Drama and Theatre

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DRAMA

AND
THEATRE
DRAMA
DRAMA
• The term drama is from the Greek word <dran>
that meant ‘to do’ or ‘to act’.
• In contemporary English, drama is a type of
literature that is expressed through spoken
language and acting.
• It is written and produced for public exhibition.
• Since drama is a written piece, its success as a
complete work of act is dependent upon its
presentation - how the interpreters such as
director, musicians, designers, actors, and its
technical staff give it life.
• Horace, the leading Roman lyric poet abd satirist
during the reign of Emperor Augustus, said
CLASSICAL
GREECE AND
TRAGEDY
CLASSICAL
GREECE
• Western drama originated from Classical
Greece that was established arount the 5th
and 4th centuries BC.
• The cebtral city of this age was Athens and its
theatrical culture produced three genres of
drama: tradegy, comedy, and satyr play.
• Although ow these genres developed is
historically unclear, these were culturally
established as part of the festivities for
Dionysus, the Greecian god of grape and
harvest, wine, and winemaking, of ritual
madness, fertility, theatre, and religious
ecstacy.
TRAGEDY
• Tragedy is a form of drama that present
sorrowful events and terrible happenings
encountered or caused by the main character.
• The term ‘tragedy’ is loosely used to describe
anything that is disastrous or unfortunate; but
as a work of art, tragedy examines and
questions humankind’s role in the universe as it
depicts pain and sorrow.
• The material used for this kind of play in
Classical Greece was usually from the works of
Homer - the pressumed author of the two
greatest epics of the Western world, the Iliad
and the Odyssey.
ARISTOTLE’S POETICS AND
HIS DEFINITION OF TRADEGY
• Aristotle was an Ancien Greek philosopher
and considered as the Father of Western
philosophy.
• His literary criticism of of theatre is the
earliest surviving work of dramatic theory
or the attempt to form principles about
theatre and drama.
• Hence, Aristotle's Poetics written around
the 4th century BC was the basis of
subsequent Western theatre criticisms.
THE ELEMENTS OF 4. The language used in a tragedy
A TRAGEDY turns away from conventional word
At the onset in Poetics, Aristotle usage. This style includes
outlined the elements of tragedy: metaphors, similes, repetitions,
1. Tragedy is, first and foremost, a
and other figure of speech.
representation of human action.
5. A tragedy evokes pity and fear
2. The actions shown have serious
from the audience for the hero. As
consequences and the characters
these feelings arise, people will
are not ordinary people, but form a
also begin to understand its root
high social status.
causes ultimately resulting t a
3. The plot is complete and
catharsis.
coherent presentation that
6. The manner by which a tragedy
adequately shows the reversal of
1s presented to the audience is
The plot is activity of the characters and the series of
events that make up a story.
The series of
events
• incident
• rising action
• cimax
• falling action
• denouemnent (the
end).
In Grecian drama, climax refers to the moment of truth -
also called recognition. When a protagonist's fortunes turn
from good to bad, it is called the reversal, and when this
happens suffering follows.
These events are divided into Acts and Scenes,.
ACT
• The Act is the major division of a drama where the basic
structure of the performance stands on.
• Acts last for about 30 to 90 minutes depending on the
conventional full-length duration.
• An Act is long because it is a collection of Scenes put
together.
SCENE
• A scene refers to a specific setting that starts when the
actor enters the stage and ends when he exits marked with
very short gaps as scenes move from one setting to
another,
The character is the personality and moral conduct of the people
acted out in a play
• Protagonist - the most important figure in the story
• Antagonist - the character that makes the protagonist's life
miserable
• Thought - it explains the character's thinking process.
• Dialogue - is the word choices used by the playwright to express
ideas and emotions through language as spoken by the actors,
forming the conversations of the play
Spetacle refers to the objects used in the play including the_set,
the costumes. the props, and all materials used in putting the
story together to create scenes.
Then there's music referring to the singing and dancing Ina
drama and the melodies used to enhance a dialogue.
SHAKESPEAREAN TRAGEDY
• Often called Englands national poet and the
"Bard of Avon." William Shakespeare produced
most of his known works between 1589 and
1613.
