Understanding drama as both script and performance — from the elements of drama to reading a scene and evaluating a production.
Most plays follow a dramatic arc: exposition → point of attack → rising action → climax → falling action → denouement. Great drama often plays with these conventions through delay, denial and irony.
Note the significance of the opening (often establishing status quo, tone, and dramatic question) and the final scene (offering resolution, reversal, or open uncertainty).
| Genre | Feature |
|---|---|
| Tragedy | Protagonist’s fall from greatness; fatal flaw and hamartia; catharsis |
| Comedy | Mistaken identity, wits, obstacles overcome; happy resolution |
| Absurdist / modernist | Meaninglessness, anti-hero; fractured logic |
| Satura / political | Critique of society through exaggeration |
| Melodrama | Heightened emotion, clear good versus evil |
Drama’s meaning is realised through production choices. When analysing staging, consider:
When responding to a production, move beyond “I liked it.” Evaluate how the director, actors and designers make interpretive choices that realise (or challenge) the script, and what those choices add to the play’s themes in performance.
| Category | Plays |
|---|---|
| Classical | Sophocles’ Oedipus Rex; Shakespeare’s tragedies and comedies |
| Modern | Arthur Miller’s Death of a Salesman; Tennessee Williams |
| Australian | Ray Lawler’s The Summer of the Seventeenth Doll; contemporary First Nations playwrights |
| Absurd | Samuel Beckett’s Waiting for Godot |
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