The Western dramatic tradition has its origins in ancient Greece. The precise evolution of its main divisions—tragedy, comedy, and satire—is not definitely known. According to Aristotle, Greek drama, or, more explicitly, Greek tragedy, originated in the dithyramb. This was a choral hymn to the god Dionysus and involved exchanges between a lead singer and the chorus. It is thought that the dithyramb was sung at the Dionysia, an annual festival honoring Dionysus.
Tradition has it that at the Dionysia of 534 B.C., during the reign of Pisistratus, the lead singer of the dithyramb, a man named Thespis, added to the chorus an actor with whom he carried on a dialogue, thus initiating the possibility of dramatic action. Thespis is credited with the invention of tragedy. Eventually, Aeschylus introduced a second actor to the drama and Sophocles a third, Sophocles' format being continued by Euripides, the last of the great classical Greek dramatists.
Generally, the earlier Greek tragedies place more emphasis on the chorus than the later ones. In the majestic plays of Aeschylus, the chorus serves to underscore the personalities and situations of the characters and to provide ethical comment on the action. Much of Aeschylus' most beautiful poetry is contained in the choruses of his plays. The increase in the number of actors resulted in less concern with communal problems and beliefs and more with dramatic conflict between individuals.
Accompanying this emphasis on individuals' interaction, from the time of Aeschylus to that of Euripides, there was a marked tendency toward realism. Euripides' characters are ordinary, not godlike, and the gods themselves are introduced more as devices of plot manipulation (as in the use of the deus ex machina in Medea, 431 B.C.) than as strongly felt representations of transcendent power. Utilizing three actors, Sophocles developed dramatic action beyond anything Aeschylus had achieved with only two and also introduced more natural speech. However, he did not lose a sense of the godlike in man and man's affairs, as Euripides often did. Thus, it is Sophocles who best represents the classical balance between the human and divine, the realistic and the symbolic.
Greek comedy is divided by scholars into Old Comedy (5th cent. B.C.), Middle Comedy (c.404-c.321 B.C.), and New Comedy (c.320-c.264 B.C.). The sole literary remains of Old Comedy are the plays of Aristophanes, characterized by obscenity, political satire, fantasy, and strong moral overtones. While there are no extant examples of Middle Comedy, it is conjectured that the satire, obscenity, and fantasy of the earlier plays were much mitigated during this transitional period. Most extant examples of New Comedy are from the works of Menander; these comedies are realistic and elegantly written, often revolving around a love-interest.
The Roman theater never approached the heights of the Greek, and the Romans themselves had little interest in serious dramatic endeavors, being drawn toward sensationalism and spectacle. The earliest Roman dramatic attempts were simply translations from the Greek. Gnaeus Naevius (c.270-c.199 B.C.) and his successors imitated Greek models in tragedies that never transcended the level of violent melodrama. Even the nine tragedies of the philosopher and statesman Seneca are gloomy and lurid, emphasizing the sensational aspects of Greek myth; they are noted primarily for their inflated rhetoric. Seneca became an important influence on Renaissance tragedy, but it is unlikely that his plays were intended for more than private readings.
Although Roman tragedy produced little of worth, a better judgment may be passed on the comedies of Plautus and Terence. Plautus incorporated native Roman elements into the plots and themes of Menander, producing plays characterized by farce, intrigue, romance, and sentiment. Terence was a more polished stylist who wrote for and about the upper classes and dispensed with the element of farce.
The Roman preference for spectacle and the Christian suppression of drama led to a virtual cessation of dramatic production during the decline of the Roman Empire. Pantomimes accompanied by a chorus developed out of tragedy, and comic mimes were popular until the 4th cent. A.D. (see pantomime). It is this mime tradition, carried on by traveling performers, that provided the theatrical continuity between the ancient world and the medieval. The Roman mime tradition has been suggested as the origin of the commedia dell'arte of the Italian Renaissance, but this conjecture has never been proved.
