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Transcript
DRAMATIC GENRES Tragedy—Classical Greek Deals with the reversal in fortune and eventual downfall of a royal figure Simple Tragedy Protagonist never realizes what causes downfall Complex Tragedy Has a scene of recognition in which protagonist realizes what caused downfall Tragedy—Italian Renaissance Deals with royalty, must end calamitously Comedy—Italian Renaissance Deals with common people, must end happily Tragicomedy In the Renaissance, these plays had tragic themes and noble characters yet ended happily. In modern times this type combines serious and comic elements. Many plays of this type involve comic or ironic treatment of a serious theme. Burletta An 18th C. English dramatic form resembling comic opera and defined by the Lord Chamberlain as a play with no more than three acts, each of which had to include at least five songs. Many classic plays were turned into this form. Drame Bourgeois Any serious play that did not fit neoclassic definition of tragedy (Deals with royalty, must end unhappily, no mixing of tragic and comic elements) Dealt with problems of ordinary middle-class people seriously Offered moral & philosophical conclusions Allowed for mixing of serious & comic elements Domestic Tragedy Focused on domestic problems of middle class characters Dramatized middle-class morality Evil punished, good rewarded—different from Restoration comedies Tended to be sentimental, melodramatic Last-minute conversions of evil-doers 1 Ballad Opera Originated in England Parodied Italian opera No recitative or sung dialogue Spoken dialogue alternated with songs set to popular contemporary melodies Characters drawn from lower classes Often were social & political satires Comedy of Manners Form of comic drama that became popular in the later half of the 17th C. in France and among English playwrights during the Restoration. It emphasizes a cultivated or sophisticated atmosphere, witty dialogue, and characters whose concern with social polish and reputation is charming, ridiculous, or both. Sentimental Comedy Satirizes social conventions & norms—like Restoration comedies Stock character types with descriptive names—like Restoration comedies “Marplot” Wicked punished, virtuous rewarded—unlike Restoration comedies Laughing Comedy Should make audiences laugh at own eccentricities & absurdities Modification of sentimental comedy Oliver Goldsmith wrote She Stoops to Conquer— see some of Jane Austen in this play Sturm und Drang/Storm and Stress An anti-neoclassical movement in 18th C. Germany which was a forerunner of romanticism. These playwrights felt there were no rules, favored episodic plots, and atmosphere was more important than plot. Melodrama Historically, a distinct form of drama popular throughout the 19th C. which emphasized action, suspense, and spectacular effects; music was used to heighten the dramatic mood. It used stock characters and clearly defined villains and heroes, and it presented unambiguous confrontations between good and evil. 2 Minstrel Show A type of entertainment where the performers wore blackface, consisting of comic and sentimental songs, dramatic and farcical skits, jugs and shuffle dances, and a peppering of dialect jokes. Vaudeville Collection of entertainments: songs, dances, acrobatics, animal acts, specialty acts, and dramatic readings. Burlesque Parodies of serious plays like those of Shakespeare and popular melodrama. Descendant of satyr plays. Well-made play Type of play popular in the 19th and early 20th centuries which combined apparent plausibility of incident and surface realism with a tightly constructed and contrived plot. Think of the deus ex machina. Romantic drama Influenced by German “sturm und drang”. Did not believe in purity of genre; all subject matter was appropriate for the stage; often used supernatural elements; romantic hero often a social outcast; excellent mirror of the revolutionary eras in America and France Realism A style of drama tat attempts to present onstage people and events corresponding to those observable in everyday life. Naturalism An extreme form of realism that attempts to capture the truth of a documentary. Drama should look for the “disease” in society and expose the “infection”. Symbolism In drama, a movement of the late 19th and 20th centuries which sought to replace realistic representations of life with the expression of inner truth. This form used myths and symbols in an attempt to reach beyond everyday reality. Abstract Theatre Favors illusionistic and openly theatrical techniques and devices. Uses dream sequences, fantasy, poetry, ghosts and spirits. Illogical stage pictures rooted in subconscious or dream world An extension of symbolism 3 Theatricalism Style of production and playwrighting that frankly admits the artifice of the stage and borrows freely from the circus, the music hall, and similar entertainments. Expressionism A form of drama characterized by an attempt to depict subjective states through distortion; striking, often grotesque images; and lyric, unrealistic dialogue. Surrealism Movement attacking formalism in the arts which developed in Europe after WWI. This form of drama replaced realistic action with the strange logic of dreams. Theatre of cruelty A concept of theatre based on magic and ritual which would liberate deep, violent, erotic impulses. It wanted to overwhelm the audience’s senses. Epic Theatre A form of drama aimed at the intellect rather than the emotions. It seeks to present evidence regarding social questions in such a way that they may be considered objectively and an intelligent conclusion may be reached. Futurists Celebrated machines, technology, and war. Dada Movement based on the deliberate presentation of the irrational and on attacks against traditional artistic values. Existentialism There are no fixed standards or values, each individual must create his or her own code of conduct. Absurd Rational language is debased and replaced by clichés and trite or irrelevant remarks. Realistic psychological motivation is replaced by automatic behavior which is often absurdly inappropriate to the situation. Comedy of Menace A form of drama that frightens and entertains at the same time. Selective realism The use of only details to suggest specific locales and to reinforce characterization of dramatic action. 4 Environmental theatre A type of theatre production in which the total theatre environment—the stage space and the audience arrangement—is emphasized. Among its aims are elimination of the distinction between audience space and acting space, a more flexible approach to interactions between performers and audience, and substitution of a multiple focus for the traditional single focus. Eclectics Work in a variety of modes as believe play requires; does not identify with one particular artistic movement. 5