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Drama

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Drama
Techniques
Authorial choices
Stylistic choices
Rhetorical devices
Purpose
Effect
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Purpose & Effect

Where drama diverges from poetry and prose
The following characteristics shape the unique role and experience of drama within the broader landscape of literary expression.
Purpose
Effect
Performance
Dynamic characterization
Dialogue & Plot
Drive Plot
Visual-spatial considerations
Immersion
Immediate emotional impact
Lasting impression
Collaborative nature
Creative synergy
Performance & Dynamic characterization
Unlike prose and poetry, which are primarily written to be read silently, drama is meant to be enacted by actors in front of an audience, whether on stage or screen This performance-centered nature shapes the structure, style, and content of dramatic works, prioritizing elements like staging and character portrayal.
Drama's performance-centered approach offers unique opportunities for dynamic characterization, visual storytelling, interactive engagement, and collaborative creativity.
Dialogue & Plot
Drama relies heavily on dialogue to advance the plot, develop characters, and convey themes. In contrast, prose may incorporate dialogue but also includes narrative exposition and description, and poetry employs condensed and stylized language. Unlike prose and poetry, drama places a central focus on the spoken word. Dialogue is the primary means of communication between characters, driving the action and revealing their motivations, conflicts, and relationships
Dialogue in drama is a versatile tool that serves multiple functions, from driving the plot and revealing character to exploring themes and shaping mood. Its power lies in its ability to capture the essence of human experience, fostering connection, empathy, and understanding among audiences.
Visual/Spatial Considerations & Immersion
Drama incorporates visual and spatial elements, such as stage directions and set design. These elements contribute to the overall aesthetic and impact of a dramatic performance, shaping the audience's perception and interpretation of the work. Prose and poetry, on the other hand, rely primarily on language to evoke imagery and create atmosphere, with less emphasis on visual presentation.
The visual and spatial considerations in drama allow for immersive, multi-dimensional worlds that resonate with audiences on a visceral and emotional level. By integrating these elements with language and performance, playwrights, directors, and designers, and actors create dynamic works of art that transcend the confines of the stage, leaving a lasting impact on both individual spectators and collective cultural consciousness.
Immediate Emotional Impact & Lasting impression
Drama aims to elicit immediate emotional responses from its audience through live performance. The intensity of emotions conveyed by actors on stage or screen, combined with the immediacy of the theatrical experience, can create a powerful and visceral impact on viewers. This direct engagement with the audience sets drama apart from prose and poetry, which may evoke emotional responses through language but lack the same level of immediacy and intimacy.
Such is how drama leverages empathy, catharsis, suspense, physical presence, and spontaneous interaction to create an immersive experience that resonates deeply with viewers, leaving a lasting impression long after the lights dim and the applause fades away.
Collaboration & Synergy
The creation and production of drama often involve collaboration between playwrights, directors, actors, designers, and technicians. Unlike prose and poetry, which are typically the work of individual authors, drama is a collaborative art form that requires coordination and cooperation among multiple creative contributors. This collaborative process can lead to unique, dynamic interpretations of a playwright's text, enriching the theatrical experience for both creators and audiences.
The collaborative process of drama, involving playwrights, directors, actors, designers, and technicians, fosters synergy, interdisciplinary exchange, shared vision, adaptability, and enriched audience experiences. This collaborative approach to theatrical creation and production ensures that each performance is a dynamic and multifaceted expression of artistic collaboration, enriching the cultural landscape and fostering a deeper appreciation for the transformative power of theater.

Techniques

Common literary techniques used in Drama
Monologue
A long speech by one character in a play, often addressing other characters on stage, the audience, or even themselves. Other characters may be present on stage, but they do not typically respond verbally
Nora: “I have been your doll-wife, just as at home I was father's doll-child; and here the children have been my dolls. I thought it great fun when you played with me, just as they thought it great fun when I played with them. That is what our marriage has been, Torvald.” Henrik Ibsen, “A Doll’s House”
Soliloquy
A type of monologue where a character engages in introspection by speaking their inner thoughts aloud while ALONE on stage
Nora: I must try to understand everything about myself. I must make up my mind which is right – society or I." Henrik Ibsen, “A Doll’s House”
Dialogue
Spoken interaction between characters that reveals personalities, advances the plot, provides background information, explores themes, and evokes emotional responses from the audience
Torvald: "Is that my little lark twittering out there?" Nora: "Yes, it is." Torvald: "Is it my little squirrel bustling about?" Nora: “Yes” Henrik Ibsen, “A Doll’s House”
Alliteration
The repetition of initial consonant sounds in nearby words to enrich the language, deepen the meaning, and contribute to the overall aesthetic experience
Blanche: “Let’s light a little lamp” Tennesse Williams, “A Streetcar Named Desire”
Imagery (common)
Descriptive language that appeals to the senses.
Macbeth: "Will all great Neptune's ocean wash this blood / Clean from my hand?” William Shakespeare, “Macbeth”
Anaphora
The deliberate use of the same word or phrase multiple times to emphasize a concept or create a rhythmic effect.
John Proctor: "Because it is my name! Because I cannot have another in my life! Because I lie and sign myself to lies! Because I am not worth the dust on the feet of them that hang! How may I live without my name? I have given you my soul; leave me my name!"  Arthur Miller, “The Crucible”
Metaphor (common)
A figure of speech that implies a comparison between two unlike things by stating that one thing is another for symbolic or rhetorical effect.
Jacques: "All the world's a stage, / And all the men and women merely players; / They have their exits and their entrances; / And one man in his time plays many parts” William Shakespeare, “As You Like It”
Simile (common)
A figure of speech comparing two different things using the words "like" or "as" to draw an easily relatable comparison
Hamlet: "Like sweet bells jangled, out of time and harsh" William Shakespeare, “Hamlet”
Hyperbole
An obvious exaggeration highlighting the intensity of a character's emotions, actions, or situations, creating dramatic or comedic impact
“A thousand times good night!"  William Shakespeare, “Romeo and Juliet”
Personification
When non-human things are given human traits or qualities, making them more relatable and engaging for the audience
Hamlet: “Frailty, thy name is woman!” William Shakespeare, “Hamlet”
Symbolism (common)
The use of symbols to represent ideas or qualities
Macbeth: "Is this a dagger which I see before me, The handle toward my hand? Come, let me clutch thee. I have thee not, and yet I see thee still” William Shakespeare, “Macbeth”
Foreshadowing
Device hinting at future events or developments, building anticipation and tension for the audience through dialogue, stage directions, imagery, or symbolic elements
Hamlet: "Something is rotten in the state of Denmark."  William Shakespeare, “Hamlet”
Juxtaposition
Placing contrasting or similar elements side by side to highlight themes, characters, or situations, enriching the narrative and engaging the audience.
Prince of Morocco: "All that glisters is not gold" William Shakespeare, “The Merchant of Venice”
Anecdote
A brief, entertaining story told by a character meant to reveal their personality, provide background information, illustrate a point, or add humor and depth to the dialogue.
Ben: When I was seventeen I walked into the jungle, and when I was twenty-one I walked out. And by God I was rich."  Arthur Miller, “Death of a Salesman”
Tone
The writer's attitude towards the subject or audience, shaping the mood of the writing
Troy Maxson: "Some people build fences to keep people out... and other people build fences to keep people in."  August Wilson, “Fences”
Dramatic irony
A literary device where the audience or reader is aware of something significant that a character or characters in the story are not aware of, leading to tension, suspense, or humor
Tiresias: “Oedipus, you are my pattern of mystery! / You are the best man I know. You with your precious eyes, / you're blind to the corruption of your life."  Sophocles, “Oedipus Rex”
Satire
Use of humor and irony to mock or criticize aspects of society or human behavior
Squealer: “All animals are equal, but some animals are more equal than others”  George Orwell, “Animal Farm”
Rhetorical question
A question asked not to receive an answer, but to make a point, emphasize a statement, or provoke thought (for dramatic effect or to engage the audience)
Shylock: “If you prick us, do we not bleed? If you tickle us, do we not laugh?”  William Shakespeare, “The Merchant of Venice”
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Examples
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Grade 7