While the Christian church did much to suppress the performance of plays, paradoxically it is in the church that medieval drama began. The first record of this beginning is the trope in the Easter service known as the Quem quaeritis [whom you seek]. Tropes, originally musical elaborations of the church service, gradually evolved into drama; eventually the Latin lines telling of the Resurrection were spoken, rather than sung, by priests who represented the angels and the two Marys at the tomb of Jesus. Thus, simple interpolations developed into grandiose cycles of mystery plays, depicting biblical episodes from the Creation to Judgment Day. The most famous of these plays is the Second Shepherds' Play.
Another important type that developed from church liturgy was the miracle play, based on the lives of saints rather than on scripture. The miracle play reached its peak in France and the mystery play in England. Both types gradually became secularized, passing into the hands of trade guilds or professional actors. The Second Shepherds' Play, for all its religious seriousness, is most noteworthy for its elements of realism and farce, while the miracle plays in France often emphasized comedy and adventure (see miracle play).
The morality play, a third type of religious drama, appeared early in the 15th cent. Morality plays were religious allegories, the most famous being Everyman. Another type of drama popular in medieval times was the interlude, which can be generally defined as a dramatic work with characteristics of the morality play that is primarily intended for entertainment.
By the advent of the Renaissance in the 15th and 16th cent., most European countries had established native traditions of religious drama and farce that contended with the impact of the newly discovered Greek and Roman plays. Little had been known of classical drama during the Middle Ages, and evidently the only classical imitations during that period were the Christian imitations of Terence by the Saxon nun Hrotswitha in the 10th cent.Italy
The translation and imitation of the classics occurred first in Italy, with Terence, Plautus, and Seneca as the models. The Italians strictly applied their interpretation of Aristotle's rules for the drama, and this rigidity was primarily responsible for the failure of Italian Renaissance drama. Some liveliness appeared in the comic sphere, particularly in the works of Ariosto and in Machiavelli's satiric masterpiece, La Mandragola (1524). The pastoral drama—set in the country and depicting the romantic affairs of rustic people, usually shepherds and shepherdesses—was more successful than either comedy or tragedy. Notable Italian practitioners of the genre were Giovanni Battista Guarini (1537-1612) and Torquato Tasso.
The true direction of the Italian stage was toward the spectacular and the musical. A popular Italian Renaissance form was the intermezzo, which presented music and lively entertainment between the acts of classical imitations. The native taste for music and theatricality led to the emergence of the opera in the 16th cent. and the triumph of this form on the Italian stage in the 17th cent. Similarly, the commedia dell'arte, emphasizing comedy and improvisation and featuring character types familiar to a contemporary audience, was more popular than academic imitations of classical comedy.France
Renaissance drama appeared somewhat later in France than in Italy. Estienne Jodelle's Senecan tragedy Cleopatre captive (1553) marks the beginning of classical imitation in France. The French drama initially suffered from the same rigidity as the Italian, basing itself on Roman models and Italian imitations. However, in the late 16th cent. in France there was a romantic reaction to classical dullness, led by Alexandre Hardy, France's first professional playwright.
This romantic trend was stopped in the 17th cent. by Cardinal Richelieu, who insisted on a return to classic forms. Richelieu's judgment, however, bore fruit in the triumphs of the French neoclassical tragedies of Jean Racine and the comedies of Molière. The great tragedies of Pierre Corneille, although classical in their grandeur and in their concern with noble characters, are decidedly of the Renaissance in their exaltation of man's ability, by force of will, to transcend adverse circumstances.Spain
Renaissance drama in Spain and England was more successful than in France and Italy because the two former nations were able to transform classical models with infusions of native characteristics. In Spain the two leading Renaissance playwrights were Lope de Vega and Pedro Calderón de la Barca. Earlier, Lope de Rueda had set the tone for future Spanish drama with plays that are romantic, lyrical, and generally in the mixed tragicomic form. Lope de Vega wrote an enormous number of plays of many types, emphasizing plot, character, and romantic action. Best known for his La vida es sueño [life is a dream], a play that questions the nature of reality, Calderón was a more controlled and philosophical writer than Lope.England
The English drama of the 16th cent. showed from the beginning that it would not be bound by classical rules. Elements of farce, morality, and a disregard for the unities of time, place, and action inform the early comedies Gammer Gurton's Needle and Ralph Roister Doister (both c.1553) and the Senecan tragedy Gorboduc (1562). William Shakespeare's great work was foreshadowed by early essays in the historical chronicle play, by elements of romance found in the works of John Lyly, by revenge plays such as Thomas Kyd's Spanish Tragedy (c.1586)—again inspired by the works of Seneca—and by Christopher Marlowe's development of blank verse and his deepening of the tragic perception.
