are supposed to be PERFORMED, not to be read.not to be read.

• A narrative art in which a playwright has learned to present a A narrative art in which a playwright has learned to present a story. Stories are presented to give pleasure, to entertain, to story. Stories are presented to give pleasure, to entertain, to ridicule (for example: in a country where the leader of the country ridicule (for example: in a country where the leader of the country corrupt and the people can do nothing, so the playwright shows corrupt and the people can do nothing, so the playwright shows the story, in which people ridicule the leader the story, in which people ridicule the leader → It will entertain the → It will entertain the audience/the reader, because the audience/the reader is common audience/the reader, because the audience/the reader is common people)people)

• Portrays a REAL LIFE, portrays Human Nature. That is why, the Portrays a REAL LIFE, portrays Human Nature. That is why, the story must be the Range of Human Nature.story must be the Range of Human Nature.

• Drama, like prose fiction utilizes PLOT and CHARACTERS, develops Drama, like prose fiction utilizes PLOT and CHARACTERS, develops a THEME, arouses EMOTION or appeals to humor.a THEME, arouses EMOTION or appeals to humor.

Plot is the sequence of incidents/events, of which a story is composed, Plot is the sequence of incidents/events, of which a story is composed, presented in a significant order.presented in a significant order.

Characters are the actors/the players. Characterization is the way the writer Characters are the actors/the players. Characterization is the way the writer describes that characters (the personality of the character). describes that characters (the personality of the character). →→a. Discursive Method: a method that the writer uses to describe the a. Discursive Method: a method that the writer uses to describe the character by his own word.character by his own word.b. Dramatic Method: the way the writer describes the personality of the b. Dramatic Method: the way the writer describes the personality of the character through their dialogues. Sometimes the readers/the audiences character through their dialogues. Sometimes the readers/the audiences know the personality of the characters from the dialogues. The dialogue we know the personality of the characters from the dialogues. The dialogue we know that someone is friendly, kind, bad, evil etc.know that someone is friendly, kind, bad, evil etc.c. Contextual Method: the readers know the personality of the characters c. Contextual Method: the readers know the personality of the characters from another characters. For example: from gossiping. But sometimes it is from another characters. For example: from gossiping. But sometimes it is reliable, for there is subjectivity.reliable, for there is subjectivity.The audiences know the writer’s idea through the characters’ action/acting. The audiences know the writer’s idea through the characters’ action/acting. How they (the actors) translate the writer’s idea MUCH depends on the How they (the actors) translate the writer’s idea MUCH depends on the actors.actors.

Theme is the underlying/central/control idea. For example: ‘the function of Theme is the underlying/central/control idea. For example: ‘the function of truthfulness in life’, ‘sometimes life is bitter, but we must face it’.truthfulness in life’, ‘sometimes life is bitter, but we must face it’.

Because drama is reflection of real life, the theme must be in The Range of Because drama is reflection of real life, the theme must be in The Range of Human Nature.Human Nature.

Because drama is written primarily to be performed, not to be read, it Because drama is written primarily to be performed, not to be read, it normally presents:normally presents:

Its action, through actorsIts action, through actors → → Its impact is direct, immediate and heightened by the actor’s skill. Its impact is direct, immediate and heightened by the actor’s skill. Spectators see what is done and hear what is said. The experience of the Spectators see what is done and hear what is said. The experience of the play is registered directly upon their senses. Where the work of prose fiction play is registered directly upon their senses. Where the work of prose fiction may tell us:may tell us:- what a man looks like, in one paragraph,- what a man looks like, in one paragraph,- how he moves or speaks, in a second,- how he moves or speaks, in a second,- what he said, in a third,- what he said, in a third,- how his auditors respond, in a fourth,- how his auditors respond, in a fourth,the acted PLAY, presents this material ALL AT ONCE.the acted PLAY, presents this material ALL AT ONCE.

On a stageOn a stage → → It can forcefully command the spectator’s attention. (the stage is lighted, It can forcefully command the spectator’s attention. (the stage is lighted, the theater is dark, spectators almost literally pinned to the seats, there is the theater is dark, spectators almost literally pinned to the seats, there is nowhere they can go, there is nothing to look at). Unlike the fiction writer or nowhere they can go, there is nothing to look at). Unlike the fiction writer or the poet, the playwright is NOT DEPENDENT on the power of words alone.the poet, the playwright is NOT DEPENDENT on the power of words alone.

