1 / 39

AREA OF DISCUSSION

AREA OF DISCUSSION. INTRODUCTION THE NATURE OF DRAMA A WORK OF LITERATURE OR A COMPOSITION WHICH DELINEATES LIFE AND HUMAN ACTIVITY BY PRESENTENTING VARIOUS ACTIONS OF – AND DIALOGUES BETWEEN – A GROUP OF CHARACTERS THE HISTORY OF DRAMA

jasonwright
Download Presentation

AREA OF DISCUSSION

An Image/Link below is provided (as is) to download presentation Download Policy: Content on the Website is provided to you AS IS for your information and personal use and may not be sold / licensed / shared on other websites without getting consent from its author. Content is provided to you AS IS for your information and personal use only. Download presentation by click this link. While downloading, if for some reason you are not able to download a presentation, the publisher may have deleted the file from their server. During download, if you can't get a presentation, the file might be deleted by the publisher.

E N D

Presentation Transcript

  1. AREA OF DISCUSSION • INTRODUCTION • THE NATURE OF DRAMA A WORK OF LITERATURE OR A COMPOSITION WHICH DELINEATES LIFE AND HUMAN ACTIVITY BY PRESENTENTING VARIOUS ACTIONS OF – AND DIALOGUES BETWEEN – A GROUP OF CHARACTERS THE HISTORY OF DRAMA - DRAMA IN THE MIDDLE AGES - 15 TH (FIFTEENTH) CENTURY - ELIZABETHAN DRAMA - RESTORATION AND 18 TH (EIGHTEENTH) CENTURY DRAMA - 19 TH (NINETEENTH) CENTURY DRAMA - 20 TH (TWENTIETH) CENTURY DRAMA • DEFINING THE PLAY • DRAMATIC STRUCTURE - CLASSICAL TRAGIC STRUCTURE : RISING ACTION,CLIMAX,FALLING ACTION, CATASTROPHE • CHARACTERS AND CHARACTERIZATION • LANGUANGE AND RHETORIC

  2. LEARNING DRAMAAS PART OF LITERARY APPRECIATION BY : A. A. ISTRI YUDHI PRAMAWATI

  3. Drama????? • Acting Script • Art Horror • Actor and actress • Director • Dialogue, Music, Setting, stage • Comedy • Tragedy • Romantic • Thriller • Action • Love story

  4. Key words • Dialogue • Acting • Actor and Actress • Performance • Art • Lighting • Theme • Narration • Character = pelaku, watak, peran, tokoh

  5. Key terms • Drama = play • Dramatist = playwright • Audience = Spectator

  6. Literature and Drama Two aspects of literary study (Robert Huntington Fletcher): • Tracing in general way, we can learn about the social life • Getting some acquaintance with the lives (of the more important authors) Literature : Substance Form

  7. Kind of Literature • Laurence Perrine (literature: structure, sound and sense) • Pleasure & enjoyment = Escape • Interpretation = Interpretation

  8. Kind of Literature Escape and Interpretation Since the invention of language, men have taken pleasure in following and participating in the imaginary adventures and imaginary experiences of imaginary people. Enjoyment is the first aim and justification of reading fiction. But, unless fiction gives something more than pleasure, it must yield not only enjoyment but Understanding. Fiction may be classified into two broad categories : 1. Literature of Escape; 2. Literature of Interpretation Escape literature is that written purely for entertainment – to help us pass the time agreeably, take us away from the real world and has its only object pleasure; it enables us temporarily to forget our troubles. Interpretive Literature is written to broaden and deepen and sharpen our awareness of life, takes us through the imagination, deeper into the real world; has its object pleasure plus understanding; it enables us to understand our troubles.

  9. Kind of Literature Escape Literature Interpretive Literature Prose Poem Drama

  10. THE NATURE OF DRAMA • Drama is like prose fiction, utilizes plot and characters develops a theme, arouses emotion or appeals to humor and may be either escapist or interpretive in its dealings with life. • Like a poetry, it may draw upon all the resources of language, including verse. Much drama is poetry, but drama has one characteristic peculiar to itself. It is written primarily to be performed, not read. It normally presents its action: 1. through actors 2. on a stage 3. before an audience Drama is a work of literature or a composition which delineates life and human activity by means of presenting various actions of – and dialogues between- a group of characters Drama is designed to be presented on stage. There are a few plays which are basically designed for reading rather than for theatrical performance and these are referred to as closet dramas Drama is also entertainment for it is more than representation of life and characters through actions and dialogues

  11. THE HISTORY OF DRAMA Why should we learn the history of drama?

  12. THE HISTORY OF DRAMA Because we want to know how drama appear as an entertaining kind and to make the function of drama clear Because drama tells the story of someone’ s life and his/her characters so that the audience is able to learn the moral values. To understand what drama is and to know the first time when drama is performed. To know the development of drama since the first time it was published until today Because from drama we can learn something regarding life and its complexities

  13. THE HISTORY OF DRAMA First of all, the history shows how the instinct for dramatic representation finds its outlets. It means that the history records how an idea of a dramatist is, then, shaped into a great work. It is interesting to know how the idea is transferred and meets its fame.

