DRAMA

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DRAMA
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• HISTORY OF WESTERN DRAMA

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DRAMA

• Fiction in performance
• A prose or verse composition intended for
  representation by actors impersonating the
  characters and performing the dialogue and action
• the general term for performances in which actors
  impersonate the actions and speech of fictional
  or historical characters for the entertainment of
  an audience, either on a stage or by means of a
  broadcast
• a particular example of this art, i.e. a play

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Aristotle's Drama Elements

• PLOT what happens in a play the order of
  events, the story as opposed to the theme what
  happens rather than what it means.
• THEME what the play means as opposed to what
  happens (plot) the main idea within the play.
• CHARACTER the personality or the part an actor
  represents in a play a role played by an actor
  in a play.

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Aristotle's Drama Elements

• DICTION/LANGUAGE/DIALOGUE the word choices made
  by the playwright and the enunciation of the
  actors delivering the lines.
• MUSIC/RHYTHM by music Aristotle meant the
  sound, rhythm and melody of the speeches.
• SPECTACLE the visual elements of the production
  of a play the scenery, costumes, and special
  effects in a production.

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Greek Drama

• Three types of drama were composed in Athens
• Satyr
• Was not taken seriously until greek Enlightenment
• Tragedy
• A drama which concerns better than average people
  (heroes, kings, gods) who suffer a transition
  from good fortune to bad fortune, and who speak
  in an elevated language
• a fiction which is neither true nor believable
• Purging of the soul (catharsis)
• Character flaw

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Greek Drama

• Three types of drama were composed in Athens
• Satyr
• Was not taken seriously until greek Enlightenment
• Tragedy
• A drama which concerns better than average people
  (heroes, kings, gods) who suffer a transition
  from good fortune to bad fortune, and who speak
  in an elevated language
• a fiction which is neither true nor believable
• Purging of the soul (catharsis)
• Character flaw

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Elizabethan Theater

• Part of the English Renaissance Theater
• Plays perfomed in England during the reign of
  Queen Elizabeth (1558-1603)
• Jacobean theater King James I (1603 - 1625)
• Caroline theater King Charkes I (1625-1642)

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Elizabethan Theater

• Three venues
• Inn yards
• The early days of Elizabethan commercial theater
  Performances held in private London Inns.
• Inexpensive.
• Held indoors or the yard.
• Audience capacity up to 500
• Open air amphitheaters
• Think of a public outdoor structure like the
  Coliseum or a small football stadium with a
  capacity of between 1500 and 3000 people

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Elizabethan Theater

• Three venues
• Indoor playhouses
• A small, private indoor hall.
• Open to anyone who would pay but more expensive
  with more select audiences.
• Audience capacity up to 500

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Elizabethan Theater

• William Shakespeare
• Christopher Marlowe (could have been much better
  than Shakespeare died young)
• Theatre had an unsavory reputation. London
  authorities refused to allow plays within the
  city, so theatres outside the authority of the
  city administration

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Elizabethan Theater

• The first proper theatre as we know it was the
  Theatre, built at Shoreditch in 1576. Before this
  time plays were performed in the courtyard of
  inns, or sometimes, in the houses of noblemen.
• After the Theatre, further open air playhouses
  opened in the London area, including the Rose
  (1587), and the Hope (1613). The most famous
  playhouse was the Globe (1599) built by the
  company in which Shakespeare had a stake

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Elizabethan Theater

• The Globe was only in use until 1613, when a
  canon fired during a performance of Henry VIII
  caught the roof on fire and the building burned
  to the ground.
• Theatre performances were held in the afternoon,
  because, of course, there was no artificial
  lighting. Women attended plays, though often the
  prosperous woman would wear a mask to disguise
  her identity. Further, no women performed in the
  plays. Female roles were generally performed by
  young boys.