Before the audienceBefore the audience→ → The experience, it creates is a communal experience, and its impact is The experience, it creates is a communal experience, and its impact is intensified.intensified.

The beginning of DramaThe beginning of Drama• Drama is the most natural of arts, being based on one of the most fundamental of the

human and animal faculties—the faculty of imitation (faculty there is: any of the powers of the body and mind).

• It is through imitation that animals learn to fight, climb, hunt; it is through imitation that human children learn to talk and to perform a great number of complicated human functions.

• This imitative faculty or as we call it, Mimetic Faculty, make us all actors almost from the cradle. (Children play at being a doctors, kings and queens etc. this is acting, but it is not yet drama).

• It is believed that the first drama was not play, but a serious activity performed by grown men, expressing man’s highest instinct—the religious instinct.

• We cannot learn about 1st drama without learning anthropology (the learning of primitive human society). There is a difference between human society and modern society in the way to control outside world (e.g. modern technology—science).

• The primitive society, control outside world through magic, esp. ‘sympathetic magic’ ( is a magic in which people believe that the image of person is in sympathy with the person himself; whatever happens to the image must also happen to the person).

Many people believe that the first drama was based on 4 Many people believe that the first drama was based on 4 things:things: → → the mimetic facultythe mimetic faculty → → the sympathetic magicthe sympathetic magic → → a belief in godsa belief in gods → → a fear of star visiona fear of star visionSupposing a primitive society has taken to agriculture Supposing a primitive society has taken to agriculture where grows rice corn. Having no science, the members where grows rice corn. Having no science, the members of such a society tend to think that the food is in the of such a society tend to think that the food is in the hands of hands of certain natural forcescertain natural forces—in other words gods.—in other words gods.There is no science to teach them about the turning of There is no science to teach them about the turning of the earth, the regular appearance of spring after winter. the earth, the regular appearance of spring after winter. When winter comes it seems to them that the god of life When winter comes it seems to them that the god of life has died, killed perhaps by the god of death. How the has died, killed perhaps by the god of death. How the god of fertility—the life-god, the corn-god—be brought to god of fertility—the life-god, the corn-god—be brought to life again? Obviously by sympathetic magic.life again? Obviously by sympathetic magic.

And so come magical ceremonies. If a wax or wooden And so come magical ceremonies. If a wax or wooden image represents a man, a man should represent a god. image represents a man, a man should represent a god. And so perhaps a member of the community pretends to be And so perhaps a member of the community pretends to be the life-god and another pretends to be the death-god. They the life-god and another pretends to be the death-god. They fight and the life-god is skilled. But then, the life-god fight and the life-god is skilled. But then, the life-god miraculously rises again, kills the winter-god, dances over miraculously rises again, kills the winter-god, dances over his corpse in triumph.his corpse in triumph.

Now, according to the Now, according to the law of sympathetic magiclaw of sympathetic magic, what has , what has happened in mere representation must happen in fact. The happened in mere representation must happen in fact. The real god of fertility must come back to life, and in fact, he real god of fertility must come back to life, and in fact, he does. The earth is fruitful again. Magic is triumphed.does. The earth is fruitful again. Magic is triumphed.

here you have acting, here you have a plot; action (fighting) here you have acting, here you have a plot; action (fighting) leads to climax (death of the god) and the climax leads to a leads to climax (death of the god) and the climax leads to a happy denouement—resurrection. This is drama but also happy denouement—resurrection. This is drama but also religious.religious.

The development of English The development of English dramadrama A group of singers sing together accompanied by A group of singers sing together accompanied by

music.music. The song develops into dialogue and action.The song develops into dialogue and action.

