What is DRAMA¿

What is DRAMA¿

Drama is a term used to designate a pathetic situation , which involves suffering or distress . Examples : " The plight of abandoned children " , " The tragedy of war victims " , " The drama of the landless " etc.

Figuratively , the word drama is often used to characterize a behavior that demonstrates a certain exaggeration in their complaints about a certain situation : . "He's doing drama "

Originally the word drama comes from the Greek "drama " , which means " action," and was used of the theatrical art . The fact of presenting the staging of a text - And what characterizes the genre is dramatic . A drama is a text whose history is characterized by a course similar to real life events .

Drama is any scenario where the Comic is blended with tragic, is a series of complicated , poignant or pathetic episodes .Among the various forms of dramatic expressions , highlight the tragedy , comedy, farce , drama and the self itself.

Drama , has multiple meanings . According to the Concise Oxford dictionaries and Aulete , drama can mean : " in narrative form or figure that mimics the direct action of individuals " , " text in verse or prose , written to be staged" or even " staging this text ." By analogy can be even " in the narrative context of any literary prose that there is a conflict or friction " may be tale , novel , romance etc. , or even the entire drama .

The term is also found in film, television, radio , meaning a fictional text , play or a " serious " character, not comic film that presents a development of facts and circumstances consistent with real life .

In everyday life a set of complicated, difficult or tumultuous events can be a drama , as well as an event that causes harm , suffering, pain . But these are just some of the known meanings .

It originates from the ancient Greek meaning action . Aristotle, in his Poetics , compares the literature of his time , who had originated the oral form , in the following modes : narrative or epic , dramatic and mixed . From this analysis , central throughout the analysis of literary genres to the present day , divided the theoretical literature on narrative and dramatic modes and lírico.

Meaning " action" in Greek , the word drama comes associated with theatrical performance in Aristotle's Poetics , there are distinguishing epic , another literary form also based on imitation ( mimesis ) shares . This work Aristotle being fundamentally a poetic drama , is primarily the definition of the concept of tragedy that most occupies , referring to the show ( opsis ) as their way of imitation, and the remaining five elements that compose it : a fable ( mythos ) , the character ( ethos ) and thought ( dianoia ) - as constituting its subject; elocution ( lexis ) and the singing or music ( melos ) , configuring your means of imitation.

Early therefore in theory and practice ( in ancient Greece ) , the drama comes this double articulation - with the literature ( written ) and the theater ( show) - although the nature, meaning and function of this joint have been subsequently varied according to the times , the artistic practices and propositions ( and ratings ) aesthetic . Place in the literary field : the relationships that are established between the different modes and genres ; and result in the field of theater : what is meant to be its specificity and degree of interception that may (or may not) operate in matters literary as well as theatrical architecture and scenic dominant codes of representation.

Given the historical residence of the theater, from the Greeks, and later art forms (film, radio, theater) and from the twentieth century drama is generally understood as a written theater text, graphