Oh the drama! (Part 2)
Beryl Clarke, Contributor

This week we will continue our work on drama. This literary genre can be categorised as tragic, comic, tragicomic or historical.

A tragedy deals with serious matters. In the past it was usually about important persons - those at the top of society.

Have you ever noticed the reaction to the death of someone who is considered important? It makes the news and arouses a flood of interest. A play that deals with the tragic life and death of a simple man or woman would not generate significant interest, but one about a king or queen, a prime minister or a billionaire would bring out the theatregoers or the cinema enthusiasts. Think about it! (Gossip magazines make money because their focus is the lives of the rich and famous.) The audience tends to feel pity for the protagonist or main character who must be worthy of their admiration and then sympathy. This character's downfall due to a flaw in his nature has a negative impact on the society, thus increasing the fear and pity of the audience.

Today, a tragedy can be about anyone. The focus now is on realism and naturalism, and everyday interactions and concerns have become the sources of drama. Like in the older type of drama, the hero/protagonist is normally alone and spends time questioning himself and pondering philosophical questions. In the end, he is revealed as a person of noble intentions and standing.

Aristotle, the Greek playwright, thought that a successful tragedy should have only those actions which contribute to the tragic development and end, causing the play to seem real. This format was called the unity of action. To this two other unities - unity of place and unity of time - were later added by critics. The former required that all the action should occur in one place and the latter, that the action should not take any longer than the time it took to dramatise it or no longer than a day. Please note, however, that not many playwrights follow this concept strictly.

Comedy deals with themes and characters in a humorous way and, in general, has a happy ending. The main character here is recognised for what he is even though he might try to hide it. The humour springs from the removal or the stripping off of the mask or pretence behind which the character is hiding. Such a person is then seen as greedy or selfish, hypocritical, foolish, a racist or a social climber. Often, in a comedy things are not what they appear to be, as you will see in your study of the texts on our syllabus. You will find that the plot of a comedy is often complex, with identities being confused and many obstacles delaying the happy outcome.

A good example of a tragicomedy is the The Merchant of Venice by William Shakespeare which was, up to the last school year, on the literature syllabus. This type of drama has a serious subject and seems to be heading for a tragic end, but with a twist ends happily. (That is, for some.)

As you study your plays this year, I would like you to do the following:

• Outline the plot, identifying the conflicts and how they affect the movement of the play.
  

• Identify the main characters and their qualities. Think about how you know these things, whether it is through what they say and do or what others say about them.
  

• Carefully consider the language. Through it you can learn about the character's background, education and status. Does the dialogue tell you what the person feels, his opinions and or his motives? Shakespeare had the habit of allowing his important characters to speak in poetry while the ordinary folk used prose.
  

• Are there asides and soliloquies in the work?
  If so, consider what they add.
  

• What about stage directions? Are they useful?
  Reflect on the ways in which they contribute to the play.
  

• Try to make out the themes, classifying the major and minor ones and tracing the actions and incidents that support these themes.

• You should be able to say where and when the play is set.
  

• Stage directions are important to the staging of a play. Pay close attention to them and decide just how much help they give.

You go to school to learn so make use of the opportunity to do so. Your future depends on what you do now. God bless!

Beryl Clarke is an independent contributor. Send questions and comments to kerry-ann.hepburn@gleanerjm.com