→ → it is played by boys.it is played by boys. → → they move from one place to another onethey move from one place to another one

The play is concerned with religion.The play is concerned with religion. → → to confirm their religion.to confirm their religion. → → is played around the church.is played around the church. → → the actors: the monks, the priests and the choir-the actors: the monks, the priests and the choir-boys.boys.Such was the origin of the mystery.Such was the origin of the mystery.a. The mystery-playa. The mystery-playb. The Miracle-playb. The Miracle-playc. The Morality-playc. The Morality-play

The mystery-play—was the dramatic The mystery-play—was the dramatic representation of some important representation of some important Biblical theme, such as Biblical theme, such as the Nativity the Nativity (the birth of Jesus Christ) or (the birth of Jesus Christ) or the the ResurrectionResurrection (the rising of Jesus from (the rising of Jesus from the tomb; the rising of all the dead on the tomb; the rising of all the dead on the Last Day). Priests took part in the the Last Day). Priests took part in the plays, though it is not certain that they plays, though it is not certain that they wrote them. The mystery-play proper wrote them. The mystery-play proper centered-around the Crucifixion and centered-around the Crucifixion and the Resurrection. (crucify: kill the Resurrection. (crucify: kill (somebody) by nailing him to a cross).(somebody) by nailing him to a cross).

The miracle-play—in such plays the The miracle-play—in such plays the theme passed from the Scriptural theme passed from the Scriptural story (based on the Bible) to that of story (based on the Bible) to that of the lives of the Saints. The plots were the lives of the Saints. The plots were much more varied, the characters much more varied, the characters nearer to human experience and the nearer to human experience and the style rather more urbane.style rather more urbane.

The morality-play—registered a The morality-play—registered a further advance. In such plays virtues further advance. In such plays virtues and vices were presented on the and vices were presented on the stage. Abstractions such as Justice, stage. Abstractions such as Justice, Mercy, Gluttony (habit and practice of Mercy, Gluttony (habit and practice of eating (and drinking) too much).eating (and drinking) too much).

It becomes secular (not concerned with It becomes secular (not concerned with spiritual or religious affairs) spiritual or religious affairs) → a pageant → a pageant run on wheels.run on wheels.

→ → is displayed throughout the town.is displayed throughout the town.

→ → with/without scenery.with/without scenery.

→ → costume: of grotesque and primitive costume: of grotesque and primitive sort.sort.

→ → actors: amateur (members of various actors: amateur (members of various companies.companies.

The noblemen builds a playhouse.The noblemen builds a playhouse.

RenaissanceRenaissance

People in the 15People in the 15thth – 16 – 16thth C were bored with C were bored with the Medieval Age and they turned to a the Medieval Age and they turned to a rereading of the works of Greek and rereading of the works of Greek and Roman Literature, to a re-examination of Roman Literature, to a re-examination of Classical Learning (Greek Learning). This Classical Learning (Greek Learning). This movement is called The Renaissance, that movement is called The Renaissance, that means:means:-- in a narrow sense: a rebirth of in a narrow sense: a rebirth of interest interest classical learning.classical learning.-- in a broader sense: The in a broader sense: The Renaissance Renaissance refers to Humanism, refers to Humanism, as a rebirth of as a rebirth of individualism as a new individualism as a new freedom of freedom of thought and action.thought and action.

It is also called THE ELIZABETHAN AGE.It is also called THE ELIZABETHAN AGE.

The DramaThe Drama

• The actors: no actresses. Women’s roles are acted by boys who have a slender figure and usually with unchanged voice. costume--symbolical

• The theme: about royal family. Background—wars.• The audience: consists of the nobility and the humble

citizens.• The plays: the works of Shakespeare (1564 – 1616)—

Macbeth, King Lear, Hamlet etc.• One of the well known Greek Literature is Oedipus Rex

by Sophocles

The Puritan Age—the collapse of the The Puritan Age—the collapse of the dramadrama

Restoration Drama: Restoration Drama:

-- the actors—there are actors and the actors—there are actors and actressesactresses

-- the theme—no certain theme. the theme—no certain theme. Drama Drama is just for amusement.is just for amusement.

-- the audience—the nobility onlythe audience—the nobility only

-- the play—Siege of Rhodes the play—Siege of Rhodes (Davenant), Indian Queen (Howard)(Davenant), Indian Queen (Howard)

Drama in The 18Drama in The 18thth Century Century

Fundamentally, there is no great Fundamentally, there is no great differences between the Restoration differences between the Restoration and that in the 18and that in the 18thth century. The century. The audience—both the nobility and the audience—both the nobility and the humble citizens.humble citizens.

