Realistic Drama

Realistic drama focuses on portraying everyday life in a truthful and believable manner. Characters

are ordinary people, dialogue reflects real speech, and plots deal with social or psychological issues.

This form emerged in the 19th century through playwrights like Henrik Ibsen and Anton Chekhov.

Unlike earlier melodramas or romantic plays, realistic drama emphasizes internal conflicts, subtle

emotions, and natural settings. Its aim is to reflect reality rather than idealism or fantasy.

Character

A character is a fictional person in a play who contributes to the development of the story.

Characters are central to drama as they represent different human traits and motivations. They can

be major or minor, static or dynamic, and their actions often drive the plot. Well-written characters

show depth, emotions, and conflicts. Protagonists, antagonists, and supporting characters help

convey the themes and emotional impact of a play.

History Play

A history play is based on real historical events and figures, especially kings, wars, and politics.

Popular during the Elizabethan era, it was used to educate and entertain. William Shakespeare's

Henry IV, Henry V, and Richard III are famous examples. These plays often dramatize national

pride, royal legitimacy, and political power, though with some fictionalization. They blend historical

fact with dramatic storytelling to highlight themes of leadership and morality.

Act and Scene

Acts and scenes divide a play into manageable parts. An act is a large section that marks significant

plot development, while a scene is a smaller unit, usually changing with location or characters. Most

traditional plays have three or five acts. This structure helps the audience follow the narrative,

manage pacing, and recognize turning points. Scenes end when the location or time changes,

making the drama more organized and readable.

Medieval Plays

Medieval plays were performed during the Middle Ages and often centered on religious themes.
Three main types were Mystery plays (biblical stories), Miracle plays (saints' lives), and Morality

plays (moral lessons). Performed in churches or town squares, they were meant to teach Christian

values. Characters were often allegorical, such as Good Deeds or Sin. Everyman is a well-known

morality play that teaches about the soul's journey after death.

Apron Stage

The apron stage is the area of a stage that extends in front of the proscenium arch, often into the

audience. It was common in Elizabethan and Restoration theatres, including the Globe Theatre.

This part of the stage allowed actors to be closer to the audience, enhancing interaction and

engagement. Without elaborate sets or backdrops, performances relied heavily on the actors'

expressions, movement, and spoken word.

Comedy of Manners

Comedy of manners is a satirical drama that focuses on the behavior and customs of the upper

class, often mocking societal norms, hypocrisy, and pretentiousness. Originating in the Restoration

period, it features witty dialogue, clever repartee, and complex plots involving love and deception.

Characters are often stock types like the witty rake or vain lady. Notable examples include William

Congreve's The Way of the World and Oscar Wilde's The Importance of Being Earnest.

Comedy of Humour

Comedy of humour is based on the medieval theory that human behavior is governed by bodily

humours (fluids). Each character is dominated by one exaggerated trait or emotion, such as greed

or jealousy, leading to comic situations. Ben Jonson's plays like Every Man in His Humour are

classic examples. This comedy exposes individual follies and flaws, using satire to criticize human

nature and societal behavior.

Tragedy

Tragedy is a serious form of drama that presents the downfall of the protagonist due to fate,

character flaw, or societal pressures. The purpose is to evoke pity and fear in the audience.

Classical tragedies (like those by Sophocles) follow the tragic hero model, while Shakespearean
tragedies (e.g., Macbeth, Hamlet) combine fate and human error. Tragedy highlights deep themes

like loss, ambition, betrayal, and moral conflict.

Tragicomedy

Tragicomedy blends elements of both tragedy and comedy. It may begin with serious, tragic

situations but ends happily, or combine dark and humorous moments throughout. This form avoids a

single emotional tone and reflects the complexities of real life. Shakespeare's The Tempest and The

Winter's Tale are examples. Tragicomedy allows playwrights to explore both light and serious issues

in a flexible, balanced narrative.

Theatre of the Absurd

Theatre of the Absurd emerged in the mid-20th century, reflecting existentialist ideas and the

absurdity of human life. It rejects traditional plot and character development, using nonsensical

dialogue, repetition, and illogical events. It portrays a world without purpose, where communication

often fails. Samuel Beckett's Waiting for Godot is a key example. The genre questions meaning,

identity, and the nature of existence in a chaotic world.

Three Unities

The Three Unities are classical rules for dramatic structure derived from Aristotle's Poetics: Unity of

Time (the action occurs within 24 hours), Unity of Place (a single location), and Unity of Action (a

single main plot). These rules were strictly followed in French Neoclassical drama but relaxed over

time. They aim to maintain focus, believability, and coherence in drama, although many playwrights

have deviated from them for artistic freedom.

Plot

Plot refers to the sequence of events in a drama, organized around conflict, climax, and resolution. It

involves the actions and decisions of characters that move the story forward. A well-structured plot

includes exposition, rising action, climax, falling action, and denouement. Plot is essential in

engaging the audience, building tension, and delivering the play's message. In tragedies, it often

leads to downfall; in comedies, to resolution and harmony.

The Restoration Stage refers to English theatre after the monarchy was restored in 1660. This era

saw the reopening of theatres, introduction of actresses on stage, and the rise of Comedy of

Manners. Theatres became more elaborate with movable scenery and indoor lighting. Playwrights

like William Congreve and Aphra Behn flourished during this period. The plays were often witty,

satirical, and focused on the manners and morals of the upper class.

Proscenium Stage

A proscenium stage is a traditional stage setup where the audience faces one side of the stage,

framed by an arch (the proscenium arch). This creates a 'window' through which the audience views

the play, enhancing the illusion of reality. It allows for elaborate backdrops and stage machinery

behind the arch. This format is common in modern theatres and is ideal for realistic and formal

productions.

Irony

Irony in drama refers to the contrast between appearance and reality, or what is said versus what is

meant. Dramatic irony occurs when the audience knows something the characters do not. Verbal

irony involves saying one thing but meaning another, and situational irony involves unexpected

outcomes. Irony adds depth, humor, and complexity to plays. Shakespeare often used it, such as in

Othello or Macbeth.

Melodrama

Melodrama is a dramatic form that emphasizes exaggerated emotions, stereotypical characters, and

sensational events. It often features a clear distinction between good and evil, with a virtuous hero

and a wicked villain. The plot is fast-paced and filled with suspense, often ending in a moral

resolution. Originating in the 18th and 19th centuries, melodrama aimed to appeal to popular

audiences and evoke strong emotional reactions.

Farce

Farce is a sub-genre of comedy that relies on exaggerated characters, absurd situations, and
physical humor. It includes improbable events, mistaken identities, and rapid plot twists. Farces aim

to entertain through silliness and chaos, often highlighting the ridiculousness of social norms.

Examples include The Importance of Being Earnest by Oscar Wilde and Noises Off by Michael

Frayn.