Here are some elements of drama!
- Character
Character remains the basic raw material from which plots are created by the playwright. It is the interaction, conflicts and manipulation of characters by the playwright that gives rise to plots. Most simply put, a character is the main source from which a plot is derived. Dramatic action mood and dialogue are portrayed by characters. Sometimes, characters are created to suit are already established plot, or a plot is woven to suit established characters. Either way, the characters are essential to the enactment of the plot. Windapo (2000:7)
The strength or weakness of a character is revealed through characterization. Characterization is the means through which one character in differentiated another. In the first instance, a character in revealed, as laid down by O. Brockett 1980:27 through descriptions in stage, directions, prefaces, or other explanatory material not part of the dialogue; through what the character says; through what others say about him, and most important, through what he does.
There are four levels of identifying characterization; physical, social, psychological and moral.
PHYSICAL – This is characterization bordering on physical attributes as age, sex, size and color.
SOCIAL - This reveals a character’s religion, family relationships, trade, economic status etc.
PSYCHOLOGICAL - This delves into the character’s frame of mind in terms of habits, desires, motivations, dos and don’ts, likes and dislikes.
MORAL – This examines decisions taken by characters which are premised on motives, which reveal the true nature of the character. Still on the subject levels of characterization, Brockett, goes on that; A playwright can emphasize one or more of the these levels and may assign many or few traits, depending on how the character functions in the play. For example, the audience needs to know very little about a maid who appears only to announce dinner. The principal characters, on the other hand, should be drawn in considerable depth.
Brockett (1980:27)
Characters and characterization are therefore important in any given plot.
For while characters, give meaning to the plot, characterization gives meaning to the characters.
- Theme
While some writers would want to differentiate thought as being distinct from theme, others would use the terms interchangeably to refer to one and the same. We shall assign here with the latter as it is our opinion that it is difficult to differentiate thought from theme or vice-versa. Thought then is the main or central idea running through a play. It includes the themes, concepts and ideas, arguments, and over-all meaning in the play. All plays, no matter the genre; tragedy, comedy, farce, tragicomedy,
Every good play should have a thought running through it that should be quite identifiable, although some plays need closer study before revealing the thought they harbour.
- Diction (Dialogue)
The medium of expression through which characters in a play express their thoughts in words is known as diction. In drama, Diction or language is dialogue. Dialogue is verbal means of communication between characters whereby they exchange ideas in a play. The unfolding of plot in a play rests on dialogue between characters.“Dialogue provides the substance of a play.Each word uttered by the character furthersthe business of the play, contributes to itseffect as a whole… the exposition of the play often falls on the dialogue of characters.
Sianghio (2005:5)
Dialogue gives information, reveals character, directs play and audience attention, reveals play themes and ideas, establish tone or mood and level of probability, and directs tempo and rhythm. Usually dialogue in a play is verbal exchange between characters, but where one character speaks to him or herself on stage it is referred to as soliloquy. Soliloquies are of great importance when they occur in a play because they reveal the innermost secrets, desires or thoughts of characters.
Diction in plays is not as informal or free flowing as in normal everyday conversation, rather it tends to be more abstract and formal. This is because the playwright selects, arranges and elevates language through the use of rhythm, rhyme and precision of ideas, thoughts and feelings.
Characters, therefore, are more articulate in dialogue, presenting their ideas
and thoughts in a more concise and deliberate manner. (Brockett 1980:30).
The basic criterion for judging diction is its appropriateness to the characters, the situation, the level of probability, and the type of play.
- Conflict
[Dramatic conflict is] the spectacle of the will striving toward a goal, and conscious of the means which it employs. -- Ferdinand Brunetiere
Conflict is the heart of drama.
The Greek word agon means "contest" or "struggle," and could be applied to a sporting event or a debate. (Compare protagonist and antagonist.) Brunetiere describes several different kinds of conflict:
- the individual vs. fatality (that is, a fight for survival)
- the individual vs. social law (justice, morality, etc.)
- the individual vs. another person
- the individual vs. himself
- the individual vs. "the ambitions, the interests, the prejudices, the folly, the malevolence of those who surround him"
- SPECTACLE
This deals with the visual aspects which helps to increase the aesthetic quality of a play. These include, costumes, lighting, settings, properties, movement of characters on stage, dance, mime etc. To Aristotle, spectacle is the least artistic of the elements of drama because it depends more on the art of the stage craftsman, rather than on the playwright.
Although the playwright may sometime recommend and prescribe visual elements in the stage directions, he however, does not have full control over them. The interpretation of the script and the directions is that of the director, actors and the production crew.
As Brockett (1980:32) laid out, functions of spectacle include that (I) It gives information (establishing where and when the action occurs), it aids characterization, it helps establish the level of probability (an abstract setting suggest one level of reality, while a realistic one suggests another), and it establishes mood and atmosphere.
Good drama, be it text or performance then, must comprise of the above elements in good proportions. It is their in the hands of an able playwright or dramatist that brings forth the beauty in dramatic composition. A good knowledge of these elements also helps in the area of literary appreciation to the critic. By and large, it can be said that the elements of drama form the bedrock of dramatic literature, appreciation and production.
REFERENCES
Butcher S.H. (2005) Poetics by Aristotle: From
www.libertyonline.hypermall.com
Huber R.C. (2005) Drama Page: From www.afronoid.tripod.com
Iwuchukwu L.V. (1999) The Essentials of Literature in English: Lagos, The
Poet Books.
Brockett O.G.(1980) The Essential Theatre:New York , Holt, Rinhert and
Winston.
Jacobus L.A. (1996) The Compact Bedford Introduction to Drama: Boston ,
Bedford Books.
Windapo O.O. (2000) Introduction to Drama Minor: Ibadan, Joytal Press.
