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A play is a piece to be played during a theatrical performance, mostly written according to rules of dramatic literature. For this purpose, the text consists mainly of dialogues between the characters, and, where appropriate, information on the staging (Phoenix plays). This is in addition to stage directions: setting, geographical location, light and sound environment, movement of characters (with borderline cases because some parts are made without verbal dialogue, eg Acts without Words by Samuel Beckett).
Finally, in twentieth century, some authors, such as Jean Anouilh Jean Giraudoux with Antigone or with Electra, show ancient myths. One sees the political theater, in which the authors put their philosophical ideas, as Albert Camus Caligula. Some writers like Ionesco react strongly to this absurd political theater by parts, in which the author depict scenes without apparent meaning to viewer think differently.
In a broad sense is a storyline and made for the stage performance. It can be verbal text (every piece of literature that includes parts recited or sung), or improvised by an actor, or in form of non-verbal narration, through gestures or dance. The period drama, if understood strictly, applies only to plays written. In opera, it usually occurs at the end of booklet.
A topic can have tragic drama or comedy, depending on the situations. In sense of common use instead, we tend to designate by this term painful events or life problems, or other events of tragic. Play can be represented by different types of media: live entertainment, film and television.
The liturgical drama, as opposed to classical one, does not adopt the criterion of three Aristotelian unities and is expressed in better shape pictorial representation. If the classical drama staged one done in a linear and in one place, the drama follows the medieval against the hero in all of its age: it is represented, for example, the time when Jesus resurrected Lazarus, but throughout the life of protagonist. Necessarily the scene becomes multiple, created by different scenes aligned and separated from each other by a compartment: the so-called "appointed places."
In eighteenth century, one sees a variety of comedies. Still exist comedy of intrigue and comedy of manners, such as The Game of Love and Chance Island or slaves Marivaux, but social criticism becomes more vigorous, as in Barber of Seville and The Marriage Figaro by Beaumarchais, works in which he openly criticized the aristocracy. Also appear tearful comedy, then the bourgeois drama, playing on emotion and sensitivity of spectators.
The early nineteenth century saw the birth of romantic drama, a mixture of comedy and tragedy. This illustrates the literary genre of current era, romanticism, which is opposed to classicism. The rule of three units disappear, except for the unity of action, and the authors write in poetic prose or verse. Mention may be made with Alfred de Musset Lorenzaccio, with Victor Hugo Hernani, works in which the hero is marked by fate. The most popular genres are emerging: vaudeville, melodrama, theater boulevard.
The main genres - tragedy and comedy - were also diversified by author and historical context, but maintained a common basis: the tragedy always represented a mythical argument (with a few exceptions of historical argument) and made use of style often solemn, as well as many stage machinery, while the play a great story or taken from everyday life. Do not forget the minor genres, such as farce or Roman mimes.
Finally, in twentieth century, some authors, such as Jean Anouilh Jean Giraudoux with Antigone or with Electra, show ancient myths. One sees the political theater, in which the authors put their philosophical ideas, as Albert Camus Caligula. Some writers like Ionesco react strongly to this absurd political theater by parts, in which the author depict scenes without apparent meaning to viewer think differently.
In a broad sense is a storyline and made for the stage performance. It can be verbal text (every piece of literature that includes parts recited or sung), or improvised by an actor, or in form of non-verbal narration, through gestures or dance. The period drama, if understood strictly, applies only to plays written. In opera, it usually occurs at the end of booklet.
A topic can have tragic drama or comedy, depending on the situations. In sense of common use instead, we tend to designate by this term painful events or life problems, or other events of tragic. Play can be represented by different types of media: live entertainment, film and television.
The liturgical drama, as opposed to classical one, does not adopt the criterion of three Aristotelian unities and is expressed in better shape pictorial representation. If the classical drama staged one done in a linear and in one place, the drama follows the medieval against the hero in all of its age: it is represented, for example, the time when Jesus resurrected Lazarus, but throughout the life of protagonist. Necessarily the scene becomes multiple, created by different scenes aligned and separated from each other by a compartment: the so-called "appointed places."
In eighteenth century, one sees a variety of comedies. Still exist comedy of intrigue and comedy of manners, such as The Game of Love and Chance Island or slaves Marivaux, but social criticism becomes more vigorous, as in Barber of Seville and The Marriage Figaro by Beaumarchais, works in which he openly criticized the aristocracy. Also appear tearful comedy, then the bourgeois drama, playing on emotion and sensitivity of spectators.
The early nineteenth century saw the birth of romantic drama, a mixture of comedy and tragedy. This illustrates the literary genre of current era, romanticism, which is opposed to classicism. The rule of three units disappear, except for the unity of action, and the authors write in poetic prose or verse. Mention may be made with Alfred de Musset Lorenzaccio, with Victor Hugo Hernani, works in which the hero is marked by fate. The most popular genres are emerging: vaudeville, melodrama, theater boulevard.
The main genres - tragedy and comedy - were also diversified by author and historical context, but maintained a common basis: the tragedy always represented a mythical argument (with a few exceptions of historical argument) and made use of style often solemn, as well as many stage machinery, while the play a great story or taken from everyday life. Do not forget the minor genres, such as farce or Roman mimes.
