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Reading the Wrighting
=
Reading
isn't as popular as it once was. Some people blame it on
television and movies , saying that these modern forms of communication enc=
ourage
sitting passively and soaking up the images. It’s true that =
reading requires
greater effort - both physically and mentally - than watching =
movies or televis=
ion.
Those interested in Drama cannot be passive. Reading and analyzing script =
is a
necessary function for any Thespian.
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![](3D"master03_image004.gif")
- Reading plays is more demanding <=
/b>=
than reading a novel. Why? Because the author of a story or novel often communicates the mood and meaning of a particular scene by <=
span
style=3D'position:absolute;top:31.0%;left:26.77%;width:83.52%;height:6.25%=
'>describing the setting in great detail.
What are Stage Directions, =
and =
where
do they come from?
<=
/div>
=
uStage Directions are the description of
actions in a play script which are encl=
osed
in parenthesis, and usually in italics. The
scripts are called Acting Editions , and
are ordered from publishers. These acting editions have
very detailed stage directions. In most
cases, you might be surprised to know, the playwright
did not write the stage directions. During =
the
Broadway run of a show, the publisher often hired =
the
stage manager to provide a detailed set of stage directions
from the production. Experienced actors and
directors learn to ignore the stage directions in the
script, and generate their own which are unique to the
particular design and theme of their production.
Some Tips on Reading Plays
<=
span
style=3D'font-size:86%'>uSample section of a
published play:
<=
span
class=3DB2B style=3D'position:absolute;left:-3.25%;top:.49em'>uT=
OM: (standing
beside the fireplace as he burns the pages of his
book) I just can’t believe the publisher didn’=
;t
like it Mother.
<=
span
style=3D'font-size:86%'>uthree styles of typ=
e are
used:
<=
span
class=3DB2B style=3D'position:absolute;left:-3.43%;top:.49em'>u<=
i>Italics
for stage directions
<=
span
class=3DB2B style=3D'position:absolute;left:-3.43%;top:.49em'>uStan=
dard
print for the actual dialog
Some Tips on Reading Play (cont.)
=
uIt’s important to read the character name=
s,
because you need =
to
keep track of who is doing the talking.
uIt’s important to read the dialog -
that’s what it is all about!
uYou can probably skip reading most of the stage=
directions, but if you find yourself confused, =
go
back and re=
-read...
this time reading the stage directions as well.
uDon’t try to read too fast. Dialog is wri=
tten
to be spoken and=
heard
and it helps if you read silently as if you were hearing the words delivered by actors on a stag=
e.
The Elements=
and Structure of=
Drama
<=
span
style=3D'font-family:Subway'>uA cake is m=
ade of
flour, sugar, eggs, shortening, and other ingredients. What are the main ingredients that, properly mixed, make a play?
<=
span
style=3D'font-family:Subway'>uplot
<=
span
style=3D'font-family:Subway'>utheme
<=
span
style=3D'font-family:Subway'>ucharacter
<=
span
style=3D'font-size:113%'>uA recap of the plot is what you get when you ask the
question, “What happens in the play?”
<=
span
style=3D'font-size:86%'>uexposition
<=
span
style=3D'font-size:86%'>uinciting incident =
;
=
;
=
<=
span
style=3D'font-size:86%'>urising action
<=
span
style=3D'font-size:86%'>uclimax
<=
span
style=3D'font-size:86%'>ufalling action
P=
LOT
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exposition
=
uThe 5
W’s : who, what, why, when, where. This is the information the <=
span
style=3D'font-family:Bazooka'>audience needs to understand the play. Exposition is always given to the audience by way of dialogue between <=
/span>characters on the stage who impart to them enough background information that the audience feels “let in”=
on
past events.
Exposition always comes at the beginning of a play.
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inciting incident
uThe initial (first) action or=
conflict in a play. This conf=
lict
is usually
between the protagonist and antagonist, and sets up a rivalry of sorts that will bu=
ild in
intensit=
y as
the play goes on.
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rising action
uThe rising action is a series of conflicts <=
/span>or incidents which happen between the protagonist and the antagonist . these incidents build in intensity and seriousness as the play continues. the rising action is the biggest portion of a play, in other words, the rising action makes up the body of the play.