Shakespeare, of course, stands as the supreme dramatist of the Renaissance period, equally adept at writing tragedies, comedies, or chronicle plays. His great achievements include the perfection of a verse form and language that capture the spirit of ordinary speech and yet stand above it to give a special dignity to his characters and situations; an unrivaled subtlety of characterization; and a marvelous ability to unify plot, character, imagery, and verse movement.
With the reign of James I the English drama began to decline until the closing of the theaters by the Puritans in 1642. This period is marked by sensationalism and rhetoric in tragedy, as in the works of John Webster and Thomas Middleton, spectacle in the form of the masque, and a gradual turn to polished wit in comedy, begun by Francis Beaumont and John Fletcher and furthered by James Shirley. The best plays of the Jacobean period are the comedies of Ben Jonson, in which he satirized contemporary life by means of his own invention, the comedy of humours.
The second half of the 17th cent. was distinguished by the achievements of the French neoclassicists and the Restoration playwrights in England. Jean Racine brought clarity of perception and simplicity of language to his love tragedies, which emphasize women characters and psychological motivation. Molière produced brilliant social comedies that are neoclassical in their ridicule of any sort of excess.
In England, Restoration tragedy degenerated into bombastic heroic dramas by such authors as John Dryden and Thomas Otway. Often written in rhymed heroic couplets, these plays are replete with sensational incidents and epic personages. But Restoration comedy, particularly the brilliant comedies of manners by George Etherege and William Congreve, achieved a perfection of style and cynical upper-class wit that is still appreciated. The works of William Wycherley, while similar in type, are more savage and deeply cynical. George Farquhar was a later and gentler master of Restoration comedy.
The influence of Restoration comedy can be seen in the 18th cent. in the plays of Oliver Goldsmith and Richard Brinsley Sheridan. This century also ushered in the middle-class or domestic drama, which treated the problems of ordinary people. George Lillo's London Merchant; or, The History of George Barnwell (1731), is an important example of this type of play because it brought the bourgeois tragic hero to the English stage.
Such playwrights as Sir Richard Steele and Colley Cibber in England and Marivaux in France contributed to the development of the genteel, sentimental comedy. While the political satire in the plays of Henry Fielding and in John Gay's Beggar's Opera (1728) seemed to offer a more interesting potential than the sentiment of Cibber, this line of development was cut off by the Licensing Act of 1737, which required government approval before a play could be produced. The Italian Carlo Goldoni, who wrote realistic comedies with fairly sophisticated characterizations, also tended toward middle-class moralizing. His contemporary, Count Carlo Gozzi, was more ironic and remained faithful to the spirit of the commedia dell'arte.
Prior to the surge of German romanticism in the late 18th cent., two playwrights stood apart from the trend toward sentimental bourgeois realism. Voltaire tried to revive classical models and introduced exotic Eastern settings, although his tragedies tend to be more philosophical than dramatic. Similarly, the Italian Count Vittorio Alfieri sought to restore the spirit of the ancients to his drama, but the attempt was vitiated by his chauvinism.
The Sturm und Drang in Germany represented a romantic reaction against French neoclassicism and was supported by an upsurge of German interest in Shakespeare, who was viewed at the time as the greatest of the romantics. Gotthold Lessing, Friedrich von Schiller, and Goethe were the principal figures of this movement, but the plays produced by the three are frequently marred by sentimentality and too heavy a burden of philosophical ideas.
The romantic movement did not blossom in French drama until the 1820s, and then primarily in the work of Victor Hugo and Alexandre Dumas père, while in England the great Romantic poets did not produce important drama, although both Lord Byron and Percy Bysshe Shelley were practitioners of the closet drama. Burlesque and mediocre melodrama reigned supreme on the English stage.
