Dates / Period Key Styles Key Playwrights

600BC-600AD Greek Theatre Aeschylus: The Oresteia

CLASSICAL Development of the classical genres of Comedy and Tragedy. The philosopher Aristotle Euripides:The Trojan Women, Medea
established the classical rules of tragedy (unities of time, place and action). Aristotle
identified the central purpose of theatre ± to arouse strong emotions in its Sophocles: Oedipus, Antigone
audience(catharsis). Greek Tragedies were often based on explorations of conflict Aristophanes: Lysistrata, The Frogs
between the protagonist and the antagonist. Masks were used for characters. A group of
narrators called the Chorus would tell the story, comment on the actions taken by the
protagonist as well as engage in dialogue. Tragedies were in five acts. Plays were
written within a closed structure. Aristotle considered Comedy to be inferior to Tragedy;
comedies were bawdy, frivolous, based on chance, fantasy & comic errors.Provided an
escape from the realities of life.The Greeks also developed Satyr Plays ±more informal,
often crude, with phallic imagery. The plays satirised or were parodies of myths,
legends, historical figures & tragedies. They combined songs, dances & sketches and
laid the basis for the later development of Burlesque & Farce.

Roman Theatre
Particularly influenced by the Satyr plays. The Romans developed new forms of theatre Plautus
including Mime, Farce, and Spectacles(including gladiator contests.) A model for Roman Homer: The Odyssey
Tragedy was developed by the theorist Seneca. Ovid: Metamorphoses

600-1500 Liturgical Drama Anon: Everyman

MEDIEVAL Certain parts of the Catholic mass were enacted in church, particularly in the Easter Anon: The Mystery Cycles
liturgy. These enactments were developed in the monasteries and later spread to other
churches.The plays were performed by the community. Three principal forms of drama
developed from this:
Mystery Plays
based on episodes from the Bible.
Miracle Plays
based on the lives of saints & martyrs
Morality Plays
in which virtues like goodness & truth and vices like greed & sloth became characters in
simple µgood triumphs over evil¶ stories. These became increasingly political
&appealed to the socially oppressed peasant class.
1500-1650 Revenge Tragedy Shakespeare: Hamlet, Titus Andronicus
RENAISSANCE Plots involved murder, death, revenge. Plays often included nightmare visions of ghosts. Tourneur: The Revenger’s Tragedy
Complicated subplots. Unrequited or unacceptable love. Gruesome actions. Sword Middleton/Rowley: The Changeling
fights. Poisons and potions. Madness. Marlowe: Doctor Faustus
Ford: Tis Pity She’s a Whore
Webster: The Duchess of Malfi
1500-1650 Elizabethan & Jacobean Comedy
Shakespeare’s comedies mix elements of farce, comedy of manners, romantic comedy Shakespeare:
and black comedy. Jonson’s comedies were more Satirical, exposing the follies and MSND,Much Ado 12th Night
vices of society through the use of biting humour Jonson: Volpone

Commedia Dell’Arte
Began in C16th Italy. Used caricature half-masks for middle-class and servant Goldoni:
characters. Hero and Heroine were unmasked. Stock Characters were placed in stock A Servant to Two Masters
situations (scenarios). Ensemble playing allowed for free improvisation around the roles
&situations. Depicted clashes between Masters & Servants. Used physical humour
known as Slapstick or Lazzi as well as acrobatic & juggling skills to amuse the audience.
Street Theatre.

