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MedeaEuripides
4th Century BCE
Ancient Greek Tragedy
LONG MonologuesSecond Shepherd’s PlayThe Wakefield Master
17th Century
Mystery/Cycle Play
Middle English
Rhyming Scheme
Short Lines, maximum 7 wordsEverymanAnonymous
16th Century
Morality Play
English
Rhyming/old englishTartuffeMoliere
17th Century
Neoclassical Comedy
France
12 Syllable Rhyming CoupletsThe RoverAphra Behn
Late 17th Century
Restoration Comedy
EnglishTriflesSusan Glaspell
Early 20th Century
American Feminist DramaThe Cherry OrchardAnton Chekhov
Early 20th Century
Russian Mature Drama
Chekhovian Drama
Easy-to-read, everyday vocabularyMachinalSophie Treadwell
Early 20th Century
American Expressionism
American
Extremely Short Lines
Dialogue is poetic (almost musical)
Rapid back-and-forth
Long Monologue by Young Woman distinguishable by use of “–” The Good Woman of SetzuanBertolt Brecht
Mid-20th Century
Modernist Theatre/Brechtian
German
Songs throughout the playDeath and the King’s HorsemanWole Soyinka
Late 20th Century
Post-Colonialism
NigerianFires in the MirrorSmith
Late 20th Century
Verbatim Theatre
AmericanAlmighty Voice and his WifeDaniel David Moses
Indigenous Canadian/First Nations Canadian
Late 20th Century
Canadian
Short dialogue, phrases back and forth
” we” poem/phrasesIn the Next RoomSarah Ruhl
2009
American
Old English, not hard to understandAllegorystory that represents abstract concepts or a moral lesson, medieval england, everymanAnagnorisismoment of recognition/enlightenment, Aristotle, Estrangement/Defamiliarizing effect (Verfremdungseffekt)important tenet of Brecht’s epic theatre – asks the audience to examine familiar, everyday events from a critical distance as if they were strangeCatharsisemotional release or sense of relief at the end of Greek tragedy, pity + fear, AristotleCorpus Christi: cycle playsmonth-long festival to celebrate the Holy Eucharist, Second Shepherd’s PlayDeux ex machinaa crane used for special effects in Greek Drama, often utilized by EuripidesEpic theatreaddresses human reason rather than feeling, discouraging passivity, leaving the theatre with a sense that the current social order is alterable and that action is necessary, Brecht + good womanExpositioninformation that reveals something essential about the world of the play, its circumstances, and the basic relationships b/w characters or eventsExpressionismEurope in the late 19th/Early 20th century spurred by the political upheaval of WWI, moral crisis that the world is dominated by machines – industrialization distorted the human spirit, loss of human spirit – machinalGrammelotemotional babble speak – extraordinary enough that people can understand the actor’s emotions and situations – common in Commedia Del’ArteLazzicomic bits of action and dialogue performed by stock characters in commedia dell’arteLiturgical dramamedieval european drama, incorporating the imitation of religious figures serving as religious services – exploring the mysteries and miracles of the bible and the lives of saintsMimesisgreek word for imitation – used to describe the practice of representing reality – Aristotle: tragedy is an imitation of an action in a way that is is embellished and perfectedDiagesisdetails about the world itself and the experience of its characters are revealed explicitly through narrative, as opposed to being enactedMiracle playsearly medieval liturgical plays that demonstrated the miracles and martyrdom of saintsMorality playssecular form of medieval drama that was popular in the 14th/15th centuries, in England and france – dealt with an individual’s moral lifeNeoclassicism17th century movement prompted by renewed interest in the writings of Aristotle and other classical theorists, revival of what was taken to be the classical style of Greece and Rome – purpose of drama is to ” instruct” how to live properlyVerisimilitude (pausibility)central tenet of neoclassicism – quality or appearance of truth; characters and events onstage must be believableDecorumthe proper way that characters should act onstage as dictated by their disposition and social standingPeripeteiain a tragedy, the moment in which the story’s action undergoes a lasting reversal, or change in direction, AristotleRealismthe Cherry Orchard – seeks to depict life as it really is without conventional artificeFourth Walltheatrical term that involves the use of a three-dimensional playing area where the actors’ performance is focused entirely on the world of the play and the audience is a silent, unseen observerRestorationthe theatrical period (1660-1700) marked by the return of Charles II to the throne of England after the commonwealth period – written for and represented by the aristocracy – the RoverSlapstickoriginally, a wooden sword worn by the Commedia dell’arte character Harlequin – as a subgenre, it is a form of physical comedy often characterized by farcical situations, crude jokes, and reckless behaviourFuturisma theatrical movement in the early 20th century – sought to transform humanity by rejecting the past and embracing the age of the machineStrophe/Antistropheback and forth argument/debate performed by the chorus to address the central subject/issue of the play – Greek tragedyCatastropheperipeteia + anagnorisis (reversal and recognition)Exodusfinal song of the chorusTragedy (According to Aristotle)- a process of imitating an action
– by means of language
– enacted by the persons themselves
– through a course of pity and fear, completing the purification of tragic actsTartuffe SummaryMadame Pernelle
Orgon
Tartuffe
Valiere
Mariane
Dorine
Elmire
DamisThe Rover SummaryWimore (rover)
Blunt
Belvile
Hellena
Florinda
Don Pedro
Don AntonioTrifles SummaryJohn Wright
Sheriff Peters
Attorney Henderson
Hale
Mrs. Hale
Mrs. PetersThe Cherry Orchard SummaryLopakhin (buys the orchard)
Ranevsky (owner of the estate)
Anya daughter)Machinal SummaryHelen Jones/Young WomanThe Good Woman of Setzuan SummaryShen Te
Yang SunDeath and the King’s Horseman SummaryYoruba tribe
Elesin
Olunde
Pilking
JaneAlmighty Voice and his Wife summaryAlmighty Voice/GHOST
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