Although melodrama was aimed solely at producing superficial excitement, its development, coupled with the emergence of realism in the 19th cent., resulted in more serious drama. Initially, the melodrama dealt in such superficially exciting materials as the gothic castle with its mysterious lord for a villain, but gradually the characters and settings moved closer to the realities of contemporary life.
The concern for generating excitement led to a more careful consideration of plot construction, reflected in the smoothly contrived climaxes of the "well-made" plays of Eugène Scribe and Victorien Sardou of France and Arthur Wing Pinero of England. The work of Émile Augier and Alexandre Dumas fils combined the drama of ideas with the "well-made" play. Realism had perhaps its most profound expression in the works of the great 19th-century Russian dramatists: Nikolai Gogol, A. N. Ostrovsky, Ivan Turgenev, Leo Tolstoy, Anton Chekhov, and Maxim Gorky. Many of the Russian dramatists emphasized character and satire rather than plot in their works.
Related to realism is naturalism, which can be defined as a selective realism emphasizing the more sordid and pessimistic aspects of life. An early forerunner of this style in the drama is Georg Büchner's powerful tragedy Danton's Death (1835), and an even earlier suggestion may be seen in the pessimistic romantic tragedies of Heinrich von Kleist. Friedrich Hebbel wrote grimly naturalistic drama in the middle of the 19th cent., but the naturalistic movement is most commonly identified with the "slice-of-life" theory of Émile Zola, which had a profound effect on 20th-century playwrights.
Henrik Ibsen of Norway brought to a climax the realistic movement of the 19th cent. and also served as a bridge to 20th-century symbolism. His realistic dramas of ideas surpass other such works because they blend a complex plot, a detailed setting, and middle-class yet extraordinary characters in an organic whole. Ibsen's later plays, such as The Master Builder (1892), are symbolic, marking a trend away from realism that was continued by August Strindberg's dream plays, with their emphasis on the spiritual, and by the plays of the Belgian Maurice Maeterlinck, who incorporated into drama the theories of the symbolist poets (see symbolists).
While these antirealistic developments took place on the Continent, two playwrights were making unique contributions to English theater. Oscar Wilde produced comedies of manners that compare favorably with the works of Congreve, and George Bernard Shaw brought the play of ideas to fruition with penetrating intelligence and singular wit.
During the 20th cent., especially after World War I, Western drama became more internationally unified and less the product of separate national literary traditions. Throughout the century realism, naturalism, and symbolism (and various combinations of these) continued to inform important plays. Among the many 20th-century playwrights who have written what can be broadly termed naturalist dramas are Gerhart Hauptmann (German), John Galsworthy (English), John Millington Synge and Sean O'Casey (Irish), and Eugene O'Neill, Clifford Odets, and Lillian Hellman (American).
An important movement in early 20th-century drama was expressionism. Expressionist playwrights tried to convey the dehumanizing aspects of 20th-century technological society through such devices as minimal scenery, telegraphic dialogue, talking machines, and characters portrayed as types rather than individuals. Notable playwrights who wrote expressionist dramas include Ernst Toller and Georg Kaiser (German), Karel Čapek (Czech), and Elmer Rice and Eugene O'Neill (American). The 20th cent. also saw the attempted revival of drama in verse, but although such writers as William Butler Yeats, W. H. Auden, T. S. Eliot, Christopher Fry, and Maxwell Anderson produced effective results, verse drama was no longer an important form in English. In Spanish, however, the poetic dramas of Federico García Lorca are placed among the great works of Spanish literature.
Three vital figures of 20th-century drama are the American Eugene O'Neill, the German Bertolt Brecht, and the Italian Luigi Pirandello. O'Neill's body of plays in many forms—naturalistic, expressionist, symbolic, psychological—won him the Nobel Prize in Literature in 1936 and indicated the coming-of-age of American drama. Brecht wrote dramas of ideas, usually promulgating socialist or Marxist theory. In order to make his audience more intellectually receptive to his theses, he endeavored—by using expressionist techniques—to make them continually aware that they were watching a play, not vicariously experiencing reality. For Pirandello, too, it was paramount to fix an awareness of his plays as theater; indeed, the major philosophical concern of his dramas is the difficulty of differentiating between illusion and reality.