1650-1700 Comedy of Manners Moliere: The Hypochondriac

RESTORATION Examined rules of the society of the time from a satirical standpoint. Portrayed and Wycherley: The Country Wife
commented upon the affectations of the upper classes. Based on the wit & banter of the Goldsmith: She Stoops to Conquer
aristocratic class.Thrived in time of material prosperity and moral laxity. Satirised the Congreve: The Way of the World
affected wit and self-importance of the minor aristocracy and a world where everyone Farquhar: The Recruiting Officer
thought that to better oneself was merely a question of speaking the right language and Behn: The Rover
wearing the right clothes. Uses a heightened form of language. Courtship and Sexual Sheridan: The Rivals, School for Scandal
attraction was an underlying theme. Plots were concerned with scandals and illicit love
affairs. Women were allowed on stage for the first time. This became an excuse for
raunchy and titlating drama based on the manners of the court and featured
licentiousness, adultery and cuckoldry. In the later C18th, this developed into Bourgeois
Comedy which was targeted more at the rising mercantile class. In more recent years,
Oscar Wilde & Noel Coward developed this into an intellectual form known as High
Comedy.
1700-1800 Burlesque / Ballad Opera Gay: The Beggars Opera
BAROQUE Uses caricature and distortion almost to a grotesque extent to mock society, particularly
respected society figures. First used in connection with Italian Opera in the C16th.
Based on puns and humour of low wit. Music used as parody. Ballad-operas were a
popular new drama which appealed to all classes. They parodied / satirised the Italian
operas which were popular at the time. They mixed popular songs and melodies
together with action-orientated plots which often poked fun at the government & the
establishment

1800-1850 Melodrama Anon: Maria Marten (The Red Barn)

ROMANTICISM Most popular form of theatre for the majority of the C19th. Light-hearted entertainment Anon: Sweeney Todd
as a means of escapism. Plays revolved around extremes of good & bad: characters
were either heroes or villains. Dealt with sensationalist stories. Gruesome crimes were
turned into theatre. Fast paced scenes with plenty of action. Used cliff-hanger curtain
scenes to heighten the audience’s emotional response. Lack of subtlety in acting style.
Large gestures and grand voices. Plays were invariably quite short & presented as part
of an evening interspersed with other forms of entertainment,such as Victorian Music
Hall.

1800-1850 Romanticism
Reacted against the constraints of neo-classicism. Often base d on the representation of Goethe: Faust
the heroic individual’s struggle to maintain lofty ideals and values in an imperfect and Schiller: Mary Stuart
corrupt world. Themes included nature, the oppression of the poor, liberty and
nationalism. Often dealt with extreme experiences like suicide,infanticide and incest.
20th Century & Beyond

Styles Playwrights Significant plays

Realism & Naturalism Ibsen Hedda Gabler, A Doll’s House

Originated in Europe as a challenge to the Chekov Cherry Orchard, Three Sisters
melodramatic forms of theatre that preceded it. Strindberg Miss Julie, The Father
Depicted ordinary lives in ordinary settings.Used Shaw Arms & the Man, Major Barbara
everyday speech rather than verse. Sought to offer Gorky The Lower Depths
the illusion of reality. Allowed greater depth to Priestley An Inspector Calls
characters; believed personality and actions were Leigh Two Thousand Years, Abigail’s Party
based on family, background and circumstance Cartwright Road, Two, The Rise & Fall of Little Voice
(based on Darwin’s theories of evolution.) Ayckbourn Sisterly Feelings, Norman Conquests, Confusions
Concerned with political and social issues.
Fascination with class and the way the upper
classes could cover up the problems within society.
Reliance on dialogue rather than action. Sets were
highly detailed & very realistic. Chekov developed
Tragi-Comedy which combined the funny with the
sad,absurd, terrifying & the pathetic.

Symbolism Pirandello Six Characters in Search of an Author

Challenged realism & naturalism. Believed truth lay Lorca Blood Wedding, Yerma, The House of Bernarda Alba
beyond mere appearances. Aimed to reflect the Eliot Murder in the Cathedral
mental or spiritual life. Strong on atmosphere and
effects, the influence of supernatural powers and the
occult. Non-naturalistic scenery.

Expressionism Strindberg A Dream Play, Ghosts

Movement in literature & art which originated in Buchner Woyzeck, Danton’s Death
Germany before WW1 and ended in1920s. Erratic & Wedekind Spring Awakening
explosive. Tried to destroy superficial ideas of reality (Stephenson) (The Memory of Water)
and explore deeper meanings underneath.

