Drama Readings

 

“Stories teach us empathy. They reveal
to us ourselves in the skins of others.”
— Justin Simien
 

Drama, an enduring and influential genre within literature, has the power to transport us across the wide spectrum of human experience through the art of performance. With its roots stretching back to ancient civilizations, drama has evolved and adapted over time, captivating audiences with its exploration of the human condition, conflicts, and emotions.

From the tragic tales of ancient Greek playwrights to the thought-provoking works of contemporary playwrights, drama immerses us in narratives brought to life on the stage or screen. The genre encompasses a wide range of themes, from love and passion to power struggles and moral dilemmas, inviting us to reflect on the complexities of human existence.

Ancient Greek tragedies, such as the renowned works of Sophocles and Euripides, are the foundation of dramatic literature. These tragedies present larger-than-life characters and explore timeless themes of fate, hubris, and the consequences of one’s actions. Through the use of powerful dialogue, captivating plotlines, and theatrical devices, Greek tragedies offer profound insights into the human condition and provoke contemplation about the nature of destiny and free will.

One of the reasons we, as a culture, remember Greek tragedies is because they were explained to us so well. The great philosopher Aristotle (384–322 B.C.) explained how to interpret drama and literature in, Poetics (335 B.C.), which was the first book on interpreting the arts, including literature and drama, in the world. He is still worth learning from for several reasons.

For one, he descended from a line of great philosophers. Here’s how it went: Socrates taught Plato. Plato taught Aristotle. Aristotle taught Alexander, who conquered the entire world and became known as Alexander the Great.

In case you missed it, the moral of that story is: Learn from Aristotle; conquer the world.

Or, at least, conquer your world. Conquer your life.

We talk a lot about heroes in this course. But, in the story of your life, you can become the hero. Indeed, you must become the hero of your own life’s story.

How? One step at a time — just like every other real hero who ever lived.

And, for starters, you could do a lot worse than learning from Aristotle, Tutor of Heroes.

Another reason to learn from Aristotle is that all of Western Civilization’s stories — including today’s books, films, and other media — are often appraised in the same way he spelled out over 2,323 years ago. When you hear a film critic say some new blockbuster had too many digital special effects, but not a very good plot or characters, that critic is using Aristotle’s criteria to evaluate stories today.

Note: Please keep in mind, that all of these authors we are talking about were all real people. Success was not assured for them, any more than it is for any of us today. While he was writing Poetics, Aristotle might have had, say, a bunch of dirty laundry piled up on his bed the whole time, because he was too busy writing a book about interpreting plays to do the laundry. Or, his friends might have said, “He could write a book on anything — and he chose… plays?” Aristotle might have been dealing with imposter syndrome, feeling kind of foolish about his still-unfinished book, while worrying about whether his writing might mess up his day job, just like authors do today.

But, Aristotle did finish his book. And with that, he changed the world, so you can go to a movie theater this weekend, and watch an epic movie because Aristotle wrote out his ideas about what made a good play a couple of millennia ago. What a hero!

So, moving beyond the ancient world, the works of modern playwrights like Anton Chekhov introduce us to the complexities of human relationships and societal dynamics. Chekhov’s works offer glimpses into the human psyche and the intricacies of interpersonal connections.

Drama also extends its reach to the realm of visual storytelling through dramatic screenplays. From the classics of Hollywood’s Golden Age to the contemporary works of acclaimed screenwriters, film scripts blend dialogue, visuals, and sound to create captivating narratives. These screenplays are the first step to creating worlds filled with vivid imagery, memorable characters, and compelling narratives.

Moreover, drama finds expression in the realm of television, with scripts for both comedy and drama series capturing our attention and igniting our emotions. From intense character-driven dramas to laugh-out-loud sitcoms, television — which is often to film what short stories are to novels — engages viewers through witty, well-crafted dialogue and surprising yet compressed story arcs, creating immersive and impactful viewing experiences.

In this unit, through close analysis and critical interpretation, we will delve into the intricacies of dramatic works, learning to appreciate the synergy between text and performance. By immersing ourselves in the realm of drama, we will develop a deeper understanding of the transformative power of storytelling and the unique ways in which drama reflects and comments on the human experience.
Introduction to the Readings (CHOOSE TWO OR MORE)

“Oedipus Rex” by Sophocles (429 BC.): “Oedipus Rex,” a timeless Greek tragedy by Sophocles, unfolds a tale of fate, self-discovery, and the consequences of hubris. As a young man, plagued by a prophecy that he would kill his father and marry his mother, Oedipus flees his family to seek his fortune in the wider world, taking a violent journey to the city of Thebes, where he saves the city from the menace of the Sphinx, becoming king of a grateful city-state. When a curse falls upon the city, King Oedipus bravely seeks to unravel the truth and save his kingdom once again, eventually altering his sense of identity and the destiny of all he loves. Most scholars agree with Aristotle that this is the best of the Greek tragic dramas, as it includes compelling examples of a tragic incident, a reversal, a recognition, eliciting pity and fear in the audience over various complexities and a change of fortune from prosperity to adversity; all these clearly show a relationship between cause-and-effect through events both probable and necessary. Learn more from Thug Notes on YouTube (language and adult content).