World War II and its attendant horrors produced a widespread sense of the utter meaninglessness of human existence. This sense is brilliantly expressed in the body of plays that have come to be known collectively as the theater of the absurd. By abandoning traditional devices of the drama, including logical plot development, meaningful dialogue, and intelligible characters, absurdist playwrights sought to convey modern humanity's feelings of bewilderment, alienation, and despair—the sense that reality is itself unreal. In their plays human beings often portrayed as dupes, clowns who, although not without dignity, are at the mercy of forces that are inscrutable.
Probably the most famous plays of the theater of the absurd are Eugene Ionesco's Bald Soprano (1950) and Samuel Beckett's Waiting for Godot (1953). The sources of the theater of the absurd are diverse; they can be found in the tenets of surrealism, Dadaism (see Dada), and existentialism; in the traditions of the music hall, vaudeville, and burlesque; and in the films of Charlie Chaplin and Buster Keaton. Playwrights whose works can be roughly classed as belonging to the theater of the absurd are Jean Genet (French), Max Frisch and Friedrich Dürrenmatt (Swiss), Fernando Arrabal (Spanish), and the early plays of Edward Albee (American). The pessimism and despair of the 20th cent. also found expression in the existentialist dramas of Jean-Paul Sartre, in the realistic and symbolic dramas of Arthur Miller, Tennessee Williams, and Jean Anouilh, and in the surrealist plays of Jean Cocteau.
Somewhat similar to the theater of the absurd is the so-called theater of cruelty, derived from the ideas of Antonin Artaud, who, writing in the 1930s, foresaw a drama that would assault its audience with movement and sound, producing a visceral rather than an intellectual reaction. After the violence of World War II and the subsequent threat of the atomic bomb, his approach seemed particularly appropriate to many playwrights. Elements of the theater of cruelty can be found in the brilliantly abusive language of John Osborne's Look Back in Anger (1956) and Edward Albee's Who's Afraid of Virginia Woolf? (1962), in the ritualistic aspects of some of Genet's plays, in the masked utterances and enigmatic silences of Harold Pinter's "comedies of menace," and in the orgiastic abandon of Julian Beck's Paradise Now! (1968); it was fully expressed in Peter Brooks's production of Peter Weiss's Marat/Sade (1964).
During the last third of the 20th cent. a few continental European dramatists, such as Dario Fo in Italy and Heiner Müller in Germany, stand out in the theater world. However, for the most part, the countries of the continent saw an emphasis on creative trends in directing rather than a flowering of new plays. In the United States and England, however, many dramatists old and new continued to flourish, with numerous plays of the later decades of the 20th cent. (and the early 21st cent.) echoing the trends of the years preceding them.
Realism in a number of guises—psychological, social, and political—continued to be a force in such British works as David Storey's Home (1971), Sir Alan Ayckbourn's Norman Conquests trilogy (1974), and David Hare's Amy's View (1998); in such Irish dramas as Brian Friel's Dancing at Lughnasa (1990) and Martin McDonagh's 1990s Leenane trilogy; and in such American plays as Jason Miller's That Championship Season (1972), Lanford Wilson's Talley's Folly (1979), and John Guare's Six Degrees of Separation (1990). In keeping with the tenor of the times, many of these and other works of the period were marked by elements of wit, irony, and satire.
A witty surrealism also characterized some of the late 20th cent.'s theater, particularly the brilliant wordplay and startling juxtapositions of the many plays of England's Tom Stoppard. In addition, two of late-20th-century America's most important dramatists, Sam Shepard and David Mamet (as well as their followers and imitators), explored American culture with a kind of hyper-realism mingled with echoes of the theater of cruelty in the former's Buried Child (1978), the latter's Glengarry Glen Ross (1983), and other works. While each exhibited his own very distinctive voice and vision, both playwrights achieved many of their effects through stark settings, austere language in spare dialog, meaningful silences, the projection of a powerful streak of menace, and outbursts of real or implied violence.
