Drama is the specific mode
of fiction represented
: a play
, etc., performed in a theatre
, or on radio
[Elam (1980, 98).]
Considered as a genre of poetry
in general, the dramatic mode has been contrasted with the epic
and the lyrical
modes ever since Aristotle
'' (c. 335 BC)—the earliest work of dramatic theory
The term "drama" comes from a Greek
word meaning "action
" (Classical Greek
: , ''drama''), which is derived from "I do" (Classical Greek
: , ''drao''). The two mask
s associated with drama represent the traditional generic
division between comedy
In English (as was the analogous case in many other European languages), the word ''play
'' or ''game'' (translating the Anglo-Saxon
''pleġan'' or Latin
''ludus'') was the standard term for dramas until William Shakespeare
's time—just as its creator was a ''play-maker'' rather than a ''dramatist'' and the building was a ''play-house'' rather than a ''theatre
The use of "drama" in a more narrow sense to designate a specific ''type'' of play
dates from the modern era. "Drama" in this sense refers to a play that is ''neither'' a comedy nor a tragedy—for example, Zola's
) or Chekhov's
). It is this narrower sense that the film
industries, along with film studies
, adopted to describe "drama
" as a genre
within their respective media. The term ”radio drama
“ has been used in both senses—originally transmitted in a live performance. May also refer to the more high-brow and serious end of the dramatic output of radio
The enactment of drama in theatre
, performed by actor
s 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.
Mime is a form of drama where the action of a story is told only through the movement of the body. Drama can be combined with music
: the dramatic text in opera
is generally sung throughout; as for in some ballets dance "expresses or imitates emotion, character, and narrative action".
/ref> Musicals include both spoken dialogue and songs; and some forms of drama have incidental music or musical accompaniment underscoring the dialogue (melodrama and Japanese Nō, for example).
[See the entries for "opera", "musical theatre, American", "melodrama" and "Nō" in Banham (1998).] Closet drama is a form that is intended to be read, rather than performed. [''Manfred'' by Byron, for example, is a good example of a "dramatic poem." See the entry on "Byron (George George)" in Banham (1998).] In improvisation, the drama does not pre-exist the moment of performance; performers devise a dramatic script spontaneously before an audience. [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).]
History of Western drama
Classical Greek drama
Western drama originates in classical Greece. 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. 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).
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. 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. 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. 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 recognized 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. 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).
Classical Roman drama
Following the expansion of the Roman Republic (509–27 BC) into several Greek territories between 270–240 BC, Rome encountered Greek drama.
[Brockett and Hildy (2003, 43).] 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.
While Greek drama continued to be performed throughout the Roman period, the year 240 BC marks the beginning of regular Roman drama. From the beginning of the empire, however, interest in full-length drama declined in favour of a broader variety of theatrical entertainments. The first important works of Roman literature were the tragedies and comedies that Livius Andronicus wrote from 240 BC. [Brockett and Hildy (2003, 47).] Five years later, Gnaeus Naevius also began to write drama. 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.
By the beginning of the 2nd century BC, drama was firmly established in Rome and a guild of writers (''collegium poetarum'') had been formed. 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). 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). [Brockett and Hildy (2003, 49).] The action of all scenes is set in the exterior location of a street and its complications often follow from eavesdropping.
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. [Brockett and Hildy (2003, 48).] 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. 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.
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. [Brockett and Hildy (2003, 50).] 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''. 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.
Beginning in the early Middle Ages, churches staged dramatised versions of biblical events, known as liturgical dramas, to enliven annual celebrations. The earliest example is the Easter trope ''Whom do you Seek? (Quem-Quaeritis)'' (c. 925).
[Brockett and Hildy (2003, 76).] Two groups would sing responsively in Latin, though no impersonation of characters was involved. By the 11th century, it had spread through Europe to Russia, Scandinavia, and Italy; excluding Islamic-era Spain.
In the 10th century, Hrosvitha wrote six plays in Latin modeled on Terence's comedies, but which treated religious subjects. [Brockett and Hildy (2003, 77).] Her plays are the first known to be composed by a female dramatist and the first identifiable Western drama of the post-Classical era. Later, Hildegard of Bingen wrote a musical drama, ''Ordo Virtutum'' (c. 1155).
One of the most famous of the early secular plays is the courtly pastoral ''Robin and Marion'', written in the 13th century in French by Adam de la Halle. ''The Interlude of the Student and the Girl'' (c. 1300), one of the earliest known in English, seems to be the closest in tone and form to the contemporaneous French farces, such as ''The Boy and the Blind Man.''
Many plays survive from France and Germany in the late Middle Ages, when some type of religious drama was performed in nearly every European country. Many of these plays contained comedy, devils, villains, and clowns. In England, trade guilds began to perform vernacular "mystery plays," which were composed of long cycles of many playlets or "pageants," of which four are extant: York (48 plays), Chester (24), Wakefield (32) and the so-called "N-Town" (42). ''The Second Shepherds' Play'' from the Wakefield cycle is a farcical story of a stolen sheep that its protagonist, Mak, tries to pass off as his new-born child asleep in a crib; it ends when the shepherds from whom he has stolen are summoned to the Nativity of Jesus.
Morality plays (a modern term) emerged as a distinct dramatic form around 1400 and flourished in the early Elizabethan era in England. Characters were often used to represent different ethical ideals. ''Everyman'', for example, includes such figures as Good Deeds, Knowledge and Strength, and this characterisation reinforces the conflict between good and evil for the audience. ''The Castle of Perseverance'' (c. 1400—1425) depicts an archetypal figure's progress from birth through to death. ''Horestes'' (c. 1567), a late "hybrid morality" and one of the earliest examples of an English revenge play, brings together the classical story of Orestes with a Vice from the medieval allegorical tradition, alternating comic, slapstick scenes with serious, tragic ones. Also important in this period were the folk dramas of the Mummers Play, performed during the Christmas season. Court masques were particularly popular during the reign of Henry VIII.
Elizabethan and Jacobean
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.
English Restoration comedy
Restoration comedy refers to English comedies written and performed in England during the Restoration period from 1660 to 1710. Comedy of manners is used as a synonym of Restoration comedy. After public theatre had been banned by the Puritan regime, the re-opening of the theatres in 1660 with the Restoration of Charles II signalled a renaissance of English drama. Restoration comedy is known for its sexual explicitness, urbane, cosmopolitan wit, up-to-the-minute topical writing, and crowded and bustling plots. Its dramatists stole freely from the contemporary French and Spanish stage, from English Jacobean and Caroline plays, and even from Greek and Roman classical comedies, combining the various plotlines in adventurous ways. Resulting differences of tone in a single play were appreciated rather than frowned on, as the audience prized "variety" within as well as between plays. Restoration comedy peaked twice. The genre came to spectacular maturity in the mid-1670s with an extravaganza of aristocratic comedies. Twenty lean years followed this short golden age, although the achievement of the first professional female playwright, Aphra Behn, in the 1680s is an important exception. In the mid-1690s, a brief second Restoration comedy renaissance arose, aimed at a wider audience. The comedies of the golden 1670s and 1690s peak times are significantly different from each other.
The unsentimental or "hard" comedies of John Dryden, William Wycherley, and George Etherege reflected the atmosphere at Court and celebrated with frankness an aristocratic macho lifestyle of unremitting sexual intrigue and conquest. The Earl of Rochester, real-life Restoration rake, courtier and poet, is flatteringly portrayed in Etherege's ''The Man of Mode'' (1676) as a riotous, witty, intellectual, and sexually irresistible aristocrat, a template for posterity's idea of the glamorous Restoration rake (actually never a very common character in Restoration comedy). The single play that does most to support the charge of obscenity levelled then and now at Restoration comedy is probably Wycherley's masterpiece ''The Country Wife'' (1675), whose title contains a lewd pun and whose notorious "china scene" is a series of sustained double entendres.
During the second wave of Restoration comedy in the 1690s, the "softer" comedies of William Congreve and John Vanbrugh set out to appeal to more socially diverse audience with a strong middle-class element, as well as to female spectators. The comic focus shifts from young lovers outwitting the older generation to the vicissitudes of marital relations. In Congreve's ''Love for Love'' (1695) and ''The Way of the World'' (1700), the give-and-take set pieces of couples testing their attraction for one another have mutated into witty prenuptial debates on the eve of marriage, as in the latter's famous "Proviso" scene. Vanbrugh's ''The Provoked Wife'' (1697) has a light touch and more humanly recognisable characters, while ''The Relapse'' (1696) has been admired for its throwaway wit and the characterisation of Lord Foppington, an extravagant and affected burlesque fop with a dark side. The tolerance for Restoration comedy even in its modified form was running out by the end of the 17th century, as public opinion turned to respectability and seriousness even faster than the playwrights did. At the much-anticipated all-star première in 1700 of ''The Way of the World'', Congreve's first comedy for five years, the audience showed only moderate enthusiasm for that subtle and almost melancholy work. The comedy of sex and wit was about to be replaced by sentimental comedy and the drama of exemplary morality.
