PENGKAJIAN DRAMA INGGRIS

1. Explain types of drama

1. Tragedy:
 Themes: Explores profound questions about life, fate, morality, and the
human condition. Often deals with loss, suffering, and death.
 Characteristics: High stakes, elevated language, intense emotions, tragic flaw
in the protagonist, inevitable fall from grace, cathartic experience for the
audience.
 Examples: Shakespeare's "Hamlet," Sophocles' "Oedipus Rex," Arthur
Miller's "Death of a Salesman."

2. Comedy:
 Themes: Uses humor to explore human foibles, societal issues, and the joy
of life. Can be playful, satirical, or insightful.
 Characteristics: Witty dialogue, physical humor, exaggerated characters,
absurd situations, resolutions that restore harmony.
 Examples: Aristophanes' "Lysistrata," Shakespeare's "Twelfth Night," Charlie
Chaplin's films.

3. Tragi-comedy:
 Themes: Blurs the lines between laughter and tears, explores the
complexities of life with both humor and seriousness.
 Characteristics: Shifts between comic and tragic elements, bittersweet
endings, characters caught in circumstances beyond their control.
 Examples: Shakespeare's "Much Ado About Nothing," Molière's "Tartuffe,"
Woody Allen's films.

4. Problem Play:
 Themes: Grapples with social and moral dilemmas without offering easy
solutions. Raises questions about justice, responsibility, and individual vs.
societal needs.
 Characteristics: Presents complex moral issues, ambiguous characters, open-
ended conclusions, challenges conventional morality.
 Examples: Henrik Ibsen's "A Doll's House," George Bernard Shaw's "Mrs.
Warren's Profession," August Wilson's "Fences."

5. Realistic Drama:
 Themes: Depicts everyday life and experiences with an emphasis on
authenticity and social observation. Focuses on ordinary people facing
relatable challenges.
 Characteristics: Naturalistic dialogue, everyday settings, focus on
psychological realism, explores social and economic contexts.
 Examples: Arthur Miller's "All My Sons," Edward Albee's "Who's Afraid of
Virginia Woolf?", Mike Leigh's films.
 6. Poetic Drama:
 Themes: Uses heightened language, imagery, and symbolism to create an
emotionally evocative experience. Focuses on beauty and power of language
to illuminate meaning.
 Characteristics: Verse dialogue, metaphorical language, lyrical passages,
focus on emotional truth and artistic expression.
 Examples: Shakespeare's late plays ("The Tempest"), Christopher Marlowe's
"Doctor Faustus," Tennessee Williams' "The Glass Menagerie."

7. Epic Drama:
 Themes: Grand in scale, deals with historical or mythical events, heroes and
their journeys, universal struggles. Captures the sweep of history and
grandeur of human action.
 Characteristics: Multiple settings and characters, episodic structure,
heightened language, heroic deeds, exploration of fate and destiny.
 Examples: Homer's "The Iliad" and "The Odyssey," Christopher Marlowe's
"Tamburlaine the Great," Bertolt Brecht's "Mother Courage and Her
Children."

2. Definition of drama in your own words

Drama is a creative form of storytelling, but unlike a novel or film, it's meant to be
performed live in front of an audience. Actors embody the characters and bring the story to
life through dialogue, movement, and expression.

3. Setting and props

Setting
Settings or sets in drama are more than just scenery, backdrops, and furniture. They are
integrated storytelling tools that enhance the audience's understanding of the play and
contribute to the overall aesthetics and atmosphere encompassing:
 Establishment of location and time to provide clues about the time period and
visually identify the setting of the scene.
 Visual elements that can evoke certain emotions in the audience.
 Symbolically representing a character's state of mind or their relationship with other
characters.

Props

Property or props serve a practical purpose in drama by providing objects for actors to
interact with and for the scenes to be more real and believable. Furthermore, well-chosen
props can spark the audience's imagination and draw them deeper into the world of the
play.
4. Stage movement and the illustration of it
Three-zone and five-zone stage movement: These are techniques for dividing the stage into
distinct areas (zones) and using actors' movement within and between those zones to
enhance the storytelling and audience engagement. Epic theater was one of the first
theatrical movements to widely adopt and utilize the three-zone or five-zone stage
movement technique.

Three-zone theatre

A stage plan with three distinct zones:

 Upstage: The area furthest from the audience, typically used for scenes requiring
privacy or representing a sense of distance. It's labeled as "Upstage," "Upstage
Right," and "Upstage Left" in the image.
 Center Stage: The central area of the stage, is often used for important scenes or
moments that demand the audience's focus. It's simply labeled "Center Stage" in the
image.
 Downstage: The area closest to the audience, typically used for scenes requiring
intimacy, direct interaction with the audience, or heightened emotional impact. It's
labeled as "Downstage," "Downstage Right," and "Downstage Left" in the image.

Five-zone theatre

A more detailed stage plan compared to the three-zone one, divided into five distinct zones:
  Upstage Center (UC): The furthest area from the audience in the center of the stage.
Useful for scenes requiring a sense of distance, grandeur, or formality.
 Upstage Right Center (URC) and Upstage Left Center (ULC): Areas flanking Upstage
Center, slightly closer to the audience. Can be used for scenes involving multiple
characters Upstage or creating a sense of depth and asymmetry.
 Upstage Right (UR) and Upstage Left (UL): Traditional Upstage areas on the far right
and left sides of the stage. Offer privacy for characters entering or exiting the scene
and can represent a sense of remoteness or isolation.
 Center Stage: Similar to the three-zone illustration, this central area remains prime
real estate for key scenes and moments demanding audience focus.
 Downstage Right Center (DRC) and Downstage Left Center (DLC): Areas flanking
Center Stage, closer to the audience than Downstage but offering more space for
movement than Center. Useful for scenes with multiple characters Downstage or
creating a sense of intimacy and focus.
 Downstage Right (DR) and Downstage Left (DL): The areas closest to the audience on
the right and left sides of the stage. Ideal for scenes requiring direct interaction with
the audience, heightened emotional impact, or intimate moments between
characters.

5. Kind of text in drama?

Theatre Text, also known as theatrical text or script, refers to the written material that
serves as the foundation for theatrical production.

1) Primary Text:
This is the core of the play when the dialogue spoken by the characters. It drives the
plot forward, reveals character motivations, and carries the emotional weight of the
story.
2) Secondary Texts:
These are the textual elements surrounding the primary text, providing context and
additional information. They include:
 Title: Offers a symbolic or thematic clue about the play.
 Dramatis Personae: Introduces the characters and their relationships.
 Scene Descriptions: Paint a picture of the setting and atmosphere.
 Stage Directions: Guide actors on movement, gestures, and vocal delivery.
3) Multimedia Elements:
Plays are not confined to words; they come alive through a dynamic interplay of
sensory elements. These include:
 Music: Sets the mood, builds tension, and underscores emotional moments.
 Sound Effects: Can create realistic environments, highlight dramatic actions,
or serve as symbolic cues.
 Lighting: Plays a crucial role in directing the audience's attention, creating
atmosphere, and emphasizing key moments.
 Stage Props: Provide visual details, support character actions, and
sometimes carry symbolic meaning.
Each of these elements is interconnected, contributing to the overall experience of a
play.
6. Types of theatre
1. Ancient Greek Theatre:
 Focus: Religious and artistic symbolism, exploring themes of human nature, fate,
and justice.
 Setting: Open-air amphitheaters with a circular stage and tiered seating.
 Innovations: Use of masks, chorus, and formalized acting techniques.
2. Ancient Roman Theatre:
 Focus: Social class issues, adapting Greek tragedies and comedies with a Roman
touch.
 Setting: Similar to Greek amphitheaters, but often larger and more elaborate.
 Innovations: Introduction of elaborate stage machinery and movable scenery.
3. Medieval Theatre:
 Focus: Religious themes, morality plays and mysteries aimed at educating and
entertaining audiences.
 Setting: Mobile "wagon stages" traveling through towns or temporary stages in
public spaces.
 Innovations: Use of local dialects and costumes to connect with audiences.
4. Renaissance Theatre:
 Focus: Mixture of classical myths and contemporary themes, with emphasis on
spectacle and innovation.
 Setting: Permanent indoor theaters, often rectangular with elaborate
proscenium arches.
 Innovations: Development of complex stagecraft, elaborate costumes, and
evolving acting styles.
5. Elizabethan Theatre:
 Focus: Varied themes from history, mythology, and daily life, often presented
with humor and theatricality.
 Setting: Outdoor, circular theaters like the Globe with open stages and minimal
scenery.
 Innovations: Use of blank verse, cross-dressing (male actors playing female
roles), and dynamic performances.
6. 17th Century Theater of Spain and France:
 Focus: Allegorical characters representing societal and moral concepts, often
with religious undertones.
 Setting: Indoor theaters with more elaborate scenery and stage mechanics.
 Innovations: Development of the "comedy of manners" and tragicomedies
exploring complex emotions.
 7. Restoration Theater in England:
 Focus: Lighthearted themes exploring social manners and relationships, catering
to aristocratic audiences.
 Setting: Indoor theaters with proscenium stages and more realistic scenery.
 Innovations: Introduction of female actresses and focus on witty dialogue and
social satire.
8. 18th Century Theatre:
 Focus: Heavily regulated by the French government, primarily presenting
comedies and tragedies with clear moral lessons.
 Setting: Grand, lavish theaters with advanced stage machinery and elaborate
sets.
 Innovations: Rise of star actors and actresses, focus on spectacle and emotional
impact.
9. Early 19th Century Theatre:
 Focus: Episodic structure and flexible scripts, exploring themes of freedom and
individual expression.
 Setting: Diverse theaters, depending on the company and production.
 Innovations: Introduction of melodrama and experimentation with theatrical
forms.
10. 19th Century & Realism Theatre:
 Focus: Social realism, reflecting the changes brought by the Industrial Revolution
and exploring everyday life.
 Setting: Elaborate and luxurious theaters with advanced lighting and stage
technology.
 Innovations: Development of naturalistic acting styles, focus on social
commentary and psychological realism.