• In medieval Gaelic and British culture, a
professional story teller, verse-maker and
music composer was called bard while "Avon"
referred to Shakespeare's birthplace,
Stratford-upon-Avon - hence the title, "Bard of
Avon'.
• His early plays were primarily comedies an
histories.
• Then around 1591 until 1611, Shakespeare
THE ELEMENTS OF A SHAKESPEAREAN
A Shakespearean tragedy isTRAGEDY
a story with a sad ending and the hero
either died or became mentally, emotionally, or spiritually damaged
beyond repair at the end. The elements of this type of play are:
1. Tragic hero
• the main character was tragic hero who was a very prominent
personality in his state, country, or kingdom and holds a very high
position in society often a royalty.
• the hero was also cursed by fate.
2. Struggle between Good and Evil
• the hero will also struggle between good and evil, and this can happen
either as part of the plot or something that exists within the character.
• Shakespeare’s presentation of evil was something that cannot be
eradicated and is ever-enduring
THE ELEMENTS OF A SHAKESPEAREAN
3. Hamartia TRAGEDY
• is Greek for 'sin' or 'error' refers t to the hero's tragic personality flaw
that ultimately led to a tragic waste
4. Tragic waste
• is an element of Shakespearean tragedy where the hero dies along with
his opponent.
• the hero's death is no ordinary death because the Shakespearean
rendering of his death as tragic waste is the terrible loss of an
exceptionally intellectual, honest, intelligent, noble, and virtuous person
5. Conflict
• in literature is described as any struggle between opposing forces.
• in Shakespearean tragedy are of two types - external conflict and internal
conflict
THE ELEMENTS OF A SHAKESPEAREAN
TRAGEDY
• Internal conflict - is a struggle happening inside the character due to his
hamartia.
• External conflicts - are struggles that happen outside the character's
person
6. Catharsis
• or the release of pent-up feelings
• despite the elevated status of the hero, his virtues enabled the audience
to identify with his struggle to overcome evil with goad, felt sorry for him,
cry over his death, but at the same time relieved that the antagonist got
his due.
7. Supernatural Elements
• are another important aspect to the story. It creates an atmosphere of
THE ELEMENTS OF A SHAKESPEAREAN
8. Absence of Poetic Justice TRAGEDY
• poetic justice means receiving fitting or deserved retribution
• Aware that in real life good people will also experience suffering and bad
people could go unpunished, Shakespeare reflected this reality in his
tragedies.
9. Comic Relief
• is the one element that distinguished Shakespearean tragedies from the
elements of Grecian tragedies
• A comic relief is intended to break the tension in a story and make the
audience laugh to lighten the mood, albeit temporarily
• Grecian and Ronan tragedies did not employ comic relief within their
stories.
• Shakespeare wanted to amuse his audience too, hence the comic relief
Soliloquy Monologue
monologue is done by a
- is a form of character
single character in the
expression wherein the actor
manner of a long speech
talks to the audience or talks
delivered with appropriate
to himself
emotion based on the scrip
- is a type of monologue
THE
ROMANTIC
ERA
THE ROMANTIC ERA
• The Romantic era also known as Romanticism was a
cultural movement that happened in Europe toward
the end of the 18h century.
• Melodrama was the most popular means of escapism
of this time. Its themes dealt with social issues like
the environment, poverty. liberty, and nationalism.
• Melodramatic plot was fast-paced. focused on
sensationalism, and revolved around the good and the
bad.
• The main characters were either villains or heroes.
• The story was also quite short becauUse it was
presented as part of an entertainment show that
involved a mixture of popular songs, comedy, and
A DOLL’S HOUSE
20TH
CENTURY
DRAMA
20TH CENTURY
DRAMA
• A revolutionary change occurred in the dramatic world
by the end of the 19 century.
• This change, induced by scientitic discoveries and
influential personalities involved a departure from
tradition
• 20" century playwrights sought freedom for the stage
and presented truths rather than providing frivolous
pastime.
• Thus, Western. drama experienced exceptional
experimentation.
• Realism, naturalism, symbolism, expressionism, and
surrealism were the leading dramatic styles
20TH CENTURY
DRAMA
1. Realism
• is presented stories about real people in real situations.
Realist writers endeavor to show life as it really is.
• It focused on human behaviopwhat people do, and the
reason or reasons for their actions in the context of their
situation.
2. the principles
a. the of naturalism
play should involve.
be a result of careful study of human
behavior.
b. The characters really exist
c. The characters' actions and motivations are biologically
sound, consistent with the environment.
d. The presentation in terms of setting and performance are
20TH CENTURY
DRAMA
e. The issues tackled should be meaningful and
significantly life-changing - not small or petty.
f. The plot should be simple
3. Symbolism
• it challenged realismn and naturalism.
• It explored the mentl and spiritual life and believed that
the truth can be found beyond what can be seen. felt, or
heard.
• It explored the mentl and spiritual life and believed that
the truth can be found beyond what can be seen. felt, or
heard.
20TH CENTURY
DRAMA
4. Expressionism
• it n extended to describe the modernist drama
movemnent that portrayed the suffering leading to the
spiritual awakening of the protagonist
• it was subjective and arbitrary and often featured
imagery as in a dream.
• it aimed to destroy superficial ideas of reality.
2. Surrealism
• it presents an altered version of reality.
• it’s trademark is that it focuses on the subconscious
mind.
POST-MODERN DRAMA
• The post-modern era is a movement that
developed in the mid- to late 20 century affecting
philosophy and Western culture that markedly
departed from modernism.
• The Theatre of the Absurd was a post World War II
drama style in n the late 1950s created by
European playwrights.
• These dramatists were influenced by 20 century
French philosopher Albert Camus who coined the
term “absurdism” in his essays.
• In his philosophy, Camus referred to "the Absurd"
as the conflict between the human tendency to
look for 'inherent value’ and the human inability
AMERICAN DRAMA
• Broadwa is actually one of the main and is the oldest
thoroughfares in Manhattan, New York City.
• The origins of Broadway theatres started in 1750 when
actors and managers Thomas Kean and Walter Murray
who led a band of traveling drama performers opened
"The Theatre on Nassau Street".
• From then on various theatres opened along this busy
broad road and, in time, Broadway became known
worldwide as the theatre district and the center of
professional commercial theatre in the US.
• Perhaps the most notable playwright responsible for
putting American drama to worldwide respectability is
Eugene O'Neill.
• Eugene O'Neill (1888-1953) is generally Considered the
THE JAPANESE DRAMA
• As legend goes, Amatenasu Omikamà the celestial sun
goddess from whom the Japanese imperial family are
believed to be descended from, once got severely
annoyed with storm god Susanoo that Amaterasu
withdrew into a cave and refused to come out.
• One goddess, Amenouzume No Mikoto spontaneously
danced on an upturned tub delighting the other gods
present. While dancing, Amenouzume inadvertently
half exposed herself causing the gods to roar with
laughter.
• Amenouzume's sacred dance is the origin of Japanese
drama
FOUR MAIN TYPES OF TRADITIONAL JAPANESE
DRAMA:
1. Kabuki
• an "art of singing and dancing" is a form of
Japanese theatre that combines drama, dance,
and music
• Kabuki is the traditional Japanese theatre and
has a history spanning more than 400 years
• The originator the Kabuki was said to be Izumo
nÍ Okuni, miko (Japanese shrine maiden, also
considered a priestess) of Izumo-taisha one of
he most ancient and most important Shinto
shrine of Japan.
• The Golden Age of Kabuk? is said to be trom
1673 to 1841.
FOUR MAIN TYPES OF TRADITIONAL JAPANESE
DRAMA:
1. Kabuki
• The kabuki actor's perfornance is not just
measured for his ability to express
emotions.
• Make-up is also a very important part of
their performance.
• The kabuki actors wear thick make-up
• These are designed to portray the character
they are representing
• Rice powder is used to create the white
oshiroi base
• Kumadori enhances or exaggerates facial
lines ee up to produce dramatic animal or
FOUR MAIN TYPES OF TRADITIONAL JAPANESE
DRAMA:
1. Kabuki
• A kabuki play structure tollows the jo-ha-kyu
concept.