The plays—She Stop to Conquer The plays—She Stop to Conquer (Goldsmith), The School for Scandal (Goldsmith), The School for Scandal (Sheridan)(Sheridan)

Modern DramaModern Drama

After the Age of Decay, English Drama is much After the Age of Decay, English Drama is much influenced by Hendrik Ibsen (1828 – 1906). He is a influenced by Hendrik Ibsen (1828 – 1906). He is a Norwegian and called The Father of Problem Plays.Norwegian and called The Father of Problem Plays.

He teaches—drama must deal with human emotions, He teaches—drama must deal with human emotions, with things near to ordinary men and women. So with things near to ordinary men and women. So modern drama is drama of ideas, based on the modern drama is drama of ideas, based on the contemporary social conditions.contemporary social conditions.

His works—The Pillars of the Community, The Wild His works—The Pillars of the Community, The Wild Duck, Ghost, Hedda Gabler etc.Duck, Ghost, Hedda Gabler etc.

The Drama as Literature

With a theatre, a stage, actors, an audience, music, dance, pantomime, gesture, action, costume, setting to draw on in the creation of a unified play, the playwright is obviously composing a work of art with more than words. The playwright, however, uses words, and his product is thus a form of literature. A play exists on paper, before and after its performance; hence it can be read.

Editors now supply the readers of early plays with a helpful initial information which compensates for the bareness of the original text. Increasingly in modern times the playwright knows that if his play makes a genuine impact in the theater, it will be read by a great number of people who follow the drama as readers whether they can be spectators or not

Playwrights have even become somewhat merciful to the Playwrights have even become somewhat merciful to the reader in supplying more external guidance to the time, reader in supplying more external guidance to the time, place, setting and characters.place, setting and characters.

For example: Bernard Shaw expanded both descriptive For example: Bernard Shaw expanded both descriptive and interpretive support of the dialogue in the versions of and interpretive support of the dialogue in the versions of his plays published to be read. His preface, often added to his plays published to be read. His preface, often added to after the play had been performed, draw the reader’s after the play had been performed, draw the reader’s attention to values in society and life.attention to values in society and life.

The playwright here has the opportunity to reach the The playwright here has the opportunity to reach the reader with clues to the interpretation he hopes for. The reader with clues to the interpretation he hopes for. The entire force of the playwright’s art has been directed entire force of the playwright’s art has been directed toward making the reader perform the play on the stage-toward making the reader perform the play on the stage-even, if the reader is well-enough informed, on the even, if the reader is well-enough informed, on the particular kind of stage.particular kind of stage.

The story will owe its vitality, finally, to our ability to The story will owe its vitality, finally, to our ability to relate with it in life. The reader may therefore read relate with it in life. The reader may therefore read through the stage to reality or directly from the page to through the stage to reality or directly from the page to reality. Drama makes powerful comments on reality. Drama makes powerful comments on human human naturenature and and the human conditionthe human condition; it reveals ; it reveals human truth human truth arising out of characters under pressure of situation.arising out of characters under pressure of situation.

The Elements of DramaThe Elements of Drama

Dramatic Conventions—A play is manifestly not real but artificial Dramatic Conventions—A play is manifestly not real but artificial representation of life. It asks from the audience an active adoption of the representation of life. It asks from the audience an active adoption of the rules of the game—an acceptance of a good many dramatic conventions. rules of the game—an acceptance of a good many dramatic conventions. Within the play, unity is built upon the dramatic conventions.Within the play, unity is built upon the dramatic conventions.

The Play Story—The story base of a play may be original with the The Play Story—The story base of a play may be original with the dramatist or borrowed from legend, history, or fiction. Greek and dramatist or borrowed from legend, history, or fiction. Greek and Elizabethan dramatist commonly took a story already well known. For Elizabethan dramatist commonly took a story already well known. For example—Joan of Arc story has been used by Shaw in Saint Joan. Many example—Joan of Arc story has been used by Shaw in Saint Joan. Many stories are original invention of the playwright. He may draw on stories are original invention of the playwright. He may draw on his own his own life experiences, his memories, his reaction to the kind of life led by the life experiences, his memories, his reaction to the kind of life led by the people in places he has knownpeople in places he has known. He may . He may invent the story to express the invent the story to express the characters or to protest against their environment,characters or to protest against their environment,

