Robert Cohen’s Theatre Retrieved from: defilerhero-a-story-for-our-times/ Retrieved from: ow/ gruesome-playground- injuries Retrieved from: williams.net/tiger.php Retrieved from: desire-broadway-movie-poster-1947 Photo credit curiousonbroadway.com.Retrieved from: magnificent-new-broadway-play-the-curious-incident-of-the-dog-in-the-night-time/ Retrieved from: content/uploads/2013/10/Chicago-4.jpg

In Western drama, a full-length play lasts from about 2 to 3 hours. One-Acts last about an hour or less. One of the shortest plays produced is Samuel Beckett’s Breath, coming in anywhere from 30 seconds to a minute and a half. The full production is under the ‘Video Clips’ section. Not my cup of tea, but it is different Check out all the videos under ‘Video Clips Chapter Two.’ A play is patterned action, but also a work of literature. Retrieved from: matists-play-service-new-york- 2

Tragedy and Comedy, the First Defined Dramatic Genres Tragedy: - Not common in modern films and plays. -Always ends in the death of one or more of its main characters. -Its focus is on universal themes concerning human nature and society. -Tragedies concern people of high status: Oedipus is a king, Hamlet is a prince, Medea is a princess and a sorceress, etc. *Arthur Miller’s Death of a Salesman centers the story around an ordinary man’s recognition of personal failure and subsequent suicide, challenging the classical notion of a high-status protagonist. -The protagonist (or main character/”carrier of the action”) undergoes a decline of fortune, which leads to suffering and usually death. -The protagonist has a fundamental flaw ( hamartia ) and when he or she becomes aware of that flaw ( anagnorisis ), usually pretty late in the game, they then change course ( peripeteia ), which leads to their demise, eliciting pity or terror from the audience. This purging of the audience’s emotions is catharsis. -The antagonist (“opposer of the action”) creates conflict and struggle; the gods, ghosts, fate, etc.—superhuman foes—are the antagonists in tragedy. -The goal of tragedy is to ennoble the audience, not sadden them. Video Clip:“Introduction to Greek Tragedy”

Comedy: -Comedy has just as much of a stronghold in theatre as tragedy. -Comedies usually go out of style sooner than tragedies, at least in academic circles, because they are topical and revolve around ordinary life. -Comedy, especially satire (a form that uses humor to ridicule its subject), can be a scathing indictment against certain aspects of society, presenting the issues in a comical or sarcastic manner...or comedy can simply be outrageous and enjoyable, and merely for entertainment. Genres are not absolute, they can be blended. Every play is unique! Video Clip: “Frasier: Niles Starts a Fire” Retrieved from:

It's hard to write a good play because it's hard to structure a plot. If you can think of it off the top of your head, so can the audience. To think of a plot that is, as Aristotle says, surprising and yet inevitable, is a lot, lot, lot of work.” –David Mamet, playwright/director It's hard to write a good play because it's hard to structure a plot. If you can think of it off the top of your head, so can the audience. To think of a plot that is, as Aristotle says, surprising and yet inevitable, is a lot, lot, lot of work.” –David Mamet, playwright/director Aristotle’s 6 Components of Tragedy, from Poetics (This breakdown of dramatic elements can still be used today with most dramas.) 1.PLOT: ***This is not merely the story or narrative of the play.*** The plot concerns the mechanics of storytelling including sequencing, specific order of revelations, reversals, quarrels, and discoveries. It is the structure of the actions and is the most demanding test of a playwright’s skills. How do you keep an audience wanting to know more? 2. CHARACTERS: Character depth gives a play its psychological complexity. This element is measured by the amount of interest an audience has in the characters as people. If you don’t care about the characters, then you have no investment in the journey they take throughout the play. 3. THEME: A play’s overall statement—the central message or idea. 4. DICTION: Not merely how the spoken dialogue is pronounced (though the actor’s job plays a large role in ‘Diction’). It also examines a play’s text—its use of tone, imagery, cadence, verse, rhythm, etc. 5.MUSIC: Songs, incidental music, sound effects, etc—sounds that help to engage the audience. 6. SPECTACLE: Visual aspects of the production: scenery, lights, costumes, makeup, props. "I'm always a great believer, when I write a play, to narrow it down to the people. Plays are about people for me, not issues - the issues arise from the people.” Alan Ayckbourn, playwright "I'm always a great believer, when I write a play, to narrow it down to the people. Plays are about people for me, not issues - the issues arise from the people.” Alan Ayckbourn, playwright Well, all the plays that I was trying to write … were plays that would grab an audience by the throat and not release them, rather than presenting an emotion which you could observe and walk away from. Arthur Miller, playwright Well, all the plays that I was trying to write … were plays that would grab an audience by the throat and not release them, rather than presenting an emotion which you could observe and walk away from. Arthur Miller, playwright

Theatrical Conventions: This is the agreement between actors and the audience to temporarily accept a new reality. It’s a form of shorthand communication with the audience. Aside – lines addressed to the audience but “unheard by the other characters.” Time Elapse – Actors exit the stage and the lights come down. The lights go back up and the characters walk on “as if time has passed or their location has changed.” This lighting effect can save time and money. “Dream State” – An actor freezes on stage and shares the character’s thoughts, also “unheard by other characters.” Stage Violence – Stage combat is easily accepted by the audience, and with great skill can look real to a certain extent, but it does not have the level of detail that cinema violence is going to have, mostly for safety, but also because the fight events can be cheated anyway since the audience is at a bit of a distance. Video Clip: ‘Othello: Staging a Brawl”Yep, it’s another National Theatre Video,they really like Educational videos Video Clip: Dance/Curtain Call, As You Like It, Globe Theatre

Plot Components : 1.Exposition: Dialogue or action that gives background information and eases the audience into the concerns of the characters. 2.Conflict: This can be struggles between characters wanting different things. A character can have an internal conflict (Hamlet wonders whether or not he can trust that the Ghost was indeed his father telling him to seek revenge or if he is going mad, or if he should commit suicide***so much inner turmoil for Hamlet:). Also, conflict can be within the overarching theme of a play, a character going against societal norms, etc. Conflict is required because without obstacles, without opposing forces, there is little room for characters to develop. Conflict is absolutely essential because the plot can only hold suspense when there are alternatives and choices (actions/inactions) for the characters. 1.Climax: The “dramatic explosion;” The moment of maximum tension where the action is at its highest point before the resolution of the plot. 2.Denouement: The final part of the play where either the plot has been resolved or some sort of new understanding has come about after the play’s climax. Retrieved from: theatre