• This meant that dramatic pacing starts slow,
then speeds up, and abruptly halts
2. Bunkaru
• Among Japan's oldest traditions is puppetry.
• This is believed to have started as an ancient
rite where deceased persons were represented
by puppets
• However, it was the Chinese art of puppet
performances that had a huge impact on
Japanese traditional puppet drama.
FOUR MAIN TYPES OF TRADITIONAL JAPANESE
DRAMA:
2. Bunkaru
• Historical records produced accounts of
travelling puppeteers or what the Japanese
called the kugutsumawashi who moved
around Japan in the 7th century performing
on the streets and knocking on doors
asking for donations
• Eventually, some performers began to
combine traditional Japanese puppetry with
joruri hence the term Ningyo-joruri
• Ningyo means "puppet" and joruri means a
narrator telling a story accompanied by a
shamisen (a three stringed Japanese
FOUR MAIN TYPES OF TRADITIONAL JAPANESE
DRAMA:
2. Noh
• Noh derived from nð which is the
Japanese term for talent or skil.
• Noh developed from ancient dance drama
forms and from various festival drama
held at shrines and temples during the
12h and 13th century
• During the Tokugaua period (1603-1867),
Noh became a ceremonial drama
performed on important occasions by
professional male actors who exclusively
performed for the warrior class
FOUR MAIN TYPES OF TRADITIONAL JAPANESE
DRAMA:
3. Noh
• Unlike Western drama, where actors "portray"
a role, Noh performers are basically
storytellers who use their appearance and
movements to depict the story, rather
"essence" of the than "act out" a scene.
• The masky that the shite wears is the top key
element of a Noh play
• The masks expressions, give the audience an
idea what character the main actor is playing
• The costumes have multiple layers and variety
of textures. This helps create a show of
elegance
FOUR MAIN TYPES OF TRADITIONAL JAPANESE
DRAMA:
4. Kyōgen
• brief farce or comic interlude played during a
Japanese Noh (lyric drama) cycle, expressed in
the vernacular of the second half of the 16th
century.
• Its effect is to relieve the tension of the drama
• It is performed in ordinary dress and without
masks (unless these are used in parody)
• There are normally four kyōgen interspersed
among the usual five Noh pieces
• Over time, kyōgen developed into an
independent dramatic form, and ai-kyōgen
came to refer specifically to Noh interludes.
DRAMA IN
THE
PHILIPPINES
THE INDIGENOUS
• The literary culturePERIOD
of the natives during the Pre-colonial
period followed oral traditions
• The natives had their own concept of God and spirits
that ruled both the spiritual and physical realms.
• These rituals were Ceremonies asking for either
blessings or atonement and marked tribal life such as
birth, death, puberty, courtship, marriage, illness,
recovery, planting, harvest, battle, and victory
• The indigenous dances imitated animal movements and
tribal activities such asplanting, harvesting, and
preparing for war
• The chants and songs were prayers, praises, and
everything that involved tribal life
THE INDIGENOUS
CHARACTERISTICS OF PERIOD
INWDIGENOUS RITUALS
1. The ritual uas led by the tribal priest or priestess
2. The rituals involved invoking the "spirits"
3. Rituals involved ofering a sacrifice
THE SPANISH COLONIAL
PERIOD
• Although Spanish drama traces its roots to European
drama, it evolved to suit the appropriate taste,
manners, habits, and peculiarities of the ancient
Castilian.
• The objective of early Spanish dramatists was to
emotionally affect their viewers, harmonize their
opinions of Spanish traditions and customs, and above
all flatter the nobility.
• As Spain successfully colonized the islands, Spanish
Catholic priests gave rise and popularized various
religious plays.
• These plays were staged during town fiestas to highlight
important Catholic traditions such as Advent and Lent
THE MAIN FORMS OF PHILIPPINE DRAMA IN
THE SPANISH ERA:
1. Senakulo/Sinakulo
• Derived from the Spanish term cenaculo (in
English cenade) or the room where Jesus
Christ was said to celebrate the Last Supper
with his disciples.
• is a Philippine Catholic traditional dramatic
presentation of Jesus Christ's trial, suffering,
and death.