The late decades of the 20th century were also a time of considerable experiment and iconoclasm. Experimental dramas of the 1960s and 70s by such groups as Beck's Living Theater and Jerzy Grotowski's Polish Laboratory Theatre were followed by a mixing and merging of various kinds of media with aspects of postmodernism, improvisational techniques, performance art, and other kinds of avant-garde theater. Some of the era's more innovative efforts included productions by theater groups such as New York's La MaMa (1961-) and Mabou Mines (1970-) and Chicago's Steppenwolf Theatre Co. (1976-); the Canadian writer-director Robert Lepage's intricate, sometimes multilingual works, e.g. Tectonic Plates (1988); the inventive one-man shows of such monologuists as Eric Bogosian, Spalding Gray, and John Leguizamo; the transgressive drag dramas of Charles Ludlam's Ridiculous Theater, e.g., The Mystery of Irma Vep (1984); and the operatic multimedia extravaganzas of Robert Wilson, e.g. White Raven (1999).
Thematically, the social upheavals of the 1960s, 70s, and 80s—particularly the civil rights and women's movements, gay liberation, and the AIDS crisis—provided impetus for new plays that explored the lives of minorities and women. Beginning with Lorraine Hansberry's A Raisin in the Sun (1959), drama by and about African Americans emerged as a significant theatrical trend. In the 1960s plays such as James Baldwin's Blues for Mr. Charley (1964), Amiri Baraka's searing Dutchman (1964), and Charles Gordone's No Place to Be Somebody (1967) explored black American life; writers including Ed Bullins (e.g., The Taking of Miss Janie, 1975), Ntozake Shange (e.g., For Colored Girls Who Have Considered Suicide When the Rainbow is Enuf, 1976) and Charles Fuller (e.g., A Soldier's Play, 1981) carried these themes into later decades. One of the most distinctive and prolific of the century's African-American playwrights, August Wilson, debuted on Broadway in 1984 with Ma Rainey's Black Bottom and continued to define the black American experience in his ongoing dramatic cycle into the next century.
Feminist and other women-centered themes dramatized by contemporary female playwrights were plentiful in the 1970s and extended in the following decades. Significant figures included England's Caryl Churchill (e.g., the witty Top Girls, 1982), the Cuban-American experimentalist Maria Irene Forńes (e.g., Fefu and Her Friends, 1977) and American realists including Beth Henley (e.g., Crimes of the Heart, 1978), Marsha Norman (e.g., 'Night Mother, 1982), and Wendy Wasserstein (e.g., The Heidi Chronicles, 1988). Skilled monologuists also provided provocative female-themed one-women shows such as Eve Ensler's The Vagina Monologues (1996) and various solo theatrical performances by Lily Tomlin, Karen Finley, Anna Deveare Smith, Sarah Jones, and others.
Gay themes (often in works by gay playwrights) also marked the later decades of the 20th cent. Homosexual characters had been treated sympathetically but in the context of pathology in such earlier 20th-century works as Lillian Hellman's The Children's Hour (1934) and Robert Anderson's Tea and Sympathy (1953). Gay subjects were presented more explicitly during the 1960s, notably in the English farces of Joe Orton and Matt Crowley's witty but grim portrait of pre-Stonewall American gay life, The Boys in the Band (1968). In later years gay experience was explored more frequently and with greater variety and openness, notably in Britain in Martin Sherman's Bent (1979) and Peter Gill's Mean Tears (1987) and in the United States in Jane Chambers' Last Summer at Bluefish Cove (1980), Harvey Fierstein's Torch Song Trilogy (1981), Larry Kramer's The Normal Heart (1986), David Henry Hwang's M. Butterfly (1988), which also dealt with Asian identity, and Paul Rudnick's Jeffrey (1993). Tony Kushner's acclaimed two-part Angels in America (1991-92) is generally considered the century's most brilliant and innovative theatrical treatment of the contemporary gay world.
See A. Nicoll, World Drama from Aeschylus to Anouilh (1950); J. Gassner, Masters of the Drama (3d ed. 1954); M. Bieber, The History of Greek and Roman Theatre (2d ed. 1961); B. Clark, ed., European Theories of the Drama (rev. ed. 1965); G. Freedley and J. A. Reeves, A History of the Theatre (3d ed. 1968); M. Esslin, The Theatre of the Absurd (1961, repr. 1969); J. Gassner and E. Quinn, ed., The Reader's Encyclopedia of World Drama (1969); G. E. Wellarth, The Theatre of Protest and Paradox (2d ed. 1970); C. J. Stratman, Bibliography of Medieval Drama (2d ed. 1972); S. Cheney, The Theatre (rev. ed. 1972); R. Gilman, The Making of Modern Drama (1974); J. L. Styan, ed., Modern Drama in Theory and Practice (3 vol., 1981-83); G. Loney, Twentieth Century Theater (2 vol., 1983); J. Roose-Evans, Experimental Theater (1984); P. Hartnoll The Theatre: A Concise History (rev. ed. 1985) and, ed., The Oxford Companion to the Theatre (rev. ed. 1990); R. and H. Leacroft, Theatre and Playhouse (1988); O. G. Brockett and R. R. Findlay, Century of Innovation: A History of European and American Theatre and Drama Since the Late 19th Century (2d ed. 1990); G. R. Kernodle, The Theatre in History (1990); F. H. Londre, The History of World Theater (1991); E. Wilson and A. Goldfarb, Theater: The Lively Art (2d ed. 1991); G. Wickham, A History of the Theatre (2d ed. 1992); D. Rubin, ed., The World Encyclopedia of Contemporary Theatre (5 vol., 1994-98); M. Banham, ed., The Cambridge Guide to Theatre (rev. ed. 1995); O. G. Brockett, History of the Theatre (7th ed. 1995); R. Drain, ed., Twentieth-Century Theater: A Sourcebook of Radical Thinking (1995); M. C. Henderson, Theater in America (1996); D. B. Wilmeth and L. T. Miller, ed., The Cambridge Guide to American Theatre (1996); D. B. Wilmeth and C. Bigsby, ed., The Cambridge History of American Theatre (3 vol., 2000); G. Bordman and T. S. Hischak, The Oxford Companion to American Theatre (3d ed. 2004).
The two masks associated with drama represent the traditional generic division between comedy and tragedy. They are symbols of the ancient Greek Muses, Thalia and Melpomene. Thalia was the Muse of comedy (the laughing face), while Melpomene was the Muse of tragedy (the weeping face).
The use of "drama" in the narrow sense to designate a specific type of play dates from the 19th century. Drama in this sense refers to a play that is neither a comedy nor a tragedy--for example, Zola's Thérèse Raquin (1873) or Chekhov's Ivanov (1887). It is this narrow sense that the film and television industry and film studies adopted to describe "drama" as a genre within their respective media. "Radio drama" has been used in both senses--originally transmitted in a live performance, it has also been used to describe the more high-brow and serious end of the dramatic output of radio.
Drama is often combined with music and dance: the drama in opera is sung throughout; musicals include spoken dialogue and songs; and some forms of drama have regular musical accompaniment (melodrama and Japanese Nō, for example). In certain periods of history (the ancient Roman and modern Romantic) dramas have been written to be read rather than performed. In improvisation, the drama does not pre-exist the moment of performance; performers devise a dramatic script spontaneously before an audience.
Chinese theatre has a long and complex history. Today it is often called Chinese opera although this normally refers specifically to the popular form known as Beijing Opera; there have been many other forms of theatre in China.
Kyōgen is the comic counterpart to Nō drama. It concentrates more on dialogue and less on music, although Nō instrumentalists sometimes appear also in Kyōgen.
Chinese opera has seen a more conservative development over a somewhat longer period of time.