Greek tragedies were performed at religious festivals each year. They’d present three tragedies, followed by a comedy. So, our list of dramas to read includes some comedies, too.

“The Proposal” by Anton Chekhov (1890): Anton Chekhov’s “The Proposal” is a delightful one-act play that humorously exposes the absurdity of social conventions and the complexities of romantic relationships. Set in rural Russia, the play revolves around a young landowner, Lomov, who visits his neighbor, Natalya, to ask for her hand in marriage. However, what begins as a seemingly straightforward proposal quickly escalates into a farcical battle of wits and egos, revealing the idiosyncrasies and quirks of human nature within the context of courtship. Learn more here.

Pygmalion by George Bernard Shaw (1913): Based very loosely on the Greek myth it is named after, this 1913 play was later filmed (with some changes) as the musical, My Fair Lady (1964), winning the Academy Award for Best Picture. In the first act of this captivating tale of language, identity, and the British class system, a distinguished phonetics expert, Professor Henry Higgins, meets fellow expert Col. Pickering, and brags that he could transform anyone into a socialite by merely giving them speech lessons. Eliza Doolittle, a working-class flower seller with a strong Cockney accent, overhears them. Eliza arrives with a proposal for Higgins. How can Eliza possibly navigate the challenges of high society — while dealing with Higgens himself? See the film version’s official trailer on YouTube which offers a quick visual introduction to the play (which was not originally a musical).

Casablanca by Epstein, Epstein, and Koch (1942): Casablanca, a classic film screenplay written by Julius J. Epstein, Philip G. Epstein, and Howard Koch, transports us to the tumultuous backdrop of World War II. Set in the Moroccan city of Casablanca, the story follows the enigmatic nightclub owner Rick Blaine, who becomes entangled in a web of political intrigue, personal relationship, and the struggle between conformity and rebellion. Released right after the US had joined the global war, the film’s portrayal of sacrifice, love, and the nobility of the fight against fascism inspired audiences. With its memorable dialogue, iconic characters, and themes of patriotism and redemption, Casablanca remains a beloved cinematic masterpiece that continues to captivate audiences around the world. Learn more in this official documentary on YouTube.

“Everything is Fine” by Mike Schur (The Good Place, 2016): “Just one question. Who are you, where am I, and what’s going on?” For television screenwriting, we’ll explore the pilot episode of “The Good Place,” an innovative sitcom offering a complete storyline spanning four seasons (2016-2020). The series extends the format of traditional “situation comedies,” by thoughtfully delving into moral philosophy within the “afterlife.” Created by sitcom mastermind Mike Schur (Saturday Night Live, The Office, Parks and Recreation), using witty dialogue and thought-provoking scenarios, he weaves philosophical concepts like ethics, empathy, consequentialismdeontology, and the nature of moral decision-making, as the series prompts us to ponder what defines a truly good person. Praised by Hollywood, philosophers, critics, and viewers alike, the award-winning series received the 2019 Peabody Award for presenting “the most powerful, enlightening, and invigorating stories in television, radio, and online media.” Because the series contains a single storyline that includes major twists, PLEASE DO NOT RESEARCH “THE GOOD PLACE;” instead, read the script (and view the series) with no context or spoilers — much like Eleanor Shellstrop herself.

(Please note that, in a previous version of this course, a different television screenplay was used. The previous episode (from “The Simpsons”) may be referenced in course materials (e.g., the videos). I apologize for any confusion.)

 

Course Readings in Drama (CHOOSE TWO OR MORE)

Other Readings:

  • How to Read a Screenplay: Format Of A Script: Scene Headings, Action Lines, And Dialogue; Read The Script Entirely Once; Create A Breakdown Of Every Scene; Identify The Common Themes; and, Learn From The Writer’s Style And Voice
  • How to Read a Movie Script: Formatting, Act Breaks, Character Arcs
  • Literary Terms (This link is important to help you write your essays.)

Please remember to take notes on all the readings and videos in the course, and use those notes to take a minute to review all your hard work, daily.