• The performance is usually done on a stage in
an open field e all the villagers to see
Two kinds of Senakulo/Sinakulo
a. Hablada/Ablada - lines are spoken in a
deliberate slow manner purposely show the
THE MAIN FORMS OF PHILIPPINE DRAMA IN
THE SPANISH ERA:
b. Cantada/Kantada - the lines are sung and
the presentation of the entire cantada
traditionally takes three nights.
2. Komedya
• is also known as moro -moro and the
original version of the script depicted the
conflict between Christian nobility and
their Moorish counterparts, with the
Christians always winning the war.
• This didactic komedya called the
Comedia de San Miguel was written
around 1890, also called Yawa-yawa
THE MAIN FORMS OF PHILIPPINE DRAMA IN
THE SPANISH ERA:
3. Sarswela/Zarzela>
• is a one-act stage show traditional
Spanish consisting of various
performances that dancing, and
comedy
• A melodrama with songs and dances,
the sarswela focused on love stories,
usually of the colonial Philippine upper
class spiced with comic love episodes
of the servants
• As a studentin Ateneo de Manila, Dr.
Jose Rizal wrote his own sarswela
entitled Junto Al Pasig
THE EARLY AMERICAN
OCCUPATION
• With memories of the Philippine revolution still fresh in
the minds of the Flipinos, the arswela theme and plot
during the early American occupation were strongly
nationalistic.
• The Filipinos followed and watched the shows more for
its subversive stories rather than for any aesthetie
value.
• This trend created a concern for the American colonizers
that they eventually banned the performances.
• This ban led to the arrest of Pascual Poblete and Aurelio
Tolentino, the two most notable patriotic sarswela
writers of that time
THE LATER AMERICAN
OCCUPATION AND BODABIL
• As the Americans established their educational system in
the Philippines, the revolutionary drama also slowly
disappeared.
• Filipinos were introduced to European drama, with
students from prestigious schools leading the production
of Shakespearean plays
• However, in the early years of American occupation
American troops stationed in the Philippines were
entertained by vaudeville acts.
• Vaudeville is a type of show made up of short acts that
included comedy routines, singing, dancing, nagic acts,
and Sometimes featured trained animal performances.
THE LATER AMERICAN
OCCUPATION AND BODABIL
CONTEMPORAR
Y PERIOD
CONTEMPORARY
PERIOD
• Filipino theatre evolved through the influence of American
education and dramatic styles, which broadened the artistic
horizons for Philippine theatre.
• Early Filipino playwrights, trained in American literary
traditions, created original plays that were Western in style
but combined local influences over time.
• Contemporary Filipino theatre often explores social issues
and everyday life, with forms classified into melodrama
(aimed at evoking emotion), comedy (often featuring
slapstick humor), and drama simboliko (allegorical plays as
a form of political protest).
• Filipino theatre artists also experimented with Asian and
local traditions, blending various dramatic forms like
CONTEMPORARY
• PERIOD
However, Filipino audiences and playwrights still prefer
realism, focusing on showcasing everyday life in Filipino
society.
Theatre as a Combined and Collaborative Art
• Theatre brings together various genres of art, including
literature, visual art, architecture, music, dance, and
film. It involves both the written script and the visual and
emotional aspects brought to life through performance.
• The "from page to stage" process integrates narratives
with images, sound, and movements. It requires
collaboration between multiple artists such as
playwrights, directors, designers, and actors.
CONTEMPORARY
PERIOD
Why Theatre?
• Theatre mirrors human experiences and conveys truths
that extend beyond the individual. It is an essential form
of human expression and performance.
• Audiences connect with theatre by relating to the
stories, whether familiar or new, and it serves as a
medium for education, delight, and imagination.
• Theatre's significance endures because it offers complex
meanings, reflecting human nature and principles. It
expresses meaning through language, context, and
subtext, contributing to an ever-evolving human
consciousness.