Characters—that the basis of a play is its action. From Aristotle: ‘The plot Characters—that the basis of a play is its action. From Aristotle: ‘The plot being an imitation of an action must imitate one action and that a whole, being an imitation of an action must imitate one action and that a whole, the structural union of the parts-being such that, if any one of them is the structural union of the parts-being such that, if any one of them is displaced or removed, the whole will be disjointed and disturbed. displaced or removed, the whole will be disjointed and disturbed. However, a good play does not give the impression that it is a plot being However, a good play does not give the impression that it is a plot being acted out but that it is a group of characters acting as they must.acted out but that it is a group of characters acting as they must.

• The main character in a plot is called the The main character in a plot is called the protagonist, his opponent is called the protagonist, his opponent is called the antagonist, or it is not a person, the antagonistic antagonist, or it is not a person, the antagonistic force.force.

• He (the player) may talk to the audience in (1) He (the player) may talk to the audience in (1) Soliloquies: characters are presented as Soliloquies: characters are presented as speaking to themselves-that is, they think out speaking to themselves-that is, they think out loud; (2) Asides: characters turn from the loud; (2) Asides: characters turn from the persons with whom they are conversing to persons with whom they are conversing to speak directly to the audience, thus letting the speak directly to the audience, thus letting the audience know what they are really thinking or audience know what they are really thinking or feeling as opposed to what they presented to be feeling as opposed to what they presented to be thinking or feeling.thinking or feeling.

• Plot—the playwright orders and connects the Plot—the playwright orders and connects the events in a story to form a plot, a causal or events in a story to form a plot, a causal or motivated sequence of actions which introduce motivated sequence of actions which introduce a conflict into the lives of a group of characters.a conflict into the lives of a group of characters.

That conflict is the basis of a plot—Perrine: That conflict is the basis of a plot—Perrine: ‘Conflict is a clash of action, ideas, desires or ‘Conflict is a clash of action, ideas, desires or will. . .’will. . .’

conflict of person against person--characters may be conflict of person against person--characters may be pitted against some other person or group of persons pitted against some other person or group of persons ..

conflict of person against environment—they may conflict of person against environment—they may be in conflict with some external force (physical be in conflict with some external force (physical nature, society or fate).nature, society or fate).

conflict of person against himself/herself—they conflict of person against himself/herself—they may be in conflict with some elements in their own may be in conflict with some elements in their own natures. The conflict may be physical, mental, natures. The conflict may be physical, mental, emotional, or moral.emotional, or moral.

The common parts of plot are:The common parts of plot are: The exposition, or preliminary situation—the exposition is The exposition, or preliminary situation—the exposition is

all the information necessary for the reader to grasp the all the information necessary for the reader to grasp the initial situation, to be able to go on with the play. The initial situation, to be able to go on with the play. The exposition must be clear: who are those people, where are exposition must be clear: who are those people, where are they, when is it, who is speaking to whom about what?they, when is it, who is speaking to whom about what?

The inciting or exciting force or challenge—the inciting force The inciting or exciting force or challenge—the inciting force is the first part of the exposition which is dynamic—that is, is the first part of the exposition which is dynamic—that is, which contains a challenge, threat, or danger to have the which contains a challenge, threat, or danger to have the condition of the protagonist as first glimpsed. The condition of the protagonist as first glimpsed. The characteristic most exciting force have in common is that characteristic most exciting force have in common is that they confront the main characters or protagonist they confront the main characters or protagonist with a with a situation he will not accept without resistance.situation he will not accept without resistance. The threat The threat maybe from an enemy or rival, from the protagonist’s past, maybe from an enemy or rival, from the protagonist’s past, from another aspect of the protagonist’s nature, from any from another aspect of the protagonist’s nature, from any source that arouses his will.source that arouses his will.

The rising action, or complication—the rising action, sometimes called the complication because ‘it ties the preliminary situation into a knot’, consists of the actions taken by the protagonist and by the forces against him. The rising action usually consists of incident in pairs, a move and a countermove, the countermove producing the next move. Or each action is a consequence of the antecedent action and becomes in turn an antecedent for another consequence. The diversity of the forces that can be made to operate in a dramatic conflict, and of the dramatic effects that arise from the kind and order of the incidents, is so great that no rules can be offered except that the sequence should arise in intensity and finally resolve itself within the potential of the situation and characters.

