Chapter 3

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Theatre productions typically begin with the script, or text Provides a plan for a production

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Selecting the specific subject of the play The subject matter

for drama is always human beings

Determine what aspect of human existence to write about

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Determining focus Decide who and

what to focus on How to interpret the

characters and events

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Establishing purpose Purpose may be:

▪ Casual or unconscious, or▪ Conscious and deliberate

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Establishing purpose continued Different purposes:

▪ To entertain▪ To probe the human condition▪ To provide an escape▪ To impart information

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Developing dramatic structure Every work of art has some type of structure The structure of a play is analogous to that of

a building

Creating dramatic characters Establishing point of view

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Essentials of Dramatic Structure The story must be turned into a plot The plot involves action The plot includes conflict There are strongly opposed forces A reasonable balance is struck between the

opposed forces

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Sequence in Dramatic Structure Begin with the opening scene

▪ Starts the action and sets the tone and style▪ Tells whether we are going to see a serious or a

comic play and whether the play will deal with affairs of everyday life or with fantasy

Obstacles and complications block a character’s path

Crises and Climaxes

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Climactic Plot Construction First used in 5th century B.C.E. Greece Also called intensive

The Plot Begins Late in the Story Scenes, Locales, and Characters Are

Restricted Construction Is Tight

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Episodic Plot Construction▪ Emerged during the Renaissance in England and

in Spain

People, Places, and Events Proliferate There May Be a Parallel Plot or a Subplot Contrast and Juxtaposition Are Used The Overall Effect Is Cumulative

Combinations of Climactic and Episodic

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Other Forms of Dramatic Structure Ritual as Structure Patterns as Structure Cyclical Structure Serial Structure

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Other Forms of Dramatic Structure continued Avant-Garde and Experimental Structures

▪ Interest in ritual and ceremony▪ Emphasis on nonverbal theatre▪ Reliance on improvisation▪ Stress on the physical environment of theatre▪ Stress on each audience member’s developing

his or her own interpretation of the work being presented

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Types of Dramatic Characters Extraordinary Characters

▪ Heroes and heroines▪ Larger than life▪ Historically, have been kings, queens, generals,

members of nobility▪ Present some form of extreme of human behavior

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Types of Dramatic Characters continued Representative or Quintessential Characters

▪ Three-dimensional, highly individual, ordinary▪ Embody the characteristics of an entire group

Stock Characters▪ Symbolize a particular type of person to the

exclusion of virtually everyone else▪ Appear particularly in comedy and melodrama

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Types of Dramatic Characters continued Characters with a Dominant Trait

▪ One aspect of this character dominates, making for an unbalanced, and often comic, personality

Minor Characters▪ Play a small part in overall action▪ Appear briefly and serve to further the story or to

support more important characters

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Types of Dramatic Characters continued Narrator or Chorus

▪ Generally, a narrator speaks directly to the audience▪ Comments on the action▪ Greek drama used a chorus that commented, in

song and dance, on the action

Nonhuman Characters▪ Often animals that are supposed to draw parallels

with the human experience

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Juxtaposition of Characters Protagonist: leading character, chief or

outstanding figure in the action Antagonist: character who opposes the

protagonist Foils or counterparts to the main characters

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