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climax
uthe climax is the high point of the play. the events of the rising action build the dramatic tension, the audience interest to a peak - that peak is the climax. at the point of climax the protagonist must face some new or altered emotional or physical situation.
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falling action
a.k.a.
denouement
a.k.a.
denouement
uthe denouement is the period of time =
after the climax where the protagonist comes to terms with the changes brought on by the events of the climax. in a fairy tale the denouement would be “and they all lived happily ever
after.”
Theme
<=
span
style=3D'font-size:88%'>uIf you ask the question, “What’s the play about?” you should expect a
different answer: the theme.
Let’s conside=
r a
story familiar to almost everybody
“Little Red R=
iding
Hood.”
What happens in the story? =
a little girl is sent to deliv=
er
food to her
grandmother. Although the littl=
e girl
is cautioned not to talk to
strangers, she speaks to a wolf=
, and
tells the wolf she is on her way to
visit her grandmother. When she
arrives at grandma’s the speedy wolf
has already eaten granny, and is
lying in wait in her bed. The wolf
proceeds to have Red for desser=
t. This is the PLOT.
A Theme should always be expressed&nbs=
p;
in one sentence
=
CHARACTER=
3;
u=
Every play has at least one Character - somebody has to perfo=
rm the
action and speak the words! Most often the playwright creates several characters for a play. =
The
characters are carefully
constructed to provide contrast and the opportunity for conflict - if the characters were all the same=
, the
play would be extremely
boring.
uMost plays have a character who is known as the Protagonist. The protagonist =
is the
hero, the person who the audience identifies
with and wants to get whatever it is he/she has set out to achieve.
uIf there is a Protagonist,
you will find an Antagonist as well. <=
span
style=3D'position:absolute;top:24.35%;left:3.5%;width:95.61%;height:24.35%=
'>The Antagonist is the person who through intention=
al
action, or through being in=
the
wrong place at the wrong time, finds him/herself
standing the the way of what the Protagonist wants.
Types of Plays
uTragedy
uComedy
uDrama
uMelodrama
uFarce
uSatire
These are just a =
few of
the types
of plays. A publi=
shed
play often
includes one of t=
hese
words on
the cover as a cl=
ue to
the reader
about the content=
s of
the book
(a comedy in on=
e act,
=
or a
drama in three=
acts,
for
example.)
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Some plays are se=
rious,
others are funny. Some serious plays contain =
=
funny scenes or l=
ines,
while some funny plays have serious messages =
or themes. And th=
ere
are different kinds of funny. It may be helpful to think of plays as=
being
part of a continuum - a line that stretches , unbroken, from th=
e most
serious to the most comedic.
![](3D"slide0017_image019.gif")
![3D"Text](3D"slide0017_image020.gif")
Tragedy
![3D"Text](3D"slide0017_image021.gif")
Drama<=
/span>
![3D"Text](3D"slide0017_image022.gif")
Morality Play<=
/i>
![3D"Text](3D"slide0017_image023.gif")
Melodrama<=
/b>
![3D"Text](3D"slide0017_image024.gif")
Farce<=
/span>
![3D"Text](3D"slide0017_image025.gif")
![3D"Text](3D"slide0017_image026.gif")
![3D"Text](3D"slide0017_image027.gif")
Satire=
Each play can be classified by loo=
king
at it’s characteristics, the
same way that foods can be classif=
ied by
looking at ingredients.
In the following slides we will ex=
amine
the major types of plays.
Traged=
y
uTragedy is one of the
oldest types of Dram=
a. It
has been with us since the days
of the Great Greek Playwrights Sophocles,
Aeschylus, and Euri=
pedes.
In general usage, tragedy means
something like very sad, but in
the study of drama it has a much more
specific meaning.
Aristotle
defines Tragedy
uThe play must be serious in natu=
re,
intending to provide the audience with an emotional catharsis, or cleansing by
arousing deep
feelings of horror or pity.
uThe play must adhere to three un=
ities
of Time, Place, and Action. That is, the story of the play must take no longer =
than
one day, it=
must
take place in only one location, and it must not be interrupted or diluted by
sub-plots.