Modern and postmodern
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. The works of both playwrights are, in their different ways, both modernist and realist, incorporating formal experimentation, meta-theatricality, and social critique. 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.
Other important playwrights of the modern era include Antonin Artaud, 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.
Western opera is a dramatic art form that arose during the Renaissance in an attempt to revive the classical Greek drama in which dialogue, dance, and song 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 major 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 classical drama, he entirely renewed the operatic form to emphasize the equal importance of music and drama in works that he called "music dramas".
Chinese opera has seen a more conservative development over a somewhat longer period of time.
Pantomime (informally panto), is a type of musical comedy stage production, designed for family entertainment. It was developed in England and is still performed throughout the United Kingdom, generally during the Christmas and New Year season and, to a lesser extent, in other English-speaking countries. Modern pantomime includes songs, gags, slapstick comedy and dancing, employs gender-crossing actors, and combines topical humour with a story loosely based on a well-known fairy tale, fable or folk tale.
[Reid-Walsh, Jacqueline. "Pantomime", ''The Oxford Encyclopedia of Children's Literature'', Jack Zipes (ed.), Oxford University Press (2006), ] It is a participatory form of theatre, in which the audience is expected to sing along with certain parts of the music and shout out phrases to the performers.
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.
Pantomime has a long theatrical history in Western culture dating back to classical theatre. It developed partly from the 16th century commedia dell'arte tradition of Italy, as well as other European and British stage traditions, such as 17th-century masques and music hall. [ An important part of the pantomime, until the late 19th century, was the harlequinade.] ["The History of Pantomime"] Outside Britain the word "pantomime" is usually used to mean miming, rather than the theatrical form discussed here.
It's-Behind-You.com, 2002, accessed 10 February 2013
Mime is a theatrical medium where the action of a story is told through the movement of the body, without the use of speech. Performance of mime occurred in Ancient Greece, and the word is taken from a single masked dancer called ''Pantomimus'', although their performances were not necessarily silent. In Medieval Europe, early forms of mime, such as mummer plays and later dumbshows, evolved. In the early nineteenth century Paris, Jean-Gaspard Deburau solidified the many attributes that we have come to know in modern times, including the silent figure in whiteface.
Jacques Copeau, strongly influenced by Commedia dell'arte and Japanese Noh theatre, used masks in the training of his actors. Étienne Decroux, a pupil of his, was highly influenced by this and started exploring and developing the possibilities of mime and refined corporeal mime into a highly sculptural form, taking it outside of the realms of naturalism. Jacques Lecoq contributed significantly to the development of mime and physical theatre with his training methods.
While some ballet emphasises "the lines and patterns of movement itself" dramatic dance "expresses or imitates emotion, character, and narrative action".
Such ballets are theatrical works that have characters and "tell a story", [''Encyclopaedia Britannica''] Dance movements in ballet "are often closely related to everyday forms of physical expression, o thatthere is an expressive quality inherent in nearly all dancing", and this is used to convey both action and emotions; mime is also used. Examples include Pyotr Ilyich Tchaikovsky's ''Swan Lake'', which tells the story of Odette, a princess turned into a swan by an evil sorcerer's curse, Sergei Prokofiev's ballet ''Romeo and Juliet'', based on Shakespeare's famous play, and Igor Stravinsky's ''Petrushka'', which tells the story of the loves and jealousies of three puppets.
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.
The earliest form of Indian drama was the Sanskrit drama.
[Richmond, Swann, and Zarrilli (1993, 12).] Between the 1st century AD and the 10th was a period of relative peace in the history of India during which hundreds of plays were written. With the Islamic conquests that began in the 10th and 11th centuries, theatre was discouraged or forbidden entirely. Later, in an attempt to re-assert indigenous values and ideas, village theatre was encouraged across the subcontinent, developing in various regional languages from the 15th to the 19th centuries. Modern Indian theatre developed during the period of colonial rule under the British Empire, from the mid-19th century until the mid-20th.
