The
Study of Drama
I.
Title and Author
A.
Author
B.
Note the year and the place of the author’s birth, his nationality,
training for literary work, occupations other than writing, some of his main
works.
C.
In what manner does the title refer to the story of the play?
II
Subject Manner—How suitable is the story of the play for dramatic
purposes? Is it:
A.
Complete (with a beginning, middle, and end?)
B.
Of Vital Significance (Not a
mere succession of humdrum events?)
C.
Interesting?
D.
Capable of successful presentation on the stage?
II.
Dramatic Theme—Understand dramatic theme.
Is the theme:
A.
A moral theme or abstraction?
B.
A portrayal of a type or historic character?
C.
A presentation of an environment or a special phenomenon?
D.
The discussion of a problem—social, economic, political, religious?
E.
The picture of some broad aspect of phrase of life with a dominant
characteristic?
F.
An historic incident?
III. Plot
A.
Outline the plot and indicate the four divisions of:
1.
Exposition
2.
Complication (beginning with inciting moment)
3.
Turning point (crisis, climax)
4.
Resolution (denouement)
B.
Is the plot:
1.
Simple (clear-cut theme, single group of characters, single line of
action)?
2.
Complex (main incidents involving different groups of characters,
multiple line of action but no subplot)?
3.
Compound (main plot and one or more subplots)?
IV. Character
A.
List the main characters of the play and give the chief traits of each.
B.
Are the main characters:
1.
True to life?
2.
True to themselves (consistent)?
3.
Clear-cut?
4.
Proportioned?
C.
Are the main characters portrayed by both:
1.
The indirect method (action, speech of characters themselves)?
2.
The direct method (what we are told about them)?
D.
Are the main characters;
1. Individual or type (Everyman)?
2.
Stationary (one who acts on the same motives in the same
way)?
3.
Simple (Macbeth) or complex (Hamlet)?
4.
Developing (one whose character changes)?
5.
Unfolding (one whose character does not change, but who
gradually reveals hidden qualities)?
E.
Are there any:
1.
Foil characters (who throw the main character into relief
by contrast)?
2.
Complementary characters (similar in type, work together)?
3.
Link characters (who hook up different characters or
groups)?
4.
Chorus characters (who comment on action, give
sidelights)?
F. Are the characters acting with human will, seeking to get or to escape something, acting on motives under the impulse of passion or emotion? Or are they mere puppet of fate or circumstances?
V.
Classification—Classify the play according to each of the following:
A.
According to type or form?
1.
Tragedy—[Aristotle’s definition—suffering (“waste”) is the
essential note, which produces the pity and fear.
2.
Melodrama—play with a sensational romantic plot and both the comic and
tragic elements exaggerated.
3.
Comedy—drama that deals with the less serious phases of life,
incongruities, inconsistencies, foibles, and weaknesses of humanity are sources
of action.
a. Comedy of manners (high comedy)—weaknesses, errors, affectations of society or some class of it. Intelligent satire.
b.
Comedy of character—foibles, weaknesses of individuals; stock
characters.
c.
Comedy of intrigue—comic action arises from circumstances—no one
plans them
d.
Comedy of situation—comic action arises from deliberate planning by one
of the characters.
e.
Farce—purpose of comic entertainment overrides naturalness in treatment
of plot and character
4. Tragi-Comedy—(The Modern Drama)—contains characteristics of both tragedy (prevailing serious tone, moments of deep tragic tension, tragic ending foreshadowed) and comedy (relief by scenes of a humorous nature, tragic ending averted)
B. According to Method—To which class does the play belong?
1. Romantic—emphasizes the ideal, often at the cost of reality (subjects are usually mystery, chivalry, love; setting frequently in distant past; atmosphere of glamour, admiration for heroic and beautiful “Truth of Nature” Shakespeare—Cyrano de Bergerac.
2.
Poetic—poetic in theme and treatment, fantasy, symbolism, allegory.
N.B.: The following terms are used by various writers in different senses. Understand clearly what you mean when you use them.
3.
Realistic—emphasizes actual conditions and activities of (contemporary)
life in some phases the dramatist conceives it to be and reacts to it.
“Truth or face.” Ibsen, Strife
4.
Naturalistic—same procedure with more emphasis on photographic
accuracy—less intrusion of author’s personality.
Inclined to overstress the sordid, emphasizes atmosphere and environment
at expense of plot or action. (Lower
Depths, Cherry Orchard, The Weavers).
5. Expressionistic—strongly subjective; concerns itself with internal rather than external actions; frequently calls for unusual stage devices, lighting, make-up.
6.
Psychoanalytical—probes the mental states of the characters, complexes,
neuroses, and frustrations—Freudian influences.
C. According to Subject Matter.
1. Legendary—stories of indefinite time and detail. (Lear, Coriolanus, Macbeth).
2.
Historical—historical facts and records.
3.
Social—themes dealing with love, crime, war, society, with social,
economical, political, religious problems. (Problem play).
VI. Dialogue—Is the dialogue natural, labored, too literary?
VII.
Non-Literary Elements. Note
the following elements if anything noteworthy concerning them occurred to you in
your reading of the play.
B.
Audience
C.
Conventions
VIII.
Personal Impressions
A. Did you enjoy the play? Give reasons.
B.
What profit did you derive from reading it?
C.
What characters appealed to you most?
Why?
D.
Have you seen any other plays or movies similar in theme, plot, or
character? If so, compare the two.