7. The difference of monolog and epilogue

Here's a table summarizing the key differences:

Feature Monologue Soliloquy Dialogue Aside

One (to self,

Number of One (alone
One Two or more audience, or
speakers on stage)
confidante)

Audience Other Audience Other characters Primarily

characters, audience or
 audience, or
confidante
self

Heard by
Yes No Yes No
others

Share
Reveal inner Explore Drive plot, reveal
confidential
thoughts, inner world, relationships,
Purpose thoughts, add
advance plot, develop provide
humor, create
create tension character exposition
intimacy

8. Renaissance and Elizabethan Theater

Renaissance
a. The play script imitated Ancient Greek Theater
b. The major themes were Myth and daily lives
c. The costumes and settings were very innovative
d. The theater was mostly arranged by royalties or a university
e. It used a proscenium stage

Elizabethan

a. Theater was played in a daytime

b. The player mentioned the name of a place where the scene was played
c. Female characters were played by male children
d. The audiences came from various social classes
e. The feature of the play was classical school and academy theatre

9. Characterization in drama
Characterization is the act of bringing a character to life through various aspects such as
voice, body language, movement, and gesture. Furthermore, characterization starts with a
thorough understanding of the character's background, motivations, relationships, and
unique quirks. Actors deep dive into the script, analyze dialogues, and research historical
context to flesh out the character's personality and inner world.

10. Freytag pyramid

  Act 1: Exposition/introduction, the beginning of the story where the characters,
setting, and basic situation are introduced.
 Act 2: Rising Action/complication, the central conflict is introduced and a series of
events unfold that build tension and suspense.
 Act 3: Climax, the turning point of the story and the moment of greatest tension.
 Act 4: Falling Action, loose ends are tied up and the consequences of the climax are
explored.
 Act 5: Denouement, the story’s conflict are resolved and the characters’ fates are
revealed.

11. Theatre etiquette

Theatre etiquette involves the courtesies and respectful behavior expected of audience
members during a live theatrical performance. It ensures a smooth and enjoyable
experience for everyone involved, from the actors and crew to fellow audience members.

Before the show:

 Arrive on time
 Dress properly
 Find your seat

During the show:

 Minimize talking
 Be mindful of our laughter and expression
 Put away distraction

After the show

 Stay seated until the curtain closes

 Applaud generously
 Exit politely

12. Alienation effect

A theatrical technique that aims to distance the audience from the emotional experience of
the play and encourage them to critically analyze the social and political themes presented
and from the identification of the characters and conflicts of the story .
13. Timing in drama

In drama, timing isn't just about speed, but the rhythmic flow of dialogue and action,
synchronized coordination, emotional impact, subtext, and audience engagement. It shapes
the story, stirs emotions, and ultimately creates a powerful theatrical experience.

1. Sequence of Events:
 Events can happen successively, one after the other, which is the usual chronological
flow of a story.
 They can also occur simultaneously, showing multiple scenes happening at the same
time, often to add complexity or surprise.
2. Story Time vs. Playing Time:
 Story time is the fictional timeline of the events in the play, which can span days,
months, or even years.
 Playing time is the actual duration of the performance, usually limited to a few
hours.
3. Manipulating Time:
 Playwrights can use various techniques to adjust the flow of time in their plays:

o Ellipsis: Skipping over parts of the story, accelerating the plot and
compressing time.
o Speed-up: Representing a longer period of time with a shorter scene, often
through summary or dialogue.
o Slow-down: Stretching out a specific moment or event in the story, making it
feel longer than real-time.
o Pause: The story pauses while the play continues, often through
monologues or internal reflections.

14. Stage direction

Stage directions are instructions written into a play script, typically in italics and enclosed in
parentheses or brackets. They tell the actors, director, and crew how to bring the play to life.
Stage directions can provide information about where and when the scene takes place
(setting), how the characters should move on stage, how the characters should deliver their
lines, and details about sets, costumes, props, lighting, and sound effects.