Conventions of Dramatic Structure
I. OVERVIEW
A. Playwright or Dramatist usually provides blueprint for production
1. Determines subject matter
2. Invents characters
3. Chooses type of play
4. Provides words and actions
5. Maps action, time, sequence
B. Every work of art has some kind of structure or framework
1. Structure of a play is analogous to that of a building
a. Architect and engineer work together
I. Plan superstructure
II. Determine depth of foundation
III. Calculate weight of support beams and stress on side walls
b. Dramatist and director work together
I. Plot serves as superstructure
II. Premise serves as foundation
III. Conflicts serve as stress
II. ESSENTIALS OF DRAMATIC STRUCTURE
A Two Principles
1. Every play must have underlying pattern or organization
2. Once pattern is established, must remain true to itself: be organic
B. The Form of Drama: Plot versus Story
1. Plot is based on a story
a. Differs from story; story is full account of event or series of events usually told in order
b. Plot is selection and arrangement of scenes taken from story for onstage presentation
I. What actually happens on stage--not what is talked about
2. Story must be told in limited period of time by living actors which requires selectivity
C. The Subject and Verb of Drama: People and Action
1. Subject of theater is always people
2. Verb of theater is action which defines subject
D. The Crucible of Drama: Conflict
1. People defined by way they respond to challenges
2. In real life it takes years; on stage two hours
3. A crucible is a vessel for testing metal exposed to extreme heat
I. In a play, a crucible is a test of human worth and endurance--
II. Can vary enormously: fight for kingdom, quest for something, test of relationship
A. Can be external or internal
III STRUCTURAL CONVENTIONS: THE RULES OF THE GAME
A. Sports analogy--rules to make it fast-moving contest
B. Limited Space
1. Like boxing ring or basketball court
a. Must stay in-bounds (confined to its universe)
C. Limited Time
1. Playing time
a. Most sports (except baseball)
b. Most plays 1-3 hours (except medieval cycle plays or modern serial plays)
2. Time limit or deadline within play (more important)
D. Strongly Opposed Forces
1. Like sports: home team vs. visiting team
2. Protagonist vs. antagonist
a. Most plays have characters with personalities designed to clash
I. Often conflict confined to a family so no escape (mythology)
A. O'Neill's Long Day's Journey about 4 members of his own family
E. A Balance of Forces
1. Sports handicapping
2. Theatre has characters generally of equal strength
F. Incentive and Motivation
1. Sports has trophy or rewards
2. Theatre has reward for performing certain actions
IV. CREATING A DRAMATIC STRUCTURE
A. The Opening Scene
1. Starts action
2. Sets tone
3. Clue of what lies ahead
4. Shove which sets gears in motion
5. Playwright introduces problem
a. Usually has just happened or is just happening
I. Hamlet "something's rotten"
II. Romeo and Juliet street fight
B. Obstacles and Complications
1. Series of hurdles to jump over
a. Claudius' praying is obstacle to Hamlet killing him
b. Accidentally killing Polonius is complication
C. Crisis and Climax.
1. Crises occur as result of conflicts, obstacles and complications
2. One crisis is averted only to bring on another
3. They build until the main crisis--the climax
a. Sometimes minor and major climax
IDENTIFY OR DEFINE
1. Dialogue
2. Structure
3. Story
4. Plot
5. Limited space
6. Play of ideas
7. Cycle plays
8. Opposing forces
9. Protagonist
10. Antagonist
11. Balance of forces
12. Incentive
13. Obstacles
14. Complications
15. Crises
16. Climax