THE HISTORY OF DRAMA

Just what is the DIFFERENCE between

drama and theatre?
 Many people are quick to assume that theatre and
drama go hand in hand and are used interchangeably.
Although both activities are related to the broader
creative platform of performing arts, there are some
differences between drama and theatre, which should be
addressed and are important to consider before deciding
which activity is better suited for your child.
 Drama is a play’s printed text, otherwise known
as the script. Drama is defined as a branch of theatre
that essentially helps illustrate an event or situation
through acting.
Originally derived from the Greek word ‘dran,’ which
means “to do” or “to act,” drama can be interpreted in
different ways based on the reader or viewer. Drama can
also refer to an episode of life that involves some sort of
profound emotion or conflict. The term is most
commonly used to define and categorize film, play, TV
and novel genres.
 Theatre is also a Greek word, theasthai, which refers to the
English word “behold!” Theatre is essentially the actual play
production as a whole itself, instead of just the script. An entire
production requires actors, a script, a stage, costumes, lighting,
sound effects, background and an audience. These are the
requirements and what makes theatre
such an incredible, collective effort. There are various people that
contribute to bringing theatre to life, from directors to actors,
technicians, stagehands and costume designers. Although theatre
can give quite a straightforward interpretation, audience members
can still cast their own opinion.
The simple response is that drama is the
printed text of a play while theatre refers to
the actual production of the play text on the
stage. A play, however, is not intended for a
reading audience.
 The earliest origins of drama are to be found in
Athens where ancient hymns, called
dithyrambs, were sung in honor of the god
Dionysus.
These hymns were later adapted for choral
processions in which participants would dress up in
costumes and masks. Eventually, certain members of
the chorus evolved to take special roles within the
procession, but they were not yet actors in the way
we would understand it.
 That development came later in the 6th
century BC, when the tyrant Pisistratus, who
then ruled the city, established a series of new
public festivals. One of these, the 'City
Dionysia', a festival of entertainment held in
honor of the god Dionysus, featured
competitions in music, singing, dance and
poetry. And most remarkable of all the winners
was said to be a wandering bard called
Thespis.
 According to tradition, in 534 or 535 BC,
Thespis astounded audiences by leaping on to
the back of a wooden cart and reciting poetry
as if he was the characters whose lines he was
reading. In doing so he became the world's
first actor, and it is from him that we get the
world thespian.
 Theatre started in ancient Greece with
rituals to the gods. Eventually, a man named
Thespis became the first actor on a stage.
Previously, all the people on stage were a unit
called a "chorus." They would stand around
an alter and make a sacrifice to the gods.
THE 12 ELEMENTS OF
DRAMA
These twelve dramatic elements are at the
core of all drama. They can be used in
isolation or simultaneously and are
manipulated by the performer for dramatic
effect.
 1. Focus
• Focus is often used interchangeably with the terms concentration and
engagement, assisting the performer in the portrayal of believable
characters. This also implies memorisation of text (including word,
moves and gestures). Furthermore, focus requires the channelling
(focusing) of all the performer’s energies into achieving the given
goals or objectives of a character in a scene (otherwise known as
‘wants’).
 2. Tension
• Tension can sometimes be used as an interchangeable term
with conflict. But where it differs, lies in the development of
suspense in a performance. As the audience anticipates
certain outcomes in the plot, the tension builds. An obvious
example of rising tension is in a mystery or whodunit. The
development of tension usually parallels the advancement of
the plot, leading to a crisis or climax. Tension is closely
linked with timing
 3. Timing
• Timing in performance refers to dramatic timing of
movements and gestures. We often take our movements for
granted in everyday life, but when performing, the use of our
body must be carefully considered. Timing can be
manipulated to create contrast in a scene or simply to
demonstrate robotic, stylised and non-naturalistic
movements. Rhythm and pace are affected by timing.
 4. Rhythm
• Rhythm refers to the timing and pace of the drama. It also
means the beat or tempo of the performance. As a rule,
rhythm should never be the same throughout the drama,
regardless of its length. Rhythm can follow the emotional
state of one or more characters or the atmosphere of the
performance at particular moments.
 5. Contrast
• Without the careful use of contrast a performance is boring
and lacks tension. An obvious example of contrast is a sad
scene followed by a happy one. But contrast can be created in
subtler and sophisticated ways, such as manipulating the
drama to create a change in setting, use of space or rhythm.
The pace of scenes can also be altered, as can various
dramatic elements within one small section of a performance.
 6. Mood
• Mood is the feeling or tone of a performance. It refers to
ambience or aura and is often created through a combination
of several dramatic and stagecraft elements working in
harmony with each other. The mood of a performance is
closely linked with everyday feelings such as pity, anger,
desire or frustration. Mood in drama can be created via
sound, lighting, movement, setting, rhythm, contrast, conflict
and more.
 7. Space
• This dramatic element refers to the effective use of available space in
a performance. Different levels of space are utilised by the performer,
such as sitting, bending over, lying down or crawling. Of course, using
the space around you can mean downstage and upstage or walking in
or on a stage set. In order to use the space effectively, movement
becomes an important factor. Use of space also implies clearly
communicating to the audience where the action is taking place. This
may include any changes in location that may occur in the
performance (particularly if little or no sets and/or props are being
used and there is a heavy reliance on the audience’s imagination).
 8. Language
• The use of language in performance can be verbal, vocal or non-
verbal. Language is the spoken text. It is the written script realised in
performance. While normally spoken by the actor, language can also
be chanted or sung. It can also be deliberately nonsensical (gibberish)
for dramatic effect. The choice of language in performance is crucial,
as it is forms a major means of communicating the story of the drama
to the audience. Exactly how the actor in performance uses language
is usually determined by the expressive skill of voice. However,
language can also be non-verbal, commonly referred to as body
language.
 9. Sound
• Modern theatrical practice relies on sound to assist in a number of
ways. It can be useful in creating atmosphere or mood. Actors and
their bodies can construct effective sound in performance. Small props
can also create sound effects that can be used live during a show.
Other uses of sound involve the implementation of technology, such as
instrumental recordings and sound effects on CDs and mp3 players
(though this use of sound is technically a stagecraft element in the
theatre, not a dramatic element).
 10. Symbol
• The use of symbol in dramatic performance can be one of the simplest and also
most complicated of all techniques. Essentially, symbolism implies a greater
meaning than the literal suggestion. Props are the easiest to work with because
objects in everyday life are symbols in society (for example a rose symbolises
love; a cross symbolises Christianity). Symbols can also be found in the use of
colour. We often symbolise purple with royalty, red with anger or desire, black
with evil and darkness or white with purity and innocence. Colour association
can be worthwhile symbols with costumes, sets and props. But the most
sophisticated use of symbol occurs with the application of gesture and
movement. A particular gesture performed by a character early in a
performance can be repeated later under different circumstances (context) and
have a very different meaning. Used only once, a gesture can also be a powerful
symbol. Of course, all of the above examples can be combined for better effect.
 11. Conflict
• Playwright George Bernard Shaw (who wrote Pygmalion, which was
later adapted to become the film My Fair Lady) once said ‘No conflict,
no drama’. How right he was! Drama that lacks conflict is normally
dull and uninspiring. As a rule, conflict should always be considered
an essential ingredient for all dramatic performances. Conflict can be
between two or more characters, or simply one (inner conflict). Many
Elizabethan soliloquies contain inner conflict (‘To be or not to be…’ is
an excellent example). Conflict on stage can be verbal, physical or
non-verbal (psychological). Conflict differs from tension in that it is
often a fixed part of the structure of a play, with characters destined to
clash with one another from the outset.
 12. Climax
• Most drama will have one or more crises in the development of the
plot. A crisis is a key moment of dramatic tension and conflict in the
play, usually occurring between two or more characters and having
serious implications for the outcome of the plot. The ultimate crisis, or
highest peak, is usually called the climax and often (but not always)
occurs toward the end of a performance. There can also be more than
one climax, although this is uncommon.
ROLE OF DRAMA AND
THEATER
 Drama and Theatre both are pivotal outlets
for self-expression and using drama as a
teaching tool, students are involved in every
way, be it intellectually, physically, socially or
emotionally. The use of drama and art in
education leads to holistic learning, accelerates
personality development and imparts students
with crucial life skills, problem-solving skills,
leadership, cooperation and collaboration.
 THEATER AS AN ART,
SOCIALIZING ACTIVITY,
AND A WAY OF LEARNING
• Teaches Self-Expression: Children learn about the
importance of self-expression through the use of drama and
arts in education and through creative-expression, their
perception and worldview are broader which equips them
with the skills to face adversities late in life.
• Life Skill Training: It imparts students with various life
skills like teamwork, compassion, cooperation and
collaboration.
• Learn Constructive Criticism: Children also learn about
taking constructive criticism and feedback in a way that helps
them become better individuals.
• Contributes to Personality Development: The use of drama
and art in education also accelerates personality development
• Find their Voice: Through theatre and performing arts,
students are able to find their unique ‘voice’ that helps them
explore their inner talents, skills and competencies.
• Problem-solving Skills: Through creative art forms, students
learn about the value of problem-solving in every situation
as they learn to be in a group, work around various things to
thrive as a team and become superb at problem-solving!
• Learn to Lead: Using drama and art in education also
teaches students to don the hat of a leader and imbibe
central skills pertaining to leadership and teamwork.
DRAMA AS A LEARNING
MEDIUM
CREATIVE DRAMA
ROLE PLAYING
IMPROVISATION AND
PANTOMIME
SCRIPTED AND NON-
SCRIPTED
PERFORMANCES
PUPPETRY AND MASK-
MAKING
MULTICULTURALISM AND
DRAMA