Dramatic Forms: From Burlesque to Well-Made Plays
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COMPARATIVE
LITERATURE
SHAYMAA A. SHAHINE
Faculty of Arts
Year 2
CODES OF CONDUCT
•
Phones are not allowed
•
Start 10.30 to 12 p.m.
•
Doors closes 10.40
•
Inside CLASS, you are allowed to drink water, eat what you
have, go to Toilet, go out to use your phone (PLEASE DON’T
CAUSE DISTURBANCE)
•
What is in it for you? Listening, Reading and Critical thinking
•
Volunteers for Reflection Tree
•
Volunteers for Question Bank
DRAMATIC
FORMS
•
Burlesque
emerged in the Medieval Drama .
•
It was revived in the Seventeenth Century, and became popular and remained so for a long time.
•
is a literary, dramatic or musical work intended to cause laughter by caricaturing the manner or spirit of
serious works
•
Burlesque overlaps in meaning with caricature, parody, mock-heroic
•
The term burlesque has been applied retrospectively to works of Chaucer and Shakespeare and to the
Graeco-Roman classics
•
17th and 18th century burlesque was divided into two types:
High burlesque
refers to a burlesque
imitation where a literary, elevated manner was applied to a commonplace or comically inappropriate
subject matter as, for example, in the literary
parody
and the
mock-heroic
. One of the most commonly
cited examples of high burlesque is
Alexander Pope
's "sly, knowing and courtly"
The Rape of the
Lock
.
[13]
Low burlesque
applied an irreverent, mocking style to a serious subject; an example is
Samuel
Butler
's poem
Hudibras
,
•
A melodrama
•
is a drama subgenre in which the plot, which is typically sensational and designed to appeal strongly to the
emotions, takes precedence over detailed characterization.
•
Characters are often simply drawn, and may appear stereotyped as totally good in nature or totally villain.
•
melodramas turned to more domestic themes and later gave way to realism before succumbing to cinema
and subsequently television.
•
•
A Well-made play
:
•
Is a neatly efficient play in the construction of its plot but superficial in ideas and characterization. In
19th-century France, the term ( pièce bien faite ) at first had a more positive sense, denoting the
carefully constructed suspense in comedies and melodramas by Eugène Scribe ( 1791–1861 ) and his
follower Victorien Sardou ( 1831–1908 The aim was to provide a constantly entertaining, exciting
narrative which satisfyingly resolved the many complications and intrigues that drove the story.
•
is characterized by:
•
a secret known only to some of the characters and usually shared with the audience , one character
trying to keep it hidden or another trying to uncover it.
•
Initial exposition is normally followed by ups and downs
•
The action moves predictably to a logical end
•
It soon took on a pejorative meaning, and came to be used ironically of all plays in which the action
develops artificially, according to the strict laws of logic and not to the unpredictable demands of
human nature; and in which the plot, to which the characters are completely subordinated, is conceived
in terms of exposition, knot, and denouement
•
As this tradition was displaced by the more serious concerns of dramatic naturalism , the term
acquired its dismissive sense, especially in the critical.
•
Ibsen and other dramatists of the later 19th century (
August Strindberg
,
Gerhart Hauptmann
,
Émile
Zola
,
Anton Chekhov
) built upon its technique of careful construction and preparation of effects in the
genre problem play.
•
The well-made play was a popular form of entertainment and moved to Fiction world
Agatha
Christie's The Mousetrap
•
Farce
•
(the word is derived from French farce , literally ‘stuffing’)
•
A form of popular comedy with its distant roots in the improvisations which actors introduced
into the text of
Medieval Religious Dramas
•
is a form of low comedy designed to provoke laughter through highly exaggerated caricatures
of people in improper or silly situations. Farce is characterized by
•
stereotypical characterizations
•
improbable plot lines
•
Physical humor,
•
Sexual misunderstanding
•
The use of deliberate absurdity or nonsense,
•
and verbal humor.
•
It is also often set in one particular location, where all events occur.
•
A problem play
is a form of drama that emerged with
Shakespeare
in the
Jacobean age
. It was revived in the 19th century as part of the wider movement
of R
ealism
in the arts, especially following the innovations of
Henrik Ibsen
. It
deals with contentious social issues through debates between the characters
on stage, who typically represent conflicting points of view within a realistic
social context
NINETENTH CENTURY DRAMA IN
EGYPT
•
Farce
•
Melodrama
•
Translated
versions of European dramatic masterpieces
•
Ahmed Shawqi
, "Prince of Poets," who during his latter years penned a
number of verse dramas with themes from Egyptian and Islamic
history:
•
Masraa' Kliyubatra
(The Death of Cleopatra, 1929)
•
Majnun Layla
(
Driven mad by Layla
, 1931)
•
Amirat el-Andalus
(The
Andalusian
Princess, 1932)
•
Ali Bey al-Kebir
(an 18th-century ruler of Egypt)
•
There was a void in the literary scene
REFERENCES:
•
Brockett, Oscar G. and Franklin J. Hildy. 2003.
