Drama

From Wikipedia, the free encyclopedia

Jump to: navigation, search

For other uses, see Drama
(disambiguation).

"Dramas" redirects here. For the indie rock band, see The Dramas.

Literature

Major forms

Novel · Poem · Drama
Short story · Novella

Genres

Epic · Lyric · Drama
Romance · Satire
Tragedy · Comedy
Tragicomedy

Media

Performance (play) · Book

Techniques

Prose · Verse

History and lists

Outline of
literature
Index of
terms
History · Modern
history
Books · Writers
Literary
awards · Poetry
awards

Discussion

Criticism · Theory · Magazines

Drama is the specific mode of fiction represented in performance.[1]
The term comes from a Greek word meaning "action" (Classical Greek: δρᾶμα, drama), which is derived from "to
do" (Classical Greek: δράω, drao). The enactment of drama in theatre, performed by actors on a stage before an audience, presupposes collaborative modes of
production and a collective form of reception.
The structure of dramatic
texts, unlike other forms of literature, is directly
influenced by this collaborative production and collective reception.[2]
The early modern
tragedy Hamlet (1601) by Shakespeare and the
classical
Athenian tragedy Oedipus the King
(c. 429 BC) by Sophocles
are among the supreme masterpieces of the art of drama.[3]

The two masks associated with drama represent the traditional generic division between comedy and tragedy. They are symbols of the
ancient Greek Muses, Thalia and Melpomene. Thalia was the Muse
of comedy (the laughing face), while Melpomene was the Muse of tragedy (the
weeping face). Considered as a genre of poetry in general, the dramatic
mode has been contrasted with the epic and the lyrical modes ever since Aristotle's Poetics (c. 335
BC)—the earliest work of dramatic theory.[4]

The use of "drama" in the narrow sense to designate a specific type of
play dates from the 19th century.
Drama in this sense refers to a play that is neither a comedy nor a
tragedy—for example, Zola's Thérèse
Raquin (1873) or Chekhov's Ivanov (1887). It is this
narrow sense that the film and
television industry and film studies adopted to
describe "drama" as a genre
within their respective media.[5]
"Radio drama" has been
used in both senses—originally transmitted in a live performance, it has also
been used to describe the more high-brow and serious end of the dramatic output
of radio.[6]

Drama is often combined with music and dance: the drama in opera is sung throughout; musicals include spoken
dialogue and songs; and some forms of drama have
regular musical accompaniment (melodrama and Japanese Nō, for example).[7]
In certain periods of history (the ancient Roman and modern Romantic)
dramas have been written to be read rather than
performed.[8]
In improvisation,
the drama does not pre-exist the moment of performance; performers devise a
dramatic script spontaneously before an audience.[9]

Contents

1 History of Western
drama

1.1 Classical Athenian
drama

1.2 Roman
drama

1.3 Medieval

1.4 Elizabethan and
Jacobean

1.5 Modern and
postmodern

2 Asian drama

2.1 Indian

2.2 Chinese

2.3 Japanese

3 Forms of drama

3.1 Opera

3.2 Pantomime

3.3 Creative
drama

4 Collaborative play
writing

5 Legal status

5.1 UK

6 See also

7 Notes

8 Sources

9 External
links

[edit]
History of Western
drama

v ·
d ·
e

History of
Western theatre

Greek
• Roman
• Medieval
• Commedia
dell'arte • English
Early Modern • Spanish
Golden Age • Neoclassical
• Restoration
• Augustan
• Weimar
• Romanticism
• Melodrama
•
Naturalism
• Realism
• Modernism •
Postmodern
19th
century • 20th
century

[edit]
Classical Athenian
drama

v ·
d ·
e

Classical
Athenian drama

Tragedy •
Comedy
• Satyr
play
Aeschylus •
Sophocles •
Euripides •
Aristophanes
• Menander
Poetics
(335 BCE) • The Birth
of Tragedy
(1872)