The earliest-surviving fragments of Sanskrit drama date from the 1st century AD. The wealth of archeological evidence from earlier periods offers no indication of the existence of a tradition of theatre.
[Richmond (1998, 516).] The ancient ''Vedas'' (hymns from between 1500 and 1000 BC that are among the earliest examples of literature in the world) contain no hint of it (although a small number are composed in a form of dialogue) and the rituals of the Vedic period do not appear to have developed into theatre. The ''Mahābhāṣya'' by Patañjali contains the earliest reference to what may have been the seeds of Sanskrit drama. [Richmond (1998, 517).] This treatise on grammar from 140 BC provides a feasible date for the beginnings of theatre in India.
The major source of evidence for Sanskrit theatre is ''A Treatise on Theatre'' (''Nātyaśāstra''), a compendium whose date of composition is uncertain (estimates range from 200 BC to 200 AD) and whose authorship is attributed to Bharata Muni. The ''Treatise'' is the most complete work of dramaturgy in the ancient world. It addresses acting, dance, music, dramatic construction, architecture, costuming, make-up, props, the organisation of companies, the audience, competitions, and offers a mythological account of the origin of theatre.
Its drama is regarded as the highest achievement of Sanskrit literature. [Brandon (1981, xvii).] It utilised stock characters, such as the hero (''nayaka''), heroine (''nayika''), or clown (''vidusaka''). Actors may have specialised in a particular type. It 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''). ''Śakuntalā'' (in English translation) influenced Goethe's ''Faust'' (1808–1832).
Modern Indian drama
Rabindranath Tagore was a pioneering modern playwright who wrote plays noted for their exploration and questioning of nationalism, identity, spiritualism and material greed.
[Banham (1998, 1051).] His plays are written in Bengali and include ''Chitra'' (''Chitrangada'', 1892), ''The King of the Dark Chamber'' (''Raja'', 1910), ''The Post Office'' (''Dakghar'', 1913), and ''Red Oleander'' (''Raktakarabi'', 1924).
Girish Karnad is a noted playwright, who has written a number of plays that use history and mythology, to critique and problematize ideas and ideals that are of contemporary relevance. Karnad's numerous plays such as ''Tughlaq'', ''Hayavadana'', ''Taledanda'', and ''Naga-Mandala'' are significant contributions to Indian drama. Vijay Tendulkar and Mahesh Dattani are amongst the major Indian playwrights of the 20th century. Mohan Rakesh in Hindi and Danish Iqbal in Urdu are considered architects of new age Drama. Mohan Rakesh's Aadhe Adhoore and Danish Iqbal's ''Dara Shikoh'' are considered modern classics.
Modern Urdu drama of India and Pakistan
Urdu Drama evolved from the prevailing dramatic traditions of North India shaping Rahas or Raas as practiced by exponents like Nawab Wajid Ali Shah (1822 – 1887) of Awadh. His dramatic experiments led to the famous Inder Sabha of Amanat and later this tradition took the shape of Parsi Theatre. Agha Hashr Kashmiri is the culmination of this tradition.
Urdu theatre tradition has greatly influenced modern Indian theatre. Theatre has flourished in Urdu (which was called Hindi by early writers), along with Gujrati, Marathi, and Bengali. Urdu drama has had an important influence on Bombay Film industry and all the early works of Urdu theatre (performed by Parsi Companies) were made into films. Urdu dramatic tradition has existed for more than a 100 years.
Prof Hasan, Ghulam Jeelani, J.N,Kaushal, Shameem Hanfi, Jameel Shaidayi, etc. belong to the old generation, contemporary writers like Danish Iqbal, Sayeed Alam, Shahid Anwar, Iqbal Niyazi, and Anwar are a few postmodern playwrights actively contributing in the field of Urdu Drama.
Sayeed Alam is known for his wit and humour and more particularly for plays like 'Ghalib in New Delhi', 'Big B' and many other works, which are regularly staged for large audiences. ''Maulana Azad'' is his most important play both for its content and style.