  14. THE HISTORY OF DRAMA Secondly, learning the history is important because it tells us a great deal about the workings of the popular imagination. It refers to the famous titles and names of popular dramatists. The things behind the fame of all well-known works and names are a creative process and the social life of the dramatists.

  15. THE HISTORY OF DRAMA Lastly, the investigation of the history throws some light on the themes and conventions of later drama. The various themes may rise from different views on particular things.

  16. THE HISTORY OF DRAMA • When we speak of drama as a genre we must be aware of the different forms that genre has adopted over several thousand years. William Butler Yeast felt that drama is the epitome of all the arts • The beginning It is commenced with religious celebration: out of the various pagan rites and festivals arose the earliest dramas of an entertaining kind, specifically Greek Tragedy and Greek Comedy Greek Tragedy From the very start GT addressed itself to serious dimensions of life and human characters, the standards defined by Aristotle in his famous poetics. For him, usually there was to be a central character with some particular “tragic flaw” (hamartia). That is a character is led into despair, death or misery through some sort of error, either in himself or in his action: the most often cited flaw is hubris, which means excessive, self destructive pride. The Basic Idea of Geek Tragedy - the man learns from suffering - the experience of suffering often leads into new and enlarged awareness of both self and existence - the audience should be purged of both pity and fear by time the tragedy comes to an end

  17. THE HISTORY OF DRAMA • Greek Comedy Also developed out of early religious celebration specifically from Dionysian rites of fertility, phallic ceremonies Divided into: Old comedy, middle comedy, new comedy - Old comedy : a great deal of boisterous comment on affairs of state through political satire. - Middle comedy has no surviving examples - New comedy : deals with romantic situations Roman Comedy : New comedy exemplified by Menander was greatly imitated by the Roman Comedy writers, in particular by Plautus and Terence

  18. Greek tragedy VS Greek comedy………….. • The events • The subject matters • The mood and emotion • The characters

  19. Greek tragedy VS Greek comedy…………..

  20. THE HISTORY OF DRAMA • DRAMA IN THE MIDDLE AGES • 15 TH CENTURY • ELIZABETHAN PERIOD • RESTORATION AND 18 TH CENTURY DRAMA • 19 TH CENTURY • 20 TH CENTURY

  21. THE HISTORY OF DRAMA • I. DRAMA IN THE MIDDLE AGES • Medieval drama was established as a secular entertainment (related to certain church services) • Gradually the presentation were moved from the church to the outdoors • Religious play based on certain events in biblical history • The story of man and the life of Christ became the main subject of all medieval drama

  22. THE HISTORY OF DRAMA • II. FIFTEENTH (15TH) CENTURY • MORALITY PLAYS AND INTERLUDES • PRESENTED ON STAGE BY ACTORS IN BIZARRE COSTUMES • THE MORALITY PLAYS LED SLOWLY INTO THE CREATION OF INTERLUDES WHICH WERE RELATIVELY SHORT DRAMAS BRIEF ENOUGH TO BE PRESENTED IN BETWEEN THE OTHER EVENTS AT FEASTS, ENTERTAINMENT THE INTERLUDES WERE EXTREMELY POPULAR AND OFTEN CONSISTED OF A DIALOGUE BETWEEN ONLY TWO CHARACTERS

  23. THE HISTORY OF DRAMA • III. ELIZABETHAN PERIOD • By the late of sixteenth century, Elizabethan Drama had become the best in the history of drama • People from various professions begin writing plays • Beginning of new kinds of plays, the romantic comedies, the revenge and murder drama • The period of unbelievable number of new and talented playwright • Introduced a whole galaxy of new kinds of secular drama, many of which survive to the present day

  24. THE HISTORY OF DRAMA IV. RESTORATION AND 18 TH CENTURY DRAMA • Heroic plays became extremely popular • Heroic drama was a kind of tragedy or tragicomedy characterized by excesses-violence, explosive, dialogues, greatly tormented character element of spectacle and various epic dimensions • The born of comedy of manners which usually concerned with the manners and customs of very synthetic or artificial highbrow society

  25. THE HISTORY OF DRAMA V. Nineteenth (19 th) Century • Melodrama with excessive emotionalism • A revived interest in more serious drama like that of Elizabethan period VI. Twentieth (20 th) Century • Under the leadership of Irish drama • Problem plays and domestic tragedies • New kind of rebellious drama