Western drama originates
in classical
Greece.[10]
The theatrical
culture of the city-state of Athens produced three
genres of drama: tragedy, comedy, and the satyr play. Their origins
remain obscure, though by the 5th century BC they were institutionalised in competitions held as
part of festivities
celebrating the god Dionysus.[11]
Historians know the names of many ancient Greek dramatists, not least Thespis, who is credited with
the innovation of an actor ("hypokrites") who speaks (rather than sings)
and impersonates a character (rather than
speaking in his own person), while interacting with the chorus and its leader
("coryphaeus"), who
were a traditional part of the performance of non-dramatic poetry (dithyrambic,
lyric and epic).[12]
Only a small fraction of the work of five dramatists, however, has survived to
this day: we have a small number of complete texts by the tragedians Aeschylus, Sophocles and Euripides, and the comic
writers Aristophanes
and, from the late 4th century, Menander.[13]
Aeschylus' historical tragedy The Persians is the
oldest surviving drama, although when it won first prize at the City Dionysia
competition in 472 BC, he had been writing plays for more than 25 years.[14]
The competition ("agon")
for tragedies may have begun as early as 534 BC; official records
("didaskaliai") begin from 501 BC, when the satyr play was
introduced.[15]
Tragic dramatists were required to present a tetralogy of plays (though the
individual works were not necessarily connected by story or theme), which
usually consisted of three tragedies and one satyr play (though exceptions were
made, as with Euripides' Alcestis in 438 BC).
Comedy was officially recognised with a prize in the competition from 487 to 486
BC. Five comic dramatists competed at the City Dionysia (though during the Peloponnesian War this
may have been reduced to three), each offering a single comedy.[16]
Ancient Greek
comedy is traditionally divided between "old comedy" (5th century BC),
"middle comedy" (4th century BC) and "new comedy" (late 4th century to 2nd
BC).[17]

[edit]
Roman drama

v ·
d ·
e

Roman
and Byzantine theatre

Architecture
• Plautus •
Terence •
Seneca

Following the expansion of the Roman Republic (509–27
BC) into several Greek territories between 270–240 BC, Rome encountered Greek
drama.[18]
From the later years of the republic and by means of the Roman Empire (27 BC-476
AD), theatre spread west across Europe, around the Mediterranean and reached
England; Roman theatre
was more varied, extensive and sophisticated than that of any culture before
it.[19]
While Greek drama continued to be performed throughout the Roman period, the
year 240 BC marks the beginning of regular Roman drama.[20]
From the beginning of the empire, however, interest in full-length drama
declined in favour of a broader variety of theatrical entertainments.[21]
The first important works of Roman literature were
the tragedies
and comedies that Livius Andronicus
wrote from 240 BC.[22]
Five years later, Gnaeus
Naevius also began to write drama.[22]
No plays from either writer have survived. While both dramatists composed in
both genres, Andronicus was most
appreciated for his tragedies and Naevius for his comedies; their successors
tended to specialise in one or the other, which led to a separation of the
subsequent development of each type of drama.[22]
By the beginning of the 2nd century BC, drama was firmly established in Rome and
a guild of writers
(collegium poetarum) had been formed.[23]
The Roman comedies that have survived are all fabula palliata (comedies
based on Greek subjects) and come from two dramatists: Titus Maccius Plautus (Plautus)
and Publius
Terentius Afer (Terence).[24]
In re-working the Greek originals, the Roman comic dramatists abolished the role
of the chorus in dividing the
drama into episodes and introduced musical
accompaniment to its dialogue (between one-third of
the dialogue in the comedies of Plautus and two-thirds in those of Terence).[25]
The action of all scenes is set in the exterior location of a street and its
complications often follow from eavesdropping.[25]
Plautus, the more popular of the two, wrote between 205 and 184 BC and twenty of
his comedies survive, of which his farces are best known; he was
admired for the wit of his
dialogue and his use of a variety of poetic meters.[26]
All of the six comedies that Terence wrote between 166 and 160 BC have survived;
the complexity of his plots, in which he often combined several Greek originals,
was sometimes denounced, but his double-plots enabled a sophisticated
presentation of contrasting human behaviour.[26]
No early Roman tragedy survives, though it was highly regarded in its day;
historians know of three early tragedians—Quintus Ennius, Marcus Pacuvius and Lucius Accius.[25]
From the time of the empire, the work of two tragedians survives—one is an
unknown author, while the other is the Stoic philosopher Seneca.[27]
Nine of Seneca's tragedies survive, all of which are fabula crepidata
(tragedies adapted from Greek originals); his Phaedra, for
example, was based on Euripides' Hippolytus.[28]
Historians do not know who wrote the only extant example of the
fabula praetexta (tragedies based on Roman subjects), Octavia, but in
former times it was mistakenly attributed to Seneca due to his appearance as a
character in the
tragedy.[27]

