Test 3 Drama, Tragedy, Comedy

Drama – the form of composition designed for performance in the theatre, in which actors take the roles of the characters, perform the indicated action, and utter the written dialogue (the common alternative name for a dramatic composition is a play), sources: ancient (Greece, Rome)

In poetic drama the dialogue is written in verse, which in English is usually blank verse and in French is the twelve-syllable line called an Alexandrine.

A closet drama is written in dramatic form, with dialogue, indicated settings, and stage directions, but is intended by the author to be read rather than to be performed; examples are Milton's Samson Agonistes, Byron's Manfred, Shelley's Prometheus Unbound, and Hardy's The Dynasts.

Miracle plays – had as its subject either a story from the Bible, or the life and martyrdom of a saint

Morality plays:

Interlude – (Latin, "between the play") is a term applied to a variety of short stage entertainments, such as secular farces and witty dialogues with a religious or political point

Tragedy:

I – academic tragedies written in close imitation of the Senecan model, including the use of a chorus, and usually constructed according to the rules of the three unities (time, place, plot)

Thomas Sackville and Thomas Norton – Gorboduc

II – development written for the popular stage, called the revenge tragedy, or the tragedy of blood, derived from Seneca's favourite materials of murder, revenge, ghosts, mutilation, and carnage; Elizabethan writers usually represented them on stage to satisfy the appetite of the contemporary audience for violence and horror

Thomas Kyd – The Spanish Tragedy

Christopher Marlowe – The Jew of Malta

Shakespeare – Titus Andronicus

Shakespeare – Hamlet

John Webster - The Duchess of Malfi, The White Devil

Macbeth – the hero is not a good man who commits a tragic error, but an ambitious man who knowingly turns great gifts to evil purposes

Othello

Hamlet

Romeo and Juliet

King Lear

George Lillo – The London Merchant: or, The History of George Barnwell (about a merchant's apprentice who succumbs to a heartless courtesan and comes to a bad end by robbing his employer and murdering his uncle, is still read, at least in college course)

--------------------------------------------------------------------------------------------- > 19th and 20th century

Henrik Ibsen (Norwegian playwright, his plays revolve around an issue of general social or political significance) – A Doll’s House, Ghosts, An Enemy of the People

Arthur Miller (US) – The Death of a Salesman

Eugene O'Neill (US) – Mourning Becomes Electra (1931, an adaptation of Aeschylus' Oresteia, with the locale shifted from Greece to New England)

T. S. Eliot – Murder in the Cathedral (1935, a tragic drama which, like Greek tragedy, is written in verse and has a chorus, but also incorporates elements of two early Christian forms, the medieval miracle play (dealing with the martyrdom of a saint) and the medieval morality play.

Tennessee Williams – The Glass Menagerie, A Cat on a Hot Tin Roof, A Streetcar Named Desire

---------------------------------------------------------------------------------------------

Comedy:

Shakespeare – As You Like It (manifests a movement from the normal world of conflict and trouble into "the green world"—the Forest of Arden), A Midsummer Night's Dream

Ben Jonson – Volpone, The Alchemist

Restoration comedy (1660-1700)

William Congreve – The Way of the World

William Wycherley – The Country Wife

Oscar Wilde – The Importance of Being Earnest

High comedy – evokes "intellectual laughter"—thoughtful laughter from spectators who remain emotionally detached from the action—at the spectacle of folly, pretentiousness, and incongruity in human behaviour

Low comedy – has little or no intellectual appeal, but evokes laughter by jokes, or "gags," and by slapstick humour and boisterous or clownish physical activity

Comic Relief:


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