The Study of
Drama
I.
Title and
Author
A.
Author
B.
Note the
year and the place of the author’s birth, his nationality, training for
literary work, occupations other than writing, some of his main works.
C.
In what
manner does the title refer to the story of the play?
II
Subject Manner—How suitable is the story of the play for dramatic
purposes? Is it:
A.
Complete
(with a beginning, middle, and end?)
B.
Of Vital
Significance (Not a mere succession
of humdrum events?)
C.
Interesting?
D.
Capable
of successful presentation on the stage?
II.
Dramatic
Theme—Understand dramatic theme. Is
the theme:
A.
A moral
theme or abstraction?
B.
A
portrayal of a type or historic character?
C.
A
presentation of an environment or a special phenomenon?
D.
The
discussion of a problem—social, economic, political, religious?
E.
The
picture of some broad aspect of phrase of life with a dominant characteristic?
F.
An
historic incident?
III. Plot
A.
Outline
the plot and indicate the four divisions of:
1.
Exposition
2.
Complication
(beginning with inciting moment)
3.
Turning
point (crisis, climax)
4.
Resolution
(denouement)
B.
Is the
plot:
1.
Simple
(clear-cut theme, single group of characters, single line of action)?
2.
Complex
(main incidents involving different groups of characters, multiple line of
action but no subplot)?
3.
Compound
(main plot and one or more subplots)?
IV. Character
A.
List the
main characters of the play and give the chief traits of each.
B.
Are the
main characters:
1.
True to
life?
2.
True to
themselves (consistent)?
3.
Clear-cut?
4.
Proportioned?
C.
Are the
main characters portrayed by both:
1.
The
indirect method (action, speech of characters themselves)?
2.
The
direct method (what we are told about them)?
D.
Are the
main characters;
1. Individual or type (Everyman)?
2.
Stationary (one who acts on the same motives in the
same
way)?
3.
Simple (Macbeth) or complex (Hamlet)?
4.
Developing (one whose character changes)?
5. Unfolding
(one whose character does not change, but who
gradually reveals hidden qualities)?
E.
Are there
any:
1.
Foil characters (who throw the main character into
relief
by contrast)?
2.
Complementary characters (similar in type, work together)?
3.
Link characters (who hook up different characters or
groups)?
4.
Chorus characters (who comment on action, give
sidelights)?
F. Are the characters acting with human will, seeking to get or to escape something, acting on motives under the impulse of passion or emotion? Or are they mere puppet of fate or circumstances?
V.
Classification—Classify
the play according to each of the following:
A.
According
to type or form?
1.
Tragedy—[Aristotle’s
definition—suffering (“waste”) is the essential note, which produces the
pity and fear.
2.
Melodrama—play
with a sensational romantic plot and both the comic and tragic elements
exaggerated.
3.
Comedy—drama
that deals with the less serious phases of life, incongruities, inconsistencies,
foibles, and weaknesses of humanity are sources of action.
a. Comedy of manners (high comedy)—weaknesses, errors, affectations of society or some class of it. Intelligent satire.
b.
Comedy of
character—foibles, weaknesses of individuals; stock characters.
c.
Comedy of
intrigue—comic action arises from circumstances—no one plans them
d.
Comedy of
situation—comic action arises from deliberate planning by one of the
characters.
e.
Farce—purpose
of comic entertainment overrides naturalness in treatment of plot and character
4. Tragi-Comedy—(The Modern Drama)—contains characteristics of both tragedy (prevailing serious tone, moments of deep tragic tension, tragic ending foreshadowed) and comedy (relief by scenes of a humorous nature, tragic ending averted)
B. According to Method—To which class does the play belong?
1. Romantic—emphasizes the ideal, often at the cost of reality (subjects are usually mystery, chivalry, love; setting frequently in distant past; atmosphere of glamour, admiration for heroic and beautiful “Truth of Nature” Shakespeare—Cyrano de Bergerac.
2.
Poetic—poetic
in theme and treatment, fantasy, symbolism, allegory.
N.B.: The following terms are used by various writers in different senses. Understand clearly what you mean when you use them.
3.
Realistic—emphasizes
actual conditions and activities of (contemporary) life in some phases the
dramatist conceives it to be and reacts to it.
“Truth or face.” Ibsen, Strife
4.
Naturalistic—same
procedure with more emphasis on photographic accuracy—less intrusion of
author’s personality. Inclined to
overstress the sordid, emphasizes atmosphere and environment at expense of plot
or action. (Lower Depths, Cherry
Orchard, The Weavers).
5. Expressionistic—strongly subjective; concerns itself with internal rather than external actions; frequently calls for unusual stage devices, lighting, make-up.
6.
Psychoanalytical—probes
the mental states of the characters, complexes, neuroses, and
frustrations—Freudian influences.
C. According to Subject Matter.
1. Legendary—stories of indefinite time and detail. (Lear, Coriolanus, Macbeth).
2.
Historical—historical
facts and records.
3.
Social—themes
dealing with love, crime, war, society, with social, economical, political,
religious problems. (Problem play).
VI. Dialogue—Is the dialogue natural, labored, too literary?
VII.
Non-Literary
Elements. Note the following
elements if anything noteworthy concerning them occurred to you in your reading
of the play.
B.
Audience
C.
Conventions
VIII.
Personal
Impressions
A. Did you enjoy the play? Give reasons.
B.
What
profit did you derive from reading it?
C.
What
characters appealed to you most? Why?
D.
Have you
seen any other plays or movies similar in theme, plot, or character?
If so, compare the two.