• The climax, or turning point (sometimes preceded by the crisis, which make the direction of the turn final). The climax, or turning point, is the event that determines how the conflict will end favorably or unfavorably for the protagonist.

• The denouement, resolution, or (in tragedy) catastrophe. The denouement or catastrophe presents the outcome, dispose of subplots, and gives a glimpse of a new, stable situation.

Dialogue and actionDialogue and action

We have said above that a character in a play appears made-up We have said above that a character in a play appears made-up for his part and at once starts talking and acting. The talking is the for his part and at once starts talking and acting. The talking is the dialogue, the language resource of the playwright. The talking is dialogue, the language resource of the playwright. The talking is not only the matter of delivery of the dialogue, but the entire not only the matter of delivery of the dialogue, but the entire accompanying movement, gesture, pantomime, and stage accompanying movement, gesture, pantomime, and stage business.business.

Dialogue itself is a sense, a form of action, and the talking and the Dialogue itself is a sense, a form of action, and the talking and the accompanying action are so integrated or fused that they seem accompanying action are so integrated or fused that they seem one.one.

Dramatic dialogue is artfully concentrated, selected and Dramatic dialogue is artfully concentrated, selected and heightened for economy and intensity. The demands upon it in a heightened for economy and intensity. The demands upon it in a play are many and various; it must explain, anticipate and with the play are many and various; it must explain, anticipate and with the help of action execute the play story, but its existence, even with help of action execute the play story, but its existence, even with the support of dramatic conventions, depends upon its seeming to the support of dramatic conventions, depends upon its seeming to be natural speech of particular characters.be natural speech of particular characters.

• Speech is characteristic-voice, enunciation (ucapan), pronunciation, accent, dialect, speech rate, vocabulary range (variasi kata)-all these and more attributes of speech daily tell us things about everyone we listen to. Speech is both characteristic and

• Dialogue is supported constantly by its physical accompaniment, action by movement, and in the total scene, by the setting or scenery. Characters welcome callers, speed parting guest, answer telephones, pass tea-cups, lose tempers, draw swords, swing fists, talking all the while.

• Stage business, as it is called, is an active accompaniment of and supplement to the dialogue. It may set out the speeches or overwhelm them in calculated violence and confusion, but a careful fusing of action and dialogue is the joint preoccupation of playwright, director and actor.

Meaning in DramaMeaning in Drama The meaning, or theme, of a play-that truth about human life, nature, or The meaning, or theme, of a play-that truth about human life, nature, or

experience the playwright has founded his play story upon and adhered to experience the playwright has founded his play story upon and adhered to in selecting and rejecting the psychology, language and actions of his in selecting and rejecting the psychology, language and actions of his characters-is sometimes stated, phrased, or explicitly dramatized in the characters-is sometimes stated, phrased, or explicitly dramatized in the play.play.

The theme of a play is often a basic truism (kebenaran yang tidak dapat The theme of a play is often a basic truism (kebenaran yang tidak dapat disangkal lagi/mendasar) about human nature’s knowledge of itself and of disangkal lagi/mendasar) about human nature’s knowledge of itself and of the ordering of that moral world which is possible to it. conflicts and their the ordering of that moral world which is possible to it. conflicts and their resolutions as precipitated between men and women, love and hate, resolutions as precipitated between men and women, love and hate, tradition and revolt, desire and duty, passion and law, stick close to our tradition and revolt, desire and duty, passion and law, stick close to our wisdom about ourselves and our universe.wisdom about ourselves and our universe.

The final meaning of a play, however, is the product of total impression. In The final meaning of a play, however, is the product of total impression. In this sense, theme is structural; it is led up to (prepare, introduce) and this sense, theme is structural; it is led up to (prepare, introduce) and affirmed by the interaction upon the reader of all the elements of the play. affirmed by the interaction upon the reader of all the elements of the play. A play often ‘stage’ its final conclusion about human life; if it does not, A play often ‘stage’ its final conclusion about human life; if it does not, such a conclusion will be implicitly formulated by the reader.such a conclusion will be implicitly formulated by the reader.