[edit]
Medieval

v ·
d ·
e

Medieval
theatre

Liturgical
drama • Mystery
play • Morality
play • Elegiac
comedy

In the Middle Ages, drama in the vernacular languages of Europe may have
emerged from religious enactments of the liturgy. Mystery plays were
presented on the porch of the cathedrals or by strolling players on feast days. Miracle and mystery plays,
along with moralities and interludes,
later evolved into more elaborate forms of drama, such as was seen on the
Elizabethan stages.

[edit]
Elizabethan and
Jacobean

Main article: English
Renaissance theatre

One of the great flowerings of drama in England occurred in the 16th and 17th
centuries. Many of these plays were written in verse, particularly iambic pentameter. In
addition to Shakespeare, such authors as Christopher Marlowe,
Thomas Middleton,
and Ben Jonson were
prominent playwrights during this period. As in the medieval period, historical
plays celebrated the lives of past kings, enhancing the image of the Tudor monarchy. Authors of
this period drew some of their storylines from Greek mythology and Roman mythology or from
the plays of eminent Roman playwrights such as Plautus and Terence.

[edit]
Modern and
postmodern

v ·
d ·
e

Modern
drama

Naturalism
• Realism
• Modernism •
Postmodern
19th
century • 20th
century
20th-century
theatre
timeline

The pivotal and innovative contributions of the 19th-century
Norwegian dramatist Henrik
Ibsen and the 20th-century
German theatre
practitioner Bertolt
Brecht dominate modern drama; each inspired a tradition of imitators, which
include many of the greatest playwrights of the modern era.[29]
The works of both playwrights are, in their different ways, both modernist and
realist, incorporating
formal experimentation, meta-theatricality, and social critique.[30]
In terms of the traditional theoretical discourse of genre, Ibsen's work has
been described as the culmination of "liberal
tragedy", while Brecht's has been aligned with an historicised comedy.[31]

Other important playwrights of the modern era include August Strindberg, Anton Chekhov, Frank Wedekind, Maurice Maeterlinck,
Federico
García Lorca, Eugene
O'Neill, Luigi
Pirandello, George Bernard Shaw,
Ernst Toller, Vladimir Mayakovsky,
Arthur Miller, Tennessee Williams,
Jean Genet, Eugène Ionesco, Samuel Beckett, Harold Pinter, Friedrich
Dürrenmatt, Dario Fo, Heiner Müller, and Caryl Churchill.

[edit]
Asian drama

[edit]
Indian

Main articles: Theatre in India and Sanskrit drama

A scene from Indian musical drama yakshagana'

Indian drama (nautanki) is traced back to certain dramatic episodes described
in the Rigveda, which dates
back to the 2nd millennium BC. Early examples include the Yama-Yami episode and other Rigvedic dialogue
hymns. The dramas dealt with human concerns as well as the gods. The nature
of the plays ranged from tragedy to light comedy.

Dramatists often worked on pre-existing mythological or historical themes
that were familiar to the audience of the age. For instance, many plays drew
their plot lines from the Ramayana and the Mahabharata, the great epics of India.
Their stories have often been used for plots in Indian drama and this practice
continues today.