These stories follow in the tradition of fables and folk tales, usually there is a lesson learned, and with some help from the audience the hero/heroine saves the day. This kind of play uses stock characters seen in masque and again commedia del arte, these characters include the villain (doctore), the clown/servant(Arlechino/Harlequin/buttons), the lovers etc. These plays usually have an emphasis on moral dilemmas, and good always triumphs over evil, this kind of play is also very entertaining making it a very effective way of reaching many people.
Except the sacred classical Indian musical theatre, the usual purpose of drama is as entertainment. However drama can also be used as an educational activity or for therapeutic purposes. It is even used for religious ministry.
It has a unique ability to allow us to play, allowing us to be another person or in a situation that we would not normally encounter such as, being a general in a war. This is what makes drama a useful way of teaching, learning, and growing as a person.
Drama has a holistic way of teaching people. Whether it be in a play or by partaking in a role-play situation, participants learn through interactions with others -- this allows participants to not only learn facts as they would from a book or in a classroom, but to enter the world of another person, to be allowed to explore how they feel about this situation or person, whether it be a war-torn town or the wolf in the Three Little Pigs. Every interaction with another character or situation gives a greater understanding of what is happening around us.
If you look at small children when they are playing, they are enthralled with their own world, and through their actions, thoughts and the way they play they learn about themselves, others, and the world around them. Play allows them to act out new situations, try out new ways of doing things and by doing so learn. (see Nativity Play)
When people grow up, the idea of play becomes less important and entering into the imagination becomes more difficult. However this is where drama has the unique and undeniable ability to help others learn and grow as individuals, as it allows them to play. Through playing we can once again try out situations, whether it be for a job interview by live action role-playing (aka. LARP), or just to think about new ideas, we can also gain confidence in ourselves and learn to trust others.
Role-play can also play an important part in therapy, again entering the imagination and allowing ourselves to pretend and to think of things in other ways. Drama therapy is often considered an effective treatment for people who have had severe emotional and psychological problems, although it is important to note that the evidence to support therapeutic efficacy of Drama therapy is anecdotal rather than scientific.
In the theater, drama is a living, breathing art form. Actors are placed on stage, so that they can breathe life into the characters that have been created by the playwrights. In theater, the two main things to consider are: a) drama is driven by conflict and b) that drama is action. Action can be loosely defined as anything a character does with an objective behind it, whereas conflict can be briefly summarized as a clash between the motives of one or more characters.
Theatre in education (TIE) is the typical image of drama, seen since the 1960s. Usually performed for youth groups, or schools by a drama group this form of theatre was usually a devised piece which used abstract ideas to communicate a message, it follows in the tradition of plays seen throughout history such as morality plays like Everyman. This form of theatre could also be compared to commedia del arte, and other such travelling forms of theatre.
Unlike theatre in education, Drama in Education (DIE) is workshop-based, with groups creating their own scenarios, ideas and even subject matter through the use of drama and drama workshops. Sometimes this kind of work may lead to the creation of a play, or a piece of TIE or some other kind of means to show a result from the work. Verfrumdungsteffekt utilises skills used across the spectrum of dramatic activity, everything from teacher in role to normal theatrical conventions of audience and spectator. DIE is usually run in youth clubs, schools, community centres etc. DIE involves a high amount of participation by the group, and is therefore aimed for smaller groups of individuals.
A workshop is a situation where a group is allowed to explore and think about an issue, a book, a thought, a play, anything. Within drama terms it is an active situation with a lot of learning and experiencing. Drama workshops have many different styles and approaches much like any group activity, this style and approach is determined by the group's willingness to participate, the frame and distance that they are from the drama is usually the holding form for the session, in the example shown through teacher in role we see the group are "framed" as social workers and because of their role in the drama they are at a very close distance, if the group were older at age 14-17 say then they would be less likely to enter into the drama and a more suitable frame would have to be chosen. For example, instead of social workers they could become reporters, which would allow them to remain at the spectator end of the drama and give them a chance to reflect on the conditions surrounding events. However, this does not mean that the group always has to have a frame. they can remain themselves and still participate in the drama, allowing them to think about how they feel about the situation. In this case, the group may enter the drama as themselves and how they would act in a situation, or explore being characters in a situation and what is making them act the way they are.