  26. Defining the play ?????????????????????????????????????????????????????????????????????????????? • Gesture Taste • Plot Pronunciation • Mimic Intonation • Style Character • Dialogue Theme • Costume Duration • Setting Music • Delivering story Background • Acting

  27. Defining the play • The actor • The theme • The characters • The plot • The point of view : 1st person,3rd person, • The content of the story • Kind of story • Setting • The script • Duration • Stage • Costume • Audience • Lighting • Sound system • Place

  28. Defining The Play • The Physical World Of The Play • The Central Theme • Characters • Plot • Sources • Style • Outstanding Features of The Play

  29. Defining The Play The Physical World Of The Play It would be futile to enter immediately into a discussion of the play without some brief explanation of the physical world in which it takes place. This means, first of all, explaining location (where does the action take place) and what is the length of the play (the time of day) The Central Theme Every play has one dominating idea which we call the theme. This is the ultimate significance of any drama and that dimension of the artist’s labor which outlives entertainment value. In defining the play, one has to delineates the meaning of the play (what the play is about) Character The play has a certain number of characters that is major and minor

  30. Defining The Play Plot A brief synopsis of the major action of the drama in question so that the character’s relationships will become clarified by reference to the main events of the play (what actually happens that shows correlation between the action and the theme, how does the action translate into meaning Sources It refers to the place where the play story was covered

  31. Defining The Play Style Dealing with the language used. The general category of style includes diction, the use of figurative language, patterns of imagery, rhetorical devices, emphasis and even logic. Whether the play is written in ornate or plain style, as well as whether the dialogue is mostly in the vernacular or is formal, is rhymed or unrhymed. Outstanding feature of the play Any aspects of a play which is conspicuous in some sense

  32. dRaMatic StRucTurE Structure refers to the total organization of a literary work. It is a summary of the full scheme of plan of the work. The analysis of structure is twofold: outlining the way in which the play is put together and why the playwright chose a particular way of assembling the events of the play Classical Tragic Structure One of the most dominating theories of structure is that which classically pertained to tragedies for a tragedy deals with conflict, ancient, critics, thought of the plays as tying and untying knots. The structure of the play divided into four large categories.

  33. Four catagories of classical tragic structure • Rising action • Climax • Falling Action • Catastrophe (Chistopher Russel Reaske)

  34. Four catagories of classical tragic structure Rising action Rising action is the entire first part of the play in which the forces creating conflict are delineated, enlarged and prepared for some disaster. It is the introduction or exposition, a short section directly in the beginning in which we are made acquainted with certain facts, usually pertaining to event which have occured before the beginning of the time of the play Climax The end of rising action, for it constitutes major turning point in the play

  35. Four catagories of classical tragic structure Falling action It follows climax and usually presents the ways in which the hero is slowly over powered Catastrophe The main action of the play or a logical result of the rising and falling action

  36. Characters Character is a fictitious creation and thus the dramatist or novelist may both be judged with regard to their ability in the art of characterization Character in action The different character of one another can be observed closely by the actions presented We learn a great deal about the characters in a play by closely observing their actions. We ask, primarily, why a character does what he does and conclude that it must be because he is a certain kind of person Character determining plot The plot develops out the character themselves. The plot with all of its small episodes and incidents, its complications and simplification is motored by the natures of the characters

  37. NUMBERS OF CHARACTERS In analyzing drama, one must pay some immediate attention to the number of characters in the play Major Character : Active Character : Central Minor Character : Passive Character : Supporting Major Character : Characters who are developed extensively and has a large role in the play Minor Character : Characters who are not fully developed and only has a small role in the play Basic Character Role Protagonist : The main character in the plot of any drama. They are considered as a hero or a noble man Antagonist : The opponent of protagonist who has unkind personality and tend to do many destruction

  38. REFERENCES Reaske. C.R. 1966. How to analyze drama. …….: Monarch Press Literature : Structure, Sound, and Sense, Laurence Perrine, 1970 Southern Methodist University Literature : An Introduction to Fiction, Poetry, and Drama XJ Kennedy and Dana Gioia, 2003 Longman Literature : Life, Language, Literature Linda Robinson Fellag 1993 Heinle & Heinle Bell, Roger T. 1991. Translation and Translating: Theory and Practice. New York : Longman

  39. Motivation Motivation : identifiable motives behind the character. Most plays have central motives and in general these are the giant human emotions which motivate most people in real life The most common motivation of the character in drama are: 1. Hope for reward 2. Love 3. Fear of failure 4. Religious feeling 5. Revenge 6. Greed 7. Jealousy The rounded personality : Characters come to us as complex human personalities with many facets

More Related