The earliest theoretical account of Indian drama is Bharata Muni's Natya Shastra
(literally "Scripture of Dance", though it sometimes translated as "Science of
Theatre'") that may be as old as the 3rd century BC. The text specifically
describes the proper way one should go about staging a Sanskrit drama. It
addresses a wide variety of topics including the proper occasions for staging a
drama, the proper designs for theatres, the types of people who are allowed to
be drama critics and, most especially, specific instructions and advice for
actors, playwrights and (after a fashion) producers. The theory of rasa described in
the text has been a major influence on modern Indian
cinema, particularly Bollywood,[32]
in addition to Bengali films such as
The Apu
Trilogy, which itself has had a major influence on world cinema.[33]

Drama was patronized by the kings as well as village assemblies. Famous early
playwrights include Bhasa, Kalidasa (famous
for Vikrama and
Urvashi, Malavika and
Agnimitra, and The
Recognition of Shakuntala), Śudraka (famous for The
Little Clay Cart), Asvaghosa, Daṇḍin, and Emperor Harsha
(famous for Nagananda, Ratnavali and Priyadarsika).

[edit]
Chinese

Main article: Chinese opera

Chinese theatre has a long and complex history. Today it is often called Chinese opera although
this normally refers specifically to the popular form known as Beijing Opera and Kunqu; there have been many other
forms of theatre in China.

[edit]
Japanese

Japanese Nō drama is
a serious dramatic form that combines drama, music, and dance into a complete
aesthetic performance experience. It developed in the 14th and 15th centuries
and has its own musical instruments and performance techniques, which were often
handed down from father to son. The performers were generally male (for both
male and female roles), although female amateurs also perform Nō dramas. Nō
drama was supported by the government, and particularly the military, with many
military commanders having their own troupes and sometimes performing
themselves. It is still performed in Japan today.[34]

Kyōgen is the comic
counterpart to Nō drama. It concentrates more on dialogue and less on music,
although Nō instrumentalists sometimes appear also in Kyōgen. Kabuki drama, developed from the
17th century, is another comic form, which includes dance.

[edit]
Forms of drama

[edit]
Opera

Western opera is
a dramatic art form, which arose during the Renaissance in an attempt to
revive the classical Greek drama tradition in which both music and theatre were
combined. Being strongly intertwined with western classical music,
the opera has undergone enormous changes in the past four centuries and it is an
important form of theatre until this day. Noteworthy is the huge influence of
the German 19th century composer Richard Wagner on the opera
tradition. In his view, there was no proper balance between music and theatre in
the operas of his time, because the music seemed to be more important than the
dramatic aspects in these works. To restore the connection with the traditional
Greek drama,
he entirely renewed the operatic format, and to emphasize the equal importance
of music and drama in these new works, he called them "music
dramas".

Chinese opera has
seen a more conservative development over a somewhat longer period of time.

[edit]
Pantomime

Main article: Pantomime

These stories follow in the tradition of fables and folk tales,
usually there is a lesson learned, and with some help from the audience the
hero/heroine saves the day. This kind of play uses stock characters seen in
masque and again commedia dell'arte,
these characters include the villain (doctore), the clown/servant
(Arlechino/Harlequin/buttons), the lovers etc. These plays usually have an
emphasis on moral dilemmas, and good
always triumphs over evil, this kind of play is also very entertaining making it
a very effective way of reaching many people.

[edit]
Creative drama

Creative drama
includes dramatic activities and games used primarily in educational settings
with children. Its roots in the United States began in the early 1900s. Winifred Ward is
considered to be the founder of creative drama in education, establishing the
first academic use of drama in Evanston, Illinois[citation
needed].

[edit]
Collaborative play
writing

Collaborative dramatic play writing for the theatre is available at

Wikiversity

[edit]
Legal status

[edit]
UK

The Copyright,
Designs and Patents Act 1988 does not define a dramatic work except to state
that it includes a work of dance or mime. However, it is clear that dramatic
work includes the scenario or script for films, plays (written for theatre,
cinema, television or radio).[35]
and choreographic works.[36]

[edit]
See also

Applied
Drama

Augustan
drama

Christian
drama

Closet
drama

Costume
drama

Crime drama

Domestic
drama

Dramatic
structure

Dramatic
theory

Flash
drama

Folk play

Heroic
drama

History of
theatre

Legal
drama

Medical
drama

Melodrama

Monodrama

Mystery
play

One act play

Play

Political
drama

Radio
drama

Soap
opera

Theatre
awards

Two-hander

Verse
drama and dramatic verse

Well-made
play

Yakshagana—An
Indian musical drama

[edit]
Notes

^ Elam
(1980, 98).

^ Pfister (1977,
11).

^ Fergusson
(1949, 2–3).

^ Francis Fergusson
writes that "a drama, as distinguished from a lyric, is not primarily a
composition in the verbal medium; the words result, as
one might put it, from the underlying structure of
incident and character. As Aristotle remarks,
'the poet, or "maker" should be the maker of plots rather than of
verses; since he is a poet because he imiates, and what he imitates
are actions'" (1949,
8).

^ See also
Wikipedia's List of
drama films.

^ Banham (1998,
894–900).

^ See the
entries for "opera", "musical theatre, American", "melodrama" and "Nō" in
Banham (1998).

^ While
there is some dispute among theatre historians, it is probable that the plays
by the Roman Seneca were not
intended to be performed. Manfred by Byron
is a good example of a "dramatic
poem." See the entries on "Seneca" and "Byron (George George)" in Banham
(1998).

^ Some
forms of improvisation, notably the Commedia
dell'arte, improvise on the basis of 'lazzi' or rough outlines of scenic
action (see Gordon (1983) and Duchartre (1929)). All forms of improvisation
take their cue from their immediate response to one another, their characters'
situations (which are sometimes established in advance), and, often, their
interaction with the audience. The classic formulations of improvisation in
the theatre originated with Joan Littlewood and Keith Johnstone in the
UK and Viola Spolin in
the USA. See Johnstone (1981) and Spolin (1963).

^ Brown (1998,
441), Cartledge (1997, 3–5), Goldhill (1997, 54), and Ley (2007, 206). Taxidou
notes that "most scholars now call 'Greek' tragedy 'Athenian' tragedy, which
is historically correct" (2004, 104). Brown writes that ancient Greek
drama "was essentially the creation of classical Athens: all
the dramatists who were later regarded as classics were active at Athens in
the 5th and 4th centuries BC (the time of the Athenian
democracy), and all the surviving plays date from this period" (1998,
441). "The dominant culture of Athens in the fifth
century", Goldhill writes, "can be said to have invented theatre" (1997, 54).

^ Brockett and
Hildy (2003, 13–15) and Banham (1998, 441–447).

^ Banham (1998,
441–444). For more information on these ancient Greek dramatists, see the
articles categorised under "Ancient Greek dramatists and playwrights" in
Wikipedia.

^ The theory
that Prometheus
Bound was not written by Aeschylus would bring this
number to six dramatists whose work survives.

^ Banham (1998,
8) and Brockett and Hildy (2003, 15–16).

^ Brockett and
Hildy (2003, 13, 15) and Banham (1998, 442).

^ Brockett and
Hildy (2003, 18) and Banham (1998, 444–445).

^ Banham (1998,
444–445).

^ Brockett
and Hildy (2003, 43).

^ Brockett and
Hildy (2003, 36, 47).

^ Brockett and
Hildy (2003, 43). For more information on the ancient Roman dramatists, see the
articles categorised under "Ancient Roman dramatists and playwrights" in
Wikipedia.

^ Brockett and
Hildy (2003, 46–47).

^ a
b
c
Brockett and Hildy (2003, 47).

^ Brockett and
Hildy (2003, 47–48).

^ Brockett and
Hildy (2003, 48–49).

^ a
b
c
Brockett and Hildy (2003, 49).

^ a
b
Brockett and Hildy (2003, 48).

^ a
b
Brockett and Hildy (2003, 50).

^ Brockett and
Hildy (2003, 49–50).

^ Williams
(1993, 25–26) and Moi (2006, 17). Moi writes that "Ibsen is the most important
playwright writing after Shakespeare. He is the founder of modern theater. His
plays are world classics, staged on every continent, and studied in classrooms
everywhere. In any given year, there are hundreds of Ibsen productions in the
world." Ibsenites include George Bernard
Shaw and Arthur
Miller; Brechtians include Dario Fo, Joan Littlewood, W. H. Auden Peter Weiss, Heiner Müller, Peter Hacks, Tony Kushner, Caryl Churchill, John Arden, Howard Brenton, Edward Bond, and David
Hare.

^ Moi (2006, 1,
23–26). Taxidou writes: "It is probably historically more accurate, although
methodologically less satisfactory, to read the Naturalist movement
in the theatre in conjunction with the more anti-illusionist aesthetics of
the theatres of the same period. These interlock and overlap in all sorts of
complicated ways, even when they are vehemently denouncing each other (perhaps
particularly when) in the favoured mode of the time, the manifesto" (2007,
58).

^ Williams
(1966) and Wright (1989).

^ Matthew Jones (January 2010),
"Bollywood, Rasa and Indian Cinema: Misconceptions, Meanings and Millionaire",
Visual Anthropology 23 (1): 33–43

^
Cooper, Darius (2000), The Cinema
of Satyajit Ray: Between Tradition and Modernity, Cambridge
University Press, pp. 1–4, ISBN 0521629802

^ Website reference

^ Green v.
Broadcasting Corporation of New Zealand [1989]

^ The fixation
of such a work can be in writing "or otherwise" and may accordingly be, for
instance, on film. Where a dramatic work is recorded on a film, the film must
contain the whole of the dramatic work in an unmodified state: Norowzian v.
Arks [2000] (dance recorded on film, which was then edited, could not be
protected because the film had been drastically edited and was not therefore a
recording of the dance).

[edit]
Sources

Banham, Martin, ed. 1998. The Cambridge Guide to Theatre.
Cambridge: Cambridge University Press. ISBN
0521434378.

Brockett, Oscar G. and Franklin J. Hildy. 2003. History of the
Theatre. Ninth edition, International edition. Boston: Allyn and Bacon. ISBN
0205410502.

Brown, Andrew. 1998. "Ancient Greece." In The Cambridge Guide to
Theatre. Ed. Martin Banham. Cambridge: Cambridge UP. 441–447. ISBN
0521434378.

Carlson, Marvin. 1993. Theories of the Theatre: A Historical and
Critical Survey from the Greeks to the Present. Expanded ed. Ithaca and
London: Cornell University Press. ISBN
0801481546.

Cartledge, Paul. 1997. "'Deep Plays': Theatre as Process in Greek Civic
Life." In Easterling (1997c, 3–35).

Duchartre, Pierre Louis. 1929. The Italian Comedy. Unabridged
republication. New York: Dover, 1966. ISBN
0486216799.

Dukore, Bernard F., ed. 1974. Dramatic Theory and Criticism: Greeks
to . Florence, Kentucky: Heinle & Heinle. ISBN
0030911524.

Durant, Will & Ariel Durant. 1963 The Story of Civilization, Volume
II: The Life of Greece. 11 vols. New York: Simon & Schuster.

Easterling, P. E. 1997a. "A Show for Dionysus." In Easterling (1997c,
36–53).

—. 1997b. "Form and Performance." In Easterling (1997c, 151–177).

—, ed. 1997c. The Cambridge Companion to Greek Tragedy. Cambridge
Companions to Literature ser. Cambridge: Cambridge UP. ISBN
0521423511.

Elam, Keir. 1980. The Semiotics of Theatre and
Drama. New Accents Ser. London and New York: Methuen. ISBN
0416720609.

Fergusson, Francis.
1949. The Idea of a Theater: A Study of Ten Plays, The Art of Drama in a
Changing Perspective. Princeton, New Jersey: Princeton UP, 1968. ISBN
0691012881.

Goldhill, Simon. 1997. "The Audience of Athenian Tragedy." In Easterling
(1997c, 54–68).

Gordon, Mel. 1983. Lazzi: The Comic Routines of the
Commedia dell'Arte. New York: Performing Arts Journal Publications. ISBN
0933826699.

Harsh, Philip Whaley. 1944. A Handbook of Classical Drama.
Stanford: Stanford UP; Oxford: Oxford UP.

Johnstone, Keith.
1981. Impro: Improvisation and the Theatre Rev. ed. London: Methuen,
2007. ISBN
0713687010.

Ley, Graham. 2006. A Short Introduction to the Ancient Greek
Theater. Rev. ed. Chicago and London: U of Chicago P. ISBN
0226477614.

---. 2007. The Theatricality of Greek Tragedy: Playing Space and
Chorus. Chicago and London: U of Chicago P. ISBN
0226477576.

Pfister, Manfred. 1977. The Theory and Analysis of Drama. Trans.
John Halliday. European Studies in English Literature Ser. Cambridige:
Cambridge University Press, 1988. ISBN
052142383X.

Rehm,
Rush. 1992. Greek Tragic Theatre. Theatre Production Studies ser.
London and New York: Routledge. ISBN
0415118948.

Spolin, Viola. 1967.
Improvisation for the Theater. Third rev. ed Evanston, Il.:
Northwestern University Press, 1999. ISBN
081014008X.

Taxidou, Olga. 2004. Tragedy, Modernity and Mourning. Edinburgh:
Edinburgh UP. ISBN
0748619879.

Weimann, Robert. 1978. Shakespeare and the Popular Tradition in the
Theater: Studies in the Social Dimension of Dramatic Form and Function.
Baltimore and London: The Johns Hopkins University Press. ISBN
0801835062.

Weimann, Robert. 2000. Author's Pen and Actor's Voice: Playing and
Writing in Shakespeare's Theatre. Ed. Helen Higbee and William West.
Cambridge Studies in Renaissance Literature and Culture. Cambridge: Cambridge
University Press. ISBN
0521787351.

[edit]
External links

Look up drama
in Wiktionary, the
free dictionary.

Greek & Roman Mask Timeline

Retrieved from "http://en.wikipedia.org/wiki/Drama"

Categories: Drama | Entertainment

Hidden categories: Wikipedia
indefinitely move-protected pages | Articles
containing Ancient Greek language text | All
articles with unsourced statements | Articles
with unsourced statements from April 2010

Personal tools

Log
in / create account

Namespaces

Article

Discussion

Variants

Views

Read

Edit

View
history

Actions

Search

Navigation

Main page

Contents

Featured
content

Current
events

Random article

Donate
to Wikipedia

Interaction

Help

About Wikipedia

Community
portal

Recent
changes

Contact
Wikipedia

Toolbox

What links
here

Related
changes

Upload file

Special
pages

Permanent
link

Cite
this page

Print/export

Create a book

Download as PDF

Printable
version

Languages

Afrikaans

Alemannisch

العربية

বাংলা

Boarisch

Bosanski

Български

Català

Česky

Cymraeg

Dansk

Deutsch

Dolnoserbski

Ελληνικά

Español

Esperanto

Euskara

فارسی

Français

Frysk

Gaeilge

Gaelg

Gagauz

Galego

贛語

한국어

Հայերեն

हिन्दी

Hrvatski

Ido

Bahasa Indonesia

Íslenska

Italiano

עברית

Basa Jawa

ქართული

Latviešu

Lietuvių

Limburgs

Magyar

Македонски

മലയാളം

Bahasa Melayu

မြန်မာဘာသာ

Nederlands

日本語

‪Norsk (bokmål)‬

‪Norsk (nynorsk)‬

Polski

Português

Română

Русский

संस्कृत

Shqip

Simple English

Slovenčina

Slovenščina

Српски /
Srpski

Srpskohrvatski /
Српскохрватски

Basa Sunda

Suomi

Svenska

Tagalog

ไทย

Türkçe

Українська

Tiếng Việt

ייִדיש

粵語

中文

This page was last modified on 15 February 2011 at
19:20.

Text is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply. See Terms of Use for
details.
Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a
non-profit organization.

Contact
us

Privacy
policy

About Wikipedia

Disclaimers