In "Angry Alan," Roger's monologue functions as a lens through which his character and circumstances are illuminated. With candor and introspection, Roger divulges intricate facets of his life and emotional landscape, all while maintaining an engaging, conversational cadence that effortlessly draws in the audience. His stream-of-consciousness delivery not only mimics the organic flow of human thought but also fosters a profound sense of empathy and connection. By using these devices, Skinner subtly intimates Roger's potential sense of overwhelm, enriching his portrayal with nuanced depth and authenticity.
Roger initiates with a modest anecdote of intending to embark on a run but ultimately succumbing to the allure of his phone, veering from one distraction to the next. Through this narrative thread, Skinner skillfully demonstrates Roger's relatability, portraying him as akin to us, perpetually ensnared by digital distractions and prone to forgetting his initial intentions. This universality resonates deeply, as Roger emerges as an archetype of the average individual grappling with the commonplace challenges of daily life.  When Roger articulates, "eventually you realize time has sort of slipped away and it’s forty minutes later and you put your phone down and wonder what you were doing and remember you were going to go for a run but when you look outside it’s raining so why am I telling you that," Skinner crafts a moment of genuine authenticity, showcasing Roger's struggles with technology and distractions. By illuminating Roger's imperfections, she fosters a profound sense of empathy, allowing the audience to better comprehend and identify with his humanity. This deliberate portrayal transforms Roger from a mere theatrical construct into a fully realized individual, imbued with complexity and depth.  In this fashion, Skinner captures the banalities of everyday existence, presenting Roger as a genuine and multifaceted figure rather than reducing him to a simplistic stereotype.
A significant portion of Roger's dialogue revolves around contrasting his past self, "Roger-from-before," with his current persona, "Roger-Now." This aspect of the dialog makes effective use of juxtaposition, providing insight into his former and present circumstances. Skinner indicates, "Roger-from-before would be getting in his fancy car and heading into the office," suggesting a time of greater success and fulfillment. In contrast, "Roger-Now" holds the less prestigious role of third assistant store manager, primarily dealing with customer complaints, a task requiring considerable patience. Roger's remark, "I’m a guy you can yell at. Sometimes if you’re mad enough you can threaten me with physical violence," sheds light on the challenges he faces and the abuse he must tolerate. Additionally, Roger's resigned acceptance of his job, as evidenced by phrases like "I know better than to go up against store policy," suggests a reluctance to challenge his position. However, there's an underlying bitterness in his description of his role and the store's hierarchy. His seemingly cheerful declaration, "I’m happy to help," juxtaposed with his depiction of the mundane aspects of his job, underscores his deep-seated dissatisfaction.
What’s also worthy of note is how Roger reflects on Tim, the store manager, observing, “His name is Tim and he’s sitting up in his fancy glass office on the second floor. We actually went to high school together which is how I got this job.” Skinner illustrates Roger's dilemma; though he requires sustenance and remuneration, his pride wanes in the shadow of Tim, his former peer, who occupies the coveted position. The phrase “fancy glass office” serves to highlight this disparity that has rendered Roger powerless and exacerbated by his responsibility to address irate customers:  “But I’ll just offer you a refund and tell you I’m very sorry and I hope you’ll continue to choose Safeway for all your shopping needs.” These interactions underscore Roger's inability to advocate for himself, laying bare the stark reality of his circumstances. In this regard, his suppressed desires for advancement and aversion to menial labor are palpable. Nevertheless, his resignation is palpable as he acknowledges the confines of his influence. Consequently, his indignation and vexation assume prominence within this narrative. Concluding with a rueful sentiment, “Where am I going with this? Oh right. I’m at the beginning. And it’s Monday morning,” he emphasizes his disillusionment and anticipates the arduous week ahead. This recurrent cycle of abuse elucidates Roger's embittered demeanor given how he grapples to preserve his dignity.
Roger's monologue in "Angry Alan" offers insight into his character. Through a conversational tone and relatable stories, Skinner portrays Roger as an embittered, distracted individual whose current situation stands in stark contrast to his past success. His scattered thoughts reflect his struggle with modern life's challenges, shedding light on his personal journey and resonating with those facing similar disillusionment and adaptation to new realities.
Text A
This is an excerpt from Angels in America, a play by Tony Kushner
JOE: I'm tired, I'm going to bed.
HARPER: Tell me without making me ask. Please.
JOE: This is crazy, I'm not . . .
HARPER: When you come through the door at night your face is never exactly the way I remembered it. I get surprised by something . . . mean and hard about the way you look. Even the weight of you in the bed at night, the way you breathe in your sleep seems unfamiliar. You terrify me.
JOE (Cold): I know who you are.
HARPER: Yes. I'm the enemy. That's easy. That doesn't change. You think you're the only one who hates sex; I do; I hate it with you; I do. I dream that you batter away at me till all my joints come apart, like wax, and I fall into pieces. It's like a punishment. It was wrong of me to marry you. I knew you . . . (She stops herself) It's a sin, and it's killing us both.
JOE: I can always tell when you've taken pills because it makes you red-faced and sweaty and frankly that's very often why I don't want to . . .
HARPER: Because . . .
JOE: Well, you aren't pretty. Not like this.
HARPER: I have something to ask you.
JOE: Then ASK! ASK! What in hell are you . . .
HARPER: Are you a homo? (Pause) Are you? If you try to walk out right now I'll put your dinner back in the oven and turn it up so high the whole building will fill with smoke and everyone in it will as- phyxiate. So help me God I will. Now answer the question.
JOE: What if I . . .
HARPER: Then tell me, please. And we'll see.
Text B