Surrealism Jarry Ubu Roi

Revised the definition of reality. Concerned itself with Cocteau La Machine Infernale
accounts of dreams, madness, the subconscious
and the non-rational.
Theatre of the Absurd Ionesco The Chairs, The Bald Prima Donna, TheLesson
Influenced by Camus: the human situation is Beckett Waiting for Godot,
essentially absurd and devoid of purpose¶. Also by Genet EndgameThe Maids
the horrors of WW2. Characters share a somewhat Stoppard Rosencrantz & Guildenstern are Dead
pessimistic view of the world in which humans Sartre In Camera, Kean
struggle with their attempt to understand why they
are here.Man inhabits a universe whose meaning is
undecipherable. Structure is very loose.Rarely any
plot or any sense of time passing.Non-linear.
Language is disjointed; uses puns & repetition.
Conversations go around in circles or are pure
nonsense. Serious underlying discussion at a
metaphysical level invariably to do with existence
and death.Technical elements use symbolism.

Pinteresque Storey Home

Amalgamates Realism with Theatre of the Absurd. Pinter The Dumb Waiter, The Caretaker, The Birthday
Characters merely exist. No explanation as to why Party,The Room, The Homecoming, Betrayal
things happen, or who the characters are. Dialogue
is simple &sparse. Noted for the use of pause &
subtext.Generally features working class
characters& settings. Focuses on
relationships.Characters are seemingly unpleasant.

Epic Brecht The Good Woman of Setzuan, The Threepenny

Primary aim was to use theatre as a means to Opera
induce an enquiring, critical, objective audience. Durrenmatt The Visit
Main focus was telling a story.Often used a Narrator. Wertenbaker Our Country’s Good
Projections used to add commentary or to allow for Littlewood Oh What a Lovely War
modern or historical parallels to be drawn. Puts a
social or political message before the exploration of
character. Often structured using montage form.
Non-linear plot. Each episode is self-contained.
Uses Direct Address, Songs &Music. Usually
involves a whole people’s history, or many different
characters, span across decades of time and be set
in a number of places.
Political Theatre Brecht Mother Courage, Caucasian Chalk Circle, Arturo
Emphasises a political issue(s) in its theme or plot. Ui
Can also explore themes more universal and central Brenton Plays for the Poor Theatre, Paul
to a society which defines itself as politically Mc Grath The Cheviot, the stag and the black, black oil
conscious. Deals with contemporary social & political Griffiths Comedians
issues. Aims to impress political truths upon the Bond Saved, The Sea, Restoration
audience. Can sometimes be polemic, or one-sided. Arden Sergeant Musgrave’s Dance, Live Like Pigs
Propaganda. Writers are often politically committed.

Italian Political Theatre Fo Accidental Death of An Anarchist, Mistero Buffo,

Critical of the deeply religious Italian world,with Can’t Pay, Won’t Pay, The Devil in Drag
special vehemence for the position of women in
such a Catholic society. Frequently censored &
banned. Draws on traditions of Commedia Dell’Arte
characters are exaggerated, comic grotesques.
Satirises the bourgeoisie. Uses elements of
Farce.Sometimes uses a documentary style.

Docudrama / Verbatim Theatre Hare Permanent Way, Racing Demon

Used to describe plays based on fact.Doesn’t Soans Talking to Terrorists
normally distort or speculate the facts. Depicts real
events on stage, usually narrated by representations
of the original participants. Text is created out of
sources and documents such as news
reports,autobiographies, interviews, photos etc.Often
includes narration & projection ± real documents &
film footage. Major historical and political figures are
represented. It has a political purpose. Editing
process often favours one viewpoint; audience are
not left entirely to make up their own minds.

Physical Theatre Berkoff The Trial, Metamorphosis, East, Greek, Decadence

Berkoff adapted the main elements of physical Frantic Assembly. Rabbit
theatre & mime & combined them with vocal DV8 Enter Achilles, Dead Dreams of Monochrome Men.
exploration to produce his own style. Uses stylised, Complicite The Street of Crocodiles, Mnemonic
extreme physical work where the outer image
creates the inner soul of a role. Shocking language
and visual images. Use of rhyme, rhythm & other
poetic conventions. Use of violence. Limited Set and
props. High energy levels.
Feminist Churchill Vinegar Tom, Cloud Nine, Top Girls
Central themes are the place & treatment of women Townsend The Great Celestial Cow, Womberang
in society. Other themes include relationships, Daniels Masterpieces
sisterhood, gender politics,anatomy, sexuality. The Keatley My Mother Said I Never Should
intention is usually to promote a positive change for Dunn Steaming
women.Sometimes uses historical figures & Ensler The Vagina Monologues
incidents to comment on modern-day society. Plot is O’Malley Once a Catholic
often less important than content. Characters learn De Angelis Playhouse Creatures
by altering assumed perceptions. Page Tissue

