A situation must be represented on the stage, one recognizable and believable to a degree, which will animate the figures as it would in life. As these characters became well known everywhere, dramatists could rely on their audience to respond to them in predictable fashion.
All these factors combined to provide the dramatist with an opportunity to create a varied and exploratory new drama of outstanding interest. But the theatre has rarely expected realism, and by its nature it allows an extraordinary freedom to the playwright in symbolizing location and duration: From at least the 10th century the clerics of the Roman Catholic Church enacted the simple Latin liturgy of the Quem quaeritis?
In the majority of plays it is necessary to establish a conventional code of place and time.
Indeed, many a successful play has style and little else. By style, therefore, is implied the whole mood and spirit of the play, its degree of fantasy or realism, its quality of ritualism or illusionand the way in which these qualities are signaled by the directions, explicit or implicit, in the text of Aristotles written thesis on tragedy play.
This was never the sensationalism of novelty that Western dramatists sometimes used: Only if they are too abstract do they cease to communicate as theatre. Structure is also dictated by the particular demands of the material to be dramatized: For one test of great drama is how far it can take the spectator beyond his own immediate reality and to what use this imaginative release can be put.
These dramatists began by staging the speech and behaviour of real life, in devoted detail, but became more interested in the symbolic and poetic revelation of the human condition. The Roman comedies of Plautus c. Only then can dramatic literature be discussed as such.
In the 16th centuryEngland and Spain provided all the conditions necessary for a drama that could rival ancient Greek drama in scope and subtlety. At least melodramas encouraged an expansion of theatre audiences ready for the most recent phase in dramatic history.
All plays depend upon a general agreement by all participants—author, actors, and audience—to accept the operation of theatre and the conventions associated with it, just as players and spectators accept the rules of a game.
Noh drama, emerging from religious ritualmaintained a special refinement appropriate to its origins and its aristocratic audiences. When the whole community shares a common heritage, patriotic drama and drama commemorating national heroes, as are seen almost universally in Asian theatre, is of this kind.
The other influence controlling their form and style was their manner of performance. Thus the Naturalistic movement in drama, though still not dead, had a short but vigorous life. Drama and communal belief The drama that is most meaningful and pertinent to its society is that which arises from it.
The dramatic experience becomes a natural extension of human life—both of the individual and of the social being. The major features of Asian drama may be seen in the three great classical sources of India, China, and Japan. Elements of drama such as mime and dancecostume and decor long preceded the introduction of words and the literary sophistication now associated with a play.
For drama is a reactive art, moving constantly in time, and any convention that promotes a deep response while conserving precious time is of immeasurable value. It is not surprising that they selected their themes from every Renaissance problem of order and authority, of passion and reason, of good and evil and explored every comic attitude to people and society with unsurpassed vigour and vision.
The study of Greek drama demonstrates how the ritual function of theatre shapes both play and performance. In Kabuki there can be moments of realism but also whole episodes of mime and acrobatics ; there can be moments of slapstick but also moments of violent passion.
Since no play exists without a situation, it appears impossible to detach the idea of a character from the situation in which he is placed, though it may seem possible after the experience of the whole play.Disease Control Priorities In Developing Countries: T+ 18 MB: The Model Preacher: Comprised In A Series Of Letters Illustrating The Best Mode Of Preaching The Gos.
Dramatic literature: Dramatic literature, the texts of plays that can be read, as distinct from being seen and heard in performance. The term dramatic literature implies a contradiction in that literature originally meant something written and drama meant something performed.
Most of the problems, and much of the.Download