CONTEMPORARY
PERIOD
Theatre as Form
1. Theatre as a Literary Work - the dramatic text or the play
script that is meant to be mounted and performed on
stage
2.Theatre as Production -the mounting of the theatre
production integrating or incorporating all the elements
3.Theatre as Performance -the output of the mounting of
the production as performance text showcased before the
audiences
4.Theatre as a Way of Thought and Logic - the study,
review, and critique of performances
5.Theatre as Entertainment - apart from its educational
function, theater performance delights and warms the
THE
ELEMENTS
OF DRAMA
AND
THEATRE
THE ELEMENTS OF DRAMA
1. Plot - the narrative's sequence of events of the drama
2. Characters - the personalities who carry the motivation and intent
of the action of the dramatic narrative
3. Dialogue - the lines spoken in the conversations between characters
4. Setting - the time, space, locale, and environment as to when and
where the drama takes place
5. Language - the words phrased through diction, symbols, similes,
metaphors among other literary devices to encode images, nuances,
and emotions in dialogues or monologues
6. Structure - the order and organization of the parts ot the drama
placing the acts scene, and units so the narrative tlows 1n the right
pacing of the storytelling
7. Theme - the premise or central idea of the drama scored by various
universal truths or precepts ike the pursuit of happiness, meaning,
THE ELEMENTS OF THEATRE
PRODUCTION
1. Dramatic Text - the play script which is subject for interpretation
and dramaturgy in a theatre production.
2. Play Interpretation and Direction - the conduct of studying the
script through dramaturgical processes, which involves research on
the cultural, historical. political, and social contexts of the play
3. Space - the dramatic space carved and constructed for a dramatic
performance
Types of Theatre Spaces
a. The Proscenium Stage -the proscenium arch
frames the performance, like a box, or a
picture frame, or in TV show, or in cinema
projection, wi the audiences watch the
performance in front
THE ELEMENTS OF THEATRE
PRODUCTION
b. The Arena or Theatre in the Round -the
audiences surround the performance as they sit
on all sides for a more three-dimensional
experience of the performance of the production
c. The Thrust Stage - the performance space that
combines both the proscenium and the arena
with a stage extension mounted nearer the
audiences, creating a semi-circle or a U-shaped
audience siting.
d. The Black Box - the portable and movable
performance space for intimate performances like
a one-act play, a monologue or monodrama. a
duet. Most performances in a black box theatre
THE ELEMENTS OF THEATRE
PRODUCTION
4. Visual and Auditory Spectacle - the presentational and
representational nature of any theatre productions require visual and
auditory spectacle exemplifying the collaborative and combined art
nature of theatre
5. Production Management - Apart from the creative process of the
production which necessitates any company of the provision of all the
requirements needed in mounting a production is an excellent
handling of the tangible and intangible resources
6. Stage Management - This aspect actualizes the artistic integrity of
any theatre production as visualized by the director and carried out
by all the people involved.
7. Audience - Any artistic or creative production are always for the
audiences. There will be no performances without an audience. Their
reactions will either bag down or toss up the energy of the
THE THEATRE
PRACTITIONE
RS
THE THEATRE
PRACTITIONERS
1. The Playwright crafts his imagination into a
play and he writes the scripts.
2. The Director interprets and sets his artistic
vision for the creative process ot the
production.
3. The Dramaturg can be the director himself
or any other person who helps the play
interpretation through research and reading
the text.
4.The Actors excellently perform the
characters assigned to them
5. The Set Designer crafts the required design
and construct it on stage help with the of
THE THEATRE
PRACTITIONERS
6. The Technical Director handles the technical
production requirements, which includes setting
up of the design, lights, and sound.
7. The Light Designer crafts the light design
appropriate for the production
8. The Sound Scorer or Designer composes original
music or matches readily available e and copyright
free music materials with the sound score
requirements of the production.
9. The Technical and Production Crew assist the
operations and shifts or changes of the
performances.
THE THEATRE
PRACTITIONERS
10. The Production Manager organizes and
coordinates the provision of the production
requirements through logistical work, resource,
and finance management.
11. The Stage Manager organizes and
coordinates the artists and crew for the sInooth
run of the mounting and the performances of
the production.
12. The Marketing and Sales Officer looks for
partners for monetary and or in-kind support
and sells the tickets of the production for
income.
13. The Promotions and Publicity Officer
THANK YOU
FOR
LISTENING
Don't hesitate to ask any questions!

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