History of the Theatre.
Ninth
edition, International edition. Boston: Allyn and Bacon.
Dive into the world of dramatic forms, where Burlesque emerged in Medieval Drama and was revived in the Seventeenth Century to satirize serious works. Learn about high burlesque that parodies literary works like Alexander Pope's "The Rape of the Lock" and low burlesque that mocks serious subjects. Discover the characteristics of melodrama and well-made plays, including their plot construction and thematic evolution over time.
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Presentation Transcript
Faculty of Arts Year 2 COMPARATIVE LITERATURE SHAYMAA A. SHAHINE
CODES OF CONDUCT Phones are not allowed Start 10.30 to 12 p.m. Doors closes 10.40 Inside CLASS, you are allowed to drink water, eat what you have, go to Toilet, go out to use your phone (PLEASE DON T CAUSE DISTURBANCE) What is in it for you? Listening, Reading and Critical thinking Volunteers for Reflection Tree Volunteers for Question Bank
DRAMATIC FORMS
Burlesque emerged in the Medieval Drama . It was revived in the Seventeenth Century, and became popular and remained so for a long time. is a literary, dramatic or musical work intended to cause laughter by caricaturing the manner or spirit of serious works Burlesque overlaps in meaning with caricature,parody, mock-heroic The term burlesque has been applied retrospectively to works of Chaucer and Shakespeare and to the Graeco-Roman classics 17th and 18th century burlesque was divided into two types:High burlesque refers to a burlesque imitation where a literary, elevated manner was applied to a commonplace or comically inappropriate subject matter as, for example, in the literary parody and the mock-heroic. One of the most commonly cited examples of high burlesque isAlexander Pope's "sly, knowing and courtly" The Rape of the Lock.[13]Low burlesque applied an irreverent, mocking style to a serious subject; an example is Samuel Butler's poem Hudibras, A melodrama is a drama subgenre in which the plot, which is typically sensational and designed to appeal strongly to the emotions, takes precedence over detailed characterization. Characters are often simply drawn, and may appear stereotyped as totally good in nature or totally villain. melodramas turned to more domestic themes and later gave way to realism before succumbing to cinema and subsequently television.
A Well-made play: Is a neatly efficient play in the construction of its plot but superficial in ideas and characterization. In 19th-century France, the term ( pi ce bien faite ) at first had a more positive sense, denoting the carefully constructed suspense in comedies and melodramas by Eug ne Scribe ( 1791 1861 ) and his follower Victorien Sardou ( 1831 1908 The aim was to provide a constantly entertaining, exciting narrative which satisfyingly resolved the many complications and intrigues that drove the story. is characterized by: a secret known only to some of the characters and usually shared with the audience , one character trying to keep it hidden or another trying to uncover it. Initial exposition is normally followed by ups and downs The action moves predictably to a logical end It soon took on a pejorative meaning, and came to be used ironically of all plays in which the action develops artificially, according to the strict laws of logic and not to the unpredictable demands of human nature; and in which the plot, to which the characters are completely subordinated, is conceived in terms of exposition, knot, and denouement As this tradition was displaced by the more serious concerns of dramatic naturalism , the term acquired its dismissive sense, especially in the critical. Ibsen and other dramatists of the later 19th century (August Strindberg,Gerhart Hauptmann, mile Zola,Anton Chekhov) built upon its technique of careful construction and preparation of effects in the genre problem play. The well-made play was a popular form of entertainment and moved to Fiction world Agatha Christie'sThe Mousetrap
Farce (the word is derived from French farce , literally stuffing ) A form of popular comedy with its distant roots in the improvisations which actors introduced into the text of Medieval Religious Dramas is a form of low comedy designed to provoke laughter through highly exaggerated caricatures of people in improper or silly situations. Farce is characterized by stereotypical characterizations improbable plot lines Physical humor, Sexual misunderstanding The use of deliberate absurdity or nonsense, and verbal humor. It is also often set in one particular location, where all events occur.
A problem play is a form of drama that emerged with Shakespeare in the Jacobean age. It was revived in the 19th century as part of the wider movement of Realism in the arts, especially following the innovations of Henrik Ibsen. It deals with contentious social issues through debates between the characters on stage, who typically represent conflicting points of view within a realistic social context
NINETENTH NINETENTH CENTURY DRAMA IN CENTURY DRAMA IN EGYPT EGYPT Farce Melodrama Translated versions of European dramatic masterpieces Ahmed Shawqi, "Prince of Poets," who during his latter years penned a number of verse dramas with themes from Egyptian and Islamic history: Masraa' Kliyubatra (The Death of Cleopatra, 1929) Majnun Layla (Driven mad by Layla, 1931) Amirat el-Andalus (TheAndalusian Princess, 1932) Ali Bey al-Kebir(an 18th-century ruler of Egypt) There was a void in the literary scene
REFERENCES: REFERENCES: Brockett, Oscar G. and Franklin J. Hildy. 2003.History of the Theatre. Ninth edition, International edition. Boston: Allyn and Bacon.