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Modern Drama

• Great influences
• 19th-century Norwegian dramatist Henrik Ibsen
• the 20th-century German theater practitioner
  Bertolt Brecht
• each inspired a tradition of imitators, which
  include many of the greatest playwrights of the
  modern era
• Different techniques but with the same effect

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Modern Drama

• both modernist and realist and incorporates
  formal experimentation, meta-theatricality, and
  social critique
• In terms of the traditional theoretical discourse
  of genre
• Ibsen's work has been described as the
  culmination of "liberal tragedy"
• Brecht's has been aligned with an historicised
  comedy

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Modern Drama

• Other important playwrights of the modern era
  include
• August StrindbergAnton Chekhov, Frank Wedekind,
  Maurice Maeterlinck, Federico García Lorca,
  Eugene O'Neill, Luigi Pirandello, George Bernard
  Shaw, Ernst Toller, Vladimir Mayakovsky, Arthur
  Miller, Tennessee Williams, Jean Genet, Eugène
  Ionesco, Samuel Beckett, Harold Pinter, Friedrich
  Dürrenmatt, Dario Fo, Heiner Müller, and Caryl
  Churchill

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• FORMS

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DIFFERENT FORMS

• Opera
• arose during the Renaissance
• attempt to revive the classical Greek drama
  tradition in which both music and theater were
  combined
• Undergone a lot of changes and has become an
  important part of theater nowadays

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DIFFERENT FORMS

• Pantomime
• 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.
• uses stock characters seen in masque and again
  commedia dell'arte (comedy of the art of
  improvisation), these characters include the
  villain (doctore), the clown/servant
  (Arlechino/Harlequin/buttons), the lovers etc.
• has an emphasis on moral dilemmas, and good
  always triumphs over evil
• very entertaining making it a very effective way
  of reaching many people

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DIFFERENT FORMS

• Creative Drama
• dramatic activities and games used primarily in
  educational settings with children.
• started in the United States in the early 1900s
• Winifred Ward is considered to be the founder of
  creative drama in education, establishing the
  first academic use of drama in Evanston, Illinois.

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• MINDANAO DRAMA

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Terms in Mindanao Drama

• Ritual and dance
• Sinakulo
• a Lenten play that is a dramatic presentation of
  the Passion of Jesus Christ (his trial,
  suffering and death).
• performed during Holy Week in the Philippines for
  eight nights, from Palm Sunday to Easter, to
  present the entire sinakulo.

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Terms in Mindanao Drama

• Pasyon
• a verse narrative of the life and suffering of
  Jesus Christ
• structured in five-line stanzas, with each line
  containing eight syllables
• commonly sung during Holy Week, starting Holy
  Monday
• Huge crowds gather around the reader of the
  pasyon to listen and reflect. The reading of the
  pasyon is a traditional religious practice in the
  Philippines.
• It is seen by many of its practitioners as a vow
  or panata.

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Terms in Mindanao Drama

• Komedya / moro-moro
• colorful theatrical tradition in the Philippines
  that describes the conflicts between the Muslims
  and the Christians
• used by the Spanish as a method to spread
  Christianity in the country
• performed at the local fiesta

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Terms in Mindanao Drama

• Komedya / moro-moro
• Moro-Moro is a type of Secular Komedya
• portrays the clash between the Muslims and the
  Christians where the forbidden romance between
  the prince and the princess is settled by having
  the non-Christian be converted to Christianity or
  by his or her death followed by a resurrection
  through divine intervention.
• Tibag or arakya is a popular secular komedya
  which is featured during the annual Santacruzan.
  The story evolves on the search for the Holy
  Cross by Queen Elena and her son, Emoperor
  Constantino

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Terms in Mindanao Drama

• Komedya / moro-moro
• The Religious Komedya is also called Komedya de
  Santo centers on the life of Christ or of any
  saint.
• It usually seen during church celebrations.
• The actors move in a stylized way, have
  extravagant costumes and elaborately
  choreographed war scenes.

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Terms in Mindanao Drama

• Awit
• The awit is a form of Filipino poetry
• it is closer to the narrative
• The following are characteristics observed in the
  awit, Florante at Laura
• 4 lines/stanza
• a rhyme scheme of AAAA
• a slight pause on the sixth syllable
• each stanza is usually a complete
  grammatically-correct sentence
• each stanza is full of figures of speech
• the author is usually anonymous

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Terms in Mindanao Drama

• Korido
• Ang korido ay isang uri ng panitikang pilipino
• isang uri ng tulang nakuha natin sa impluwensya
  ng mga Espanyol
• Ito ay may sukat na walong pantig bawat linya at
  may apat na linya sa isang stanza.
• Ang korido ay binibigkas sa pamamagitan ng
  pakantang pagpapahayag ng mga tula.

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Terms in Mindanao Drama

• Awit vs. Korido
• Ang kaibahan ng awit at korido ay maaaring nasa
  sukat at anyo
• Mabilis ang bigkas ng korido, may kabagalan naman
  ang awit
• Ang korido ay may walong pantig at binibigkas sa
  kumpas ng martsa allegro, samantala ang awit ay
  may labindalawang pantig at inaawit na mabagal sa
  saliw ng gitara o bandurya allegro
• Ang ikinaganda ng awit ay sa mga aral na
  ipinahihiwatig samantala sa korido ang
  ikinawiwili ng mga mambabasa ay ang kuwento o
  kasaysayang napapaloob dito

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Terms in Mindanao Drama

• Sarswela
• (Espanyol zarzuela bigkas)
• Ang sarswelaay isang Kastilang uri ng
  lirika-dramatiko
• nagpapalit mula sa binibigkas patungo sa inaawit
  na mga eksena
• sinasama ang mala-opera at tanyag na awitin,
  gayon din ang sayaw
• lumawak ang uring ito sa mga kolonya ng Espanya,
  kabilang ang Pilipinas na naging isang tradisyon

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Terms in Mindanao Drama

• Bodabil
• Bodabil is an indigenized form of vaudeville,
  which had been introduced in the Philippines
  around the turn of the 20th century.
• It featured a hodgepodge of musical numbers,
  short-form comedy and dramatic skits, and even
  magic acts, often staged inside the theaters of
  Manila.
• Bodabil probed the vehicle for the popularization
  of musical trends and musicians, performance
  genres and performers.

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Terms in Mindanao Drama

• Protest drama
• Dance Drama

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• SEDITIOUS DRAMA

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Seditious

• Sedition is a term of law which refers to overt
  conduct, such as speech and organization, that is
  deemed by the legal authority as tending toward
  insurrection against the established order.
• It includes subversion of a constitution and
  incitement of discontent (or resistance) to
  lawful authority. Sedition may include any
  commotion, though not aimed at direct and open
  violence against the laws.
• A seditionist is one who engages in or promotes
  the interests of sedition.

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Seditious drama

• ...On its feet, rabid with fury and frenzy, for
  three hours...
• Filipino patriots who, devastated by a superior
  military power, with meager financial resources,
  wrote play after play in the vernacular,
  creatively transforming theater into guerilla
  warfare, as a desperate last-ditch struggle to
  keep revolutionary flames burning until the
  restoration of Independence.

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Walang Sugat

• Seditious Drama?
• Who are the main characters of the play?
• What happened in the story?
• What are the conflicts of the play? How is this
  related to the history of the Philippines?
• What are the elements of a sarswela? How are
  these elements shown in Walang Sugat?
• What was the role of the servant character in
  giving comic relief to the audience?

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Seditious drama

• Seditious play writers
• Aurelio Tolentino Kahapon Ngayon at Bukas
• Juan Matapang Cruz Hindi Aco Patay
• Gabriel Beato Francisco Ang Katipunan
• Pantaleon Lopez Ave de rapiña / Ibong Manlulupig