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THEATRICAL GENRES AND STYLES THROUGHOUT TIME
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ABSURDISM
CAPA Y ESPADA
COMEDY OF MANNERS
COMMEDIA DELL’ARTE
FARCE
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KYOGEN
LITTLE THEATRE
LITURGICAL DRAMA
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REALISM
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Provided compliments of PIONEER DRAMA (www.pioneerdrama.com). Please feel free to reproduce for use in your classroom.
WORD SEARCH: GLOSSARY AND SOLUTION
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Absurdism—Non-realistic theatre form that uses various stage
and literary conventions to express that humanity’s efforts to
find inherent meaning in the universe will ultimately fail.
Capa y Espada—An action-packed drama of the Spanish Golden
Age often employing capes, sword fighting, and a romance
Comedy of Manners—Comedy presenting sophisticated
characters in drawing room situations, poking fun at their
manners.
Commedia Dell’arte—Italian comedy developed in the 16th
century, flourishing into the early 18th century. It employed
stock characters using improvisational acting rather than
drawing from a prepared manuscript. Usually performed
outdoors on platforms and often utilized political or social satire
of concern to the common people.
Farce—A play in which ridiculous situations and exaggerated
actions are used for humorous effect.
Grand Guignol—Short drama stressing horror and
sensationalism.
Kabuki—A traditional Japanese form of theatre dating from the
seventeenth century, featuring stylized singing and dancing,
elaborate makeup, rousing stage action and more scenery
than the Japanese Noh Drama.
Kyogen—A brief Japanese play performed between Noh plays to
provide comic relief.
Little Theatre—Experimental or avant-garde drama, usually
amateur, originating from a theatrical movement of the 1920s.
Liturgical Drama—Drama based on the liturgy to
commemorate such holy days as Easter, Christmas,
Chanukah or any religious theme.
Melodrama—An exaggerated, plot-driven, fast-moving play in
which incidents and situation are more important than depth
of character or theme. Once taken seriously as an enormously
popular form of entertainment, the overblown dialogue, display
of overwrought emotion, stock characters and simplistic
morality of good triumphing over evil reminiscent of nineteenth-
century, pre-Method acting, lends itself more to comedy, farce
or satire in contemporary theatre.
Morality Play—A didactic play popular in late medieval times
that has allegorical characters representing vice, greed, good
deeds, etc., who fought to control man’s soul.
Musical—plays that use music and songs to advance the plot,
and in which the music is very interrelated to the structure.
Naturalism—A type of theatre developed in the late nineteenth
and early twentieth centuries that revolted against the
artificiality of acting and play scripts that were in vogue, in
particular the melodrama of the 1880s. Instead, these writers
depicted a sordid humanity controlled by forces beyond its
control, such as environment, heredity and evolution. Attention
to detail in production led to the development of the “slice
of life” play and production aesthetic. Ironically, these plays
are quickly “dated” by the events depicted and fail to carry
universal or transcendent appeal.
Noh—Classical Japanese musical drama developed in the
fourteenth century. This form features minimal scenery with
performers, almost exclusively male, who present stylized
acting with masks and detailed costumes. The performers
chant their lines and are accompanied onstage by a chorus
and musicians (who play the transverse flute and three
different types of drums). Stagehands, dressed in black, assist
the actors in full view of the audience during the performance.
Old Comedy—Greek comedy of the 5th century BCE which
combined robust humor with biting personal and political
satire.
Parody—A play that is a humorous or satirical imitation of a
serious piece.
Peking Opera—A form of traditional Chinese theatre which
combines music, vocal performance, mime, dance and
acrobatics.
Postmodernism—A form of theatre begun in the 1960s
in reaction against the dogma, principles or practices of
modernist theatre.
Puppetry—A performance of doll-like figures representing
people or animals, mani­pulated by hand from within the figure
or by other means, such as cables operated from above by
one or more puppeteers.
Realism—A theatre movement begun around 1840 concerned
with portraying life as it is, as compared to the more idealistic
acting and writing of romanticism which preceded it.
Satyr—In Greek drama, a short play presented after three
tragedies to supply the comic relief. So-called because the
chorus disguised themselves as satyrs, half men and half goat
creatures.
Surrealism—A movement that attempts to depict the
subconscious experience and is characterized by imagery and
a disjointed structure.
Tragedy—A serious play that excites pity and terror through a
succession of unhappy but inevitable events. Traditionally, the
leading character is brought to catastrophe as a result of his
own passion, limitation or “tragic flaw.”
Tragicomedy—A play which is a blend of tragic and comedic
elements.
Provided compliments of PIONEER DRAMA (www.pioneerdrama.com). Please feel free to reproduce for use in your classroom.