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religious rituals storytelling dancing works of Thespis/Aeschylus judicial system originally the actors used masks, they were all male
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music was integral to plays adapting Biblical themes (mystery plays in the Middle Ages) three unities up till 16th c. England women on stage since 18th c. for many centuries theatre considered immoral start learning
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Tragedy (Greek tragos oide) = goat song
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DRAMA: any work in which actors assume roles before an audience, either in a theater or on radio or television.
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classical tragedy revenge tragedy domestic tragedy
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commedia dell’arte domestic comedy comedy of manners romantic comedy
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melodrama tragicomedy theatre of absurd epic theatre historical plays
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TRAGEDY: structure: Aristotelian dramatic curve antecedent action: what happened before the beginning of the play point of attack: the point at which the action of the play begins inciting incident: the event within the play, which sparks the conflict start learning
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peripateia: obstacles and reversals of action deus ex machina: an unbelievable solution pathos: suffering
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protagonist: the leading character antagonist: the opponent foil/counterpart: a character similar to protagonist, reveals some of his features confidante: a character in whom protagonist confides chorus start learning
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in the 16th c. Shakespeare breaks away from the doctrine of three unities; in the 18th c. the protagonists from lower classes appear
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CLIMACTIC: EPISODIC; UNCONVENTIONAL
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late point of attack 2 to 5 acts one place of action 6-8 characters few subplots clear cause-and-effect sequence compressed Greek, Roman and Neoclassical theatre
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early point of attack many short scenes many places of action many characters many subplots complicated web of causes expansion Elizabethean theatre
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little background, exposition emphasising chaos: non-traditional structure, confusing plot (little causality), undefined places existential characters theatre of Absurd
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classical tragedy: follows Aristotelian model, e.g., Oedipus Rex, Sophocles revenge tragedy: drama in which the dominant motive is revenge for a real or imagined injury; e.g., Hamlet, William Shakespeare start learning
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domestic tragedy: drama in which the tragic protagonists are ordinary middle-class or lower-class individuals, e.g., The Wild Duck, Henrik Ibsen
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originally featuring coarse humour, verbal and situational, evolved into high and low comedy comic techniques verbal humour: hyperbole, puns, malapropisms, e.g., He is the very pineapple of politeness. (The Rivals, R. Sheridan)
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comedy of situation complications, coincidences, surprises mistaken identities, e.g., The Comedy of Errors, William Shakespeare start learning
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comedy of character incongruity between the self and how they want to come across to others, e.g., Tartüffe, Molière stock characters, e.g., the braggart warrior, a fool, pantaloon asides: comments by a character directed to the audience, not intend
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farce: broad humour, glaring visual effects, fast-moving action, stock characters burlesque: parodies a particular work or genre grotesque: abnormal or macabre characters or incidents are presented in a mix of comedy and pathos or horror start learning
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satire: ridicules vice and stupidity
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satirical comedy: ridicules social structures, institutions and authorities, often in a caustic manner, e.g. The Clouds, Aristophanes start learning
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commedia dell’arte: “comedy of the profession”; originated in Italy (16th c.); makes extensive use of stock plots and characters, usually masked, e.g., Punchinello (Punch), Harlequin; features women on stage
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romantic comedy: features adventures in exotic places, love stories, and/or the celebration of simple rustic life; relies on coincidences and surprises, e.g., Twelfth Night, William Shakespeare start learning
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comedy of manners: satirizes the manners and affectations of a contemporary society, e.g., Importance of Being Earnest, Oscar Wilde
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black comedy: juxtaposes morbid or ghastly elements with comical ones that underscore the senselessness or futility of life; e.g., Who’s Afraid of Virginia Woolf?, Edward Albee
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Tragicomedy: incorporates both tragic and comic elements, and specifically one with a serious, even tragic tone that ends happily, e.g., The Cherry Orchard, Anthony Chekhov start learning
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History/chronicle plays: drama with a theme from history, e.g., Henry IV, William Shakespeare
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melodrama: highlights suspense and romantic sentiment, with characters who are usually either clearly good or bad; accompanied by music start learning
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epic theatre: emphasises the role of the audience, dispels the illusion of the play (alienation effect); Bertold Brecht
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theatre of the absurd: illogical structure and the irrational behavior of characters.,e.g., Samuel Beckett, Éugene Ionesco, Harold Pinter
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