In Yer Face Ravenhill Shopping & F***ing, Citizenship

Blatantly aggressive or provocative.Confrontational. Kane Cleansed, 4:48 Pychosis, Crave
Theatre of sensation. Uses shock-tactics. Marber Closer, Dealers Choice
Controversial. Confronts ruling ideas of what can or Pritchard Yard Girl, Essex Girls
should be shown onstage. Bold. Experimental. Eldridge Serving it
Mixes sex,violence & street-poetry. Critique of Williams UpLocal Boy, Sing Yer Heart our for the Lads
modern-life, focusing on the problems of violence, Harrower Blackbird
the questioning of masculinity, myth of post-feminism
& the futility of consumerism

Irish Drama Synge Playboy of the Western World

At the end of the C.19th there was a rise in Irish O’Casey The Plough & the Stars, Juno & The Paycock
nationalism which began to inspire Irish playwrights McDonagh The Pillowman, Beauty Queen of Leeann
to investigate their background as a Celtic nation Friel Dancing at Lughnasa, Translations
and attempt to make some sense of the violent McPherson The Weir
political and social upheaval. This became the focus Behan The Hostage
of Irish drama from that point on. Since then, Irish
drama has divided itself into two camps: plays that
focus on the rural traditions of Ireland and plays that
focus on the political uprisings & conflicts. Often
makes poetic use of language. Examines the power
of religion.Focuses on recent history & nationalism.
Kitchen Sink Osborne Look Back in Anger, The Entertainer
Many plays in England before the 1950s had been Wesker Roots, Chips with Everything
concerned with the middle and upper classes. In Delaney A Taste of Honey
1956, Osborne wrote a play that changed this
situation. Look Back in Anger took working class
men for its leading characters and was set in a
working class environment. Plays generally
expressed dissatisfaction with the socio-political
order of the time, and were outspoken against the
class system. The style was term domestic realism.
Plays used the language of the working class.
Atmospheres were grim, grey.

Black Comedy Orton Loot, Entertaining Mr Sloane

Often based on farce but deals with grim situations & Nicholls A Day in the Death of Joe Egg
themes, and makes a mockery of them. It finds
comedy in things that many people would find
inappropriate, but allows an audience to laugh at
their fears.Characters & Situations are often
exaggerated beyond the level of usual satire until
they become grotesque.

High Comedy Coward Private Lives, Present Laughter, Blithe Spirit The
See notes on Comedy of Manners Wilde Importance of Being Earnest

Farce Stoppard Black Comedy, The Real Inspector Hound

Particularly popular in France in C19th. Usually the Frayn Noises Off
protagonist is placed into a situation and/or location Orton What the Butler Saw
where they should not be & their increasingly frantic Cooney Run for Your Wife
attempts to avoid discovery are what lead to the
comedy. Actors play the ludicrous situations as real
and dangerous. The potential for disaster is the key.
Plots are often Increasingly complex & refer to
sexual misadventure. Action is fast paced, and
frenetic. Complex sets include many entrances and
exits. Physical Timing.
American Drama Williams A Streetcar Named Desire, The Glass Menagerie
Influenced the fashion for Realism in post-war British Miller The Crucible, Death of a Salesman, View from the
theatre. Often concerned with family tensions &/or Bridge
sexual anxiety as well as morality and frustration. O’Neill The Iceman Cometh, Long Days Journey into Night
High-dramatic tension. Lyrical dialogue. Reflected Mamet Oleanna
individuals’ response to the pressures exerted by the
forces of family & society.

Total Theatre Weiss Marat/Sade

Theatre that encompasses different forms,such as Shaffer Equus, Royal Hunt of the Sun
ritual, myths, mask, mime, music...Theatre of Cruelty
is its basis. Aims to grab audience’s attention and
keep it through the use of so many different
techniques.Complex combination of elements
working in a unified way. Often explores the
relationship between protagonists.