<=
span
style=3D'font-family:Arial;font-size:63%'>uThe play must feature a tragic hero (the Protagonist): a pe=
rson
of exalted =
state
(meaning a person of some importance in the world) who is essentially a good=
man
but has a tragic flaw in his character such as excessive pride.
=
uThe hero is destroyed by his cho=
ice.
Greek Philosopher, Aristotle,=
gave
us the oldest
definition of Tragedy. His
definition includes
the following elements:
COMEDY
uComedy is a more general term, ap=
plied
to any play that has a happy ending - even if the play
isn’t funny. Plays ranging from Shakespeare’s <=
i>As
You Like It, to Oscar Wilde’s Lady
Windemere’s Fan to Anton Chekkov’s Un=
cle
Vanya to Neil Simon’s The Odd
Couple all are comedies. Even murder mysteries such =
as
Agatha Christie’s The Mousetrap =
are,
technically, comedies.
Drama
uDrama is
a general category for plays about serious subjects. Character development and theme are usually more important than plot. Ibsen’s A Doll’s House =
is a drama, as is Miss Julie, by Strinberg.
MeloDrama
uMel=
odrama is the category for plays about serious subjects where plot is more important than characters and theme. Characters tend to be rather flat, and they don't change or develop during the course =
of the play. Murder mysteries and <=
span
style=3D'position:absolute;top:86.54%;left:5.92%;width:89.47%;height:13.9%=
'>suspense thrillers fit into this category.=
Sentiment=
al
Drama
uSentimental Drama is the “soap
opera” category. Serious subjects are treated in a serious manner; p=
lot
and character are more important than theme. There is =
usually a heavy
emphasis on the emotions of the characters.
![](3D"master03_image031.gif")
![](3D"master03_image032.gif")
Sentiment=
al
Comedy
u=
Sentimental
Comedy is
the “sit com,” or situational comedy, category. Subject=
s are
usually lighter, and are treated with humor. Major emphasis is=
on
plot and character. Neil Simon’s Barefoot in=
the Park fits in this cate=
gory.
![](3D"master03_image034.gif")
![](3D"master03_image035.gif")
Farce
uFarce is often called “low
comedy.” The emphasis is almost entirely on plot,
with bawdy jokes and physical humor. Elements of
farce include such things as chases, disguises, talking at
cross purposes, and slapstick (pratfalls, slippin=
g on
banana peels, etc.). Feydeau’s A Flea in Her Ear <=
/b>is
a farce.
![](3D"master03_image037.gif")
![](3D"master03_image038.gif")
Theatre of the Absurd
uTheatre of the absurd=
contains <=
/span>elements of many =
other
types. It is usually defined by its underlying <=
span
style=3D'position:absolute;top:39.31%;left:7.92%;width:88.11%;height:11.83=
%'>theme of the
meaningless nature (or absurdity) of life. Often, the very structure of the =
play
reinforces this idea, as in Ionesco’s The Bald Soprano=
Comedy of manners
u Comedy of
Manners is a “high comedy”
category. The emphasis is on the
cleverness and witty dialog of the characters, who are usually members =
of the upper class. The great comedies of the English Restoration (1660-1725) and Eighteenth Century (Farquar’s The Beaux` Stratagem and Sheridan’s The Rivals for
example) and Wilde’s =
The Importance of Being Earnest <=
span
style=3D'font-size:88%'>fit in this style
![](3D"master03_image043.gif")
![](3D"master03_image044.gif")
Satire
u Satire is also considered to be high com=
edy.
In =
satire,
the playwright poked fun at social customs and current fashions - sometimes
including specific individuals of the times - perhaps in some effort to change the current thought and
behavior. Aristophanes
satirized many elements of Greek culture in his plays. Moliere satires, such as the <=
/span>Imaginary Invalid, Tartuffe, and The
Would-be Gentleman
were sometim=
es so
biting that his career was threatened.
Parody
u Parody is a specific form of =
satire
in which a very familiar play/song/movie/etc.. is=