Danish Iqbal's play ''Dara Shikoh'' directed by M. S. Sathyu is a modern classic that uses newer theatre techniques and a contemporary perspective. His other plays are ''Sahir''. on the famous lyricist and revolutionary poet. ''Kuchh Ishq kiya Kuchh Kaam'' is another play written by Danish which is basically a Celebration of Faiz's poetry, featuring events from the early part of his life, particularly the events and incidents of pre-partition days which shaped his life and ideals. ''Chand Roz Aur Meri Jaan'' – another play inspired from Faiz's letters written from various jails during the Rawalpindi Conspiracy days. He has written 14 other plays including ''Dilli Jo Ek Shehr Thaa'' and ''Main Gaya Waqt Nahin hoon''. Shahid's ''Three B'' is also a significant play. He has been associated with many groups like 'Natwa' and others. Zaheer Anwar has kept the flag of Urdu theatre flying in Kolkata. Unlike the writers of previous generation Sayeed, Shahid, Danish Iqbal and Zaheer do not write bookish plays but their work is a product of performing tradition. Iqbal Niyazi of Mumbai has written several plays in Urdu, his play ''AUR KITNE JALYANWALA BAUGH?'' won a National award other awards. Hence this is the only generation after Amanat and Agha Hashr who actually write for stage and not for libraries.
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, such as zaju.
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.
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.
* Applied Drama
* Augustan drama
* Christian drama
* Closet drama
* Costume drama
* Crime drama
* Domestic drama
* Drama school
* Dramatic structure
* Dramatic theory
* Drama annotation
* Flash drama
* Folk play
* Heroic drama
* History of theatre
* Legal drama
* Medical drama
* Mystery play
* One act play
* Political drama
* Soap opera
* Theatre awards
* Verse drama and dramatic verse
* Well-made play
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* Baumer, Rachel Van M., and James R. Brandon, eds. 1981. ''Sanskrit Theatre in Performance.'' Delhi: Motilal Banarsidass, 1993. .
* Bevington, David M. 1962. ''From ''Mankind'' to Marlowe: Growth of Structure in the Popular Drama of Tudor England.'' Cambridge, MA: Harvard University Press.
* Bhatta, S. Krishna. 1987. ''Indian English Drama: A Critical Study.'' New Delhi: Sterling.
* Brandon, James R. 1981. Introduction. In Baumer and Brandon (1981, xvii–xx).
* Brandon, James R., ed. 1997. ''The Cambridge Guide to Asian Theatre. 2nd, rev. ed. Cambridge: Cambridge UP. .
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* Brown, Andrew. 1998. "Ancient Greece." In ''The Cambridge Guide to Theatre.'' Ed. Martin Banham. Cambridge: Cambridge UP. 441–447. .
* Burt, Daniel S. 2008.''The Drama 100: A Ranking of the Greatest Plays of All Time.'' Facts on File ser. New York: Facts on File/Infobase. .
* Callery, Dympha. 2001. ''Through the Body: A Practical Guide to Physical Theatre.'' London: Nick Hern. .
* 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. .
* Cartledge, Paul. 1997. "'Deep Plays': Theatre as Process in Greek Civic Life." In Easterling (1997c, 3–35).
* Chakraborty, Kaustav, ed. 2011. ''Indian English Drama.'' New Delhi: PHI Learning.
* Deshpande, G. P., ed. 2000. ''Modern Indian Drama: An Anthology.'' New Delhi: Sahitya Akedemi.
* Dillon, Janette. 2006. ''The Cambridge Introduction to Early English Theatre.'' Cambridge Introductions to Literature ser. Cambridge: Cambridge University Press. .
* Duchartre, Pierre Louis. 1929. ''The Italian Comedy''. Unabridged republication. New York: Dover, 1966. .
* Dukore, Bernard F., ed. 1974. ''Dramatic Theory and Criticism: Greeks to ''. Florence, Kentucky: Heinle & Heinle. .
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* Easterling, P. E. 1997a. "A Show for Dionysus." In Easterling (1997c, 36–53).
* Easterling, P. E. 1997b. "Form and Performance." In Easterling (1997c, 151–177).
* Easterling, P. E., ed. 1997c. ''The Cambridge Companion to Greek Tragedy''. Cambridge Companions to Literature ser. Cambridge: Cambridge UP. .
* Ehrlich, Harriet W. 1974.
Creative Dramatics as a Classroom Teaching Technique
" ''Elementary English'' 51:1 (January):75–80.
* Elam, Keir. 1980. ''The Semiotics of Theatre and Drama''. New Accents Ser. London and New York: Methuen. .
* 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. .
* 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. .
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