Dramatic Theory & Criticism
From Aristotle to Postmodernism: Essential Concepts for NET Exam
Table of Contents
1. Classical Theories (4th Century BCE - 5th Century CE)
Aristotle's Poetics (335 BCE)
- Mimesis: Art as imitation of human action - the foundational concept that drama represents reality through performance
- Catharsis: The purgation of pity and fear through tragedy - the emotional cleansing experienced by audiences
- Six Elements of Tragedy:
- Plot (mythos): The soul of tragedy, emphasizing unified action
- Character (ethos): Moral quality revealed through choices
- Thought (dianoia): The intellectual content and themes
- Diction (lexis): The language and verbal expression
- Music (melos): The lyrical elements and chorus
- Spectacle (opsis): Visual elements (least important for Aristotle)
- Unity of Action: Single complete plot with beginning, middle, and end - no episodic structures
- Hamartia: The tragic flaw or error in judgment leading to the protagonist's downfall
- Anagnorisis: The moment of critical discovery or recognition
- Peripeteia: The reversal of fortune in the plot
Comparative Analysis: Greek vs. Sanskrit Drama
| Concept | Greek Tragedy | Sanskrit Drama (Bharata's Natyashastra) |
|---|---|---|
| Purpose | Catharsis (emotional purification) | Rasa (aesthetic pleasure through emotional flavors) |
| Structure | Prologue, Parodos, Episodes, Stasimon, Exodos | Purvaranga (preliminaries), Prastavana (introduction), etc. |
| Protagonist | Noble character with tragic flaw | Nayaka (hero) with specific classifications |
| Performance | Limited to religious festivals (Dionysia) | Performed in royal courts and public spaces |
| Key Texts | Aristotle's Poetics | Bharata's Natyashastra (2nd century BCE - 2nd century CE) |
Key Differences in Classical Approaches
- Greek Drama: Emphasized fate, civic responsibility, and the individual's relationship with gods
- Sanskrit Drama: Focused on dharma (duty), artha (purpose), kama (desire), and moksha (liberation)
- Western Classical: Linear narrative progression with climactic structure
- Indian Classical: Cyclical narratives often drawn from epics and Puranas
2. Renaissance to 19th Century Developments
1
Neoclassicism (17th-18th Century)
- Three Unities:
- Time: Action should occur within 24 hours
- Place: Single location setting
- Action: Single plotline without subplots
- Pierre Corneille's Debates: Argued for flexibility in unity of time in his theoretical writings
- Decorum: Appropriateness of character to type - kings should behave royally, servants humbly
- Verisimilitude: Appearance of truth - avoidance of supernatural except in allegory
- French Neo-Classical Drama: Corneille, Racine, Molière as key figures
2
Romantic Rebellion (Late 18th-19th Century)
- Victor Hugo's Preface to Cromwell (1827): Served as manifesto against neoclassicism, advocating for:
- Mixing of genres (tragedy and comedy)
- Rejection of strict unities
- Emphasis on imagination and emotion
- Incorporation of grotesque elements
- Shakespearean Influence: Revival of interest in Shakespeare's disregard for classical rules
- Historical Drama: Emphasis on national history and folklore
- Key Figures: Goethe, Schiller, Hugo, Dumas
3
Realism & Naturalism (Late 19th Century)
- Realism: Depiction of everyday life with authentic dialogue (Ibsen, Chekhov)
- Naturalism: Scientific determinism influencing behavior (Zola, Strindberg)
- Fourth Wall: Audience as invisible observers of real-life situations
- Domestic Tragedy: Ordinary protagonists facing contemporary social issues
3. Modern & Postmodern Theories
Epic Theatre (Brecht)
- Verfremdungseffekt (Alienation Effect): Techniques to prevent emotional identification, encouraging critical analysis
- Didactic Purpose: Theater as tool for social/political education rather than entertainment
- Non-linear Narratives: Use of episodic structure with montage technique
- Direct Address: Breaking fourth wall with songs, captions, and narration
- Key Works: Mother Courage, The Good Person of Szechwan
Theatre of the Absurd
- Martin Esslin's 1961 Work: Defined the movement analyzing Beckett, Ionesco, Genet
- Existential Themes: Influenced by Camus' concept of the absurd - human search for meaning in meaningless universe
- Formal Characteristics:
- Illogical, circular dialogue
- Minimal plot progression
- Alienated, archetypal characters
- Metatheatrical elements
- Key Works: Waiting for Godot, The Bald Soprano, The Chairs
Postdramatic Theatre (Lehmann)
- Beyond Traditional Text: Performance elements prioritized over written text
- Key Characteristics:
- Non-hierarchical performance elements
- Rejection of dramatic conflict
- Emphasis on presence rather than representation
- Audience participation/immersion
- Key Practitioners: Robert Wilson, Jan Fabre, Forced Entertainment
- Indian Context: Work of Ratan Thiyam, Neelam Mansingh Chowdhry
Additional Modern Movements
Theatre of Cruelty (Artaud)
- Attack on spectators' senses through violent imagery
- Rejection of text-based theater
- Influence on experimental and physical theater
Poor Theatre (Grotowski)
- Elimination of spectacle to focus on actor-audience relationship
- Physical and vocal training methods
- Concept of "holy actor" undergoing transformation
Environmental Theatre (Schechner)
- Breaking traditional performer-audience divide
- Use of entire performance space
- Influence on contemporary immersive theater
4. Critical Approaches to Drama
Feminist Criticism
- Key Texts: Jill Dolan's The Feminist Spectator, Sue-Ellen Case's Feminism and Theatre
- Areas of Analysis:
- Representation of female characters
- Gender dynamics in performance
- Patriarchal structures in theater history
- Feminist performance practices
- Indian Context: Analysis of plays by Mahasweta Devi, Manjula Padmanabhan
Marxist Criticism
- Theoretical Basis: Marx, Engels, Althusser's ideological state apparatus
- Key Concepts:
- Class conflict representation
- Material conditions of production
- Brecht's dialectical theater
- Cultural materialism (Raymond Williams)
- Indian Applications: Analysis of IPTA (Indian People's Theatre Association) plays
Postcolonial Criticism
- Key Theorists: Homi Bhabha (hybridity), Frantz Fanon, Edward Said
- Areas of Focus:
- Decolonizing theatrical space
- Representation of colonial history
- Indigenous performance traditions
- Diasporic theater
- Indian Examples: Analysis of adaptations of Shakespeare in Indian contexts
Semiotic Analysis
- Key Texts: Keir Elam's The Semiotics of Theatre and Drama
- Areas of Analysis:
- Sign systems in performance (gesture, costume, space)
- Theatrical codes and conventions
- Audience decoding processes
- Applications: Analysis of traditional Indian theater forms like Kathakali
UGC NET Exam Focus
Frequently Tested Concepts
- Aristotle's concepts vs. Sanskrit drama theory
- Brecht vs. Stanislavski techniques comparison
- Characteristics of Absurdist theater
- Neoclassical rules vs. Romantic rebellion
- Postcolonial adaptations of classical texts
Key Theorists to Remember
- Classical: Aristotle, Bharata Muni
- Modern: Brecht, Artaud, Grotowski
- Contemporary: Lehmann, Schechner
- Indian: Tagore, Karnad, Dattani, Thiyam
- Critical: Dolan, Bhabha, Elam
Analysis & Answer Writing Tips
- Compare classical and modern theories with examples
- Apply critical lenses to given dramatic passages
- Connect theoretical concepts to specific Indian plays
- Use terminology accurately (e.g., "verfremdungseffekt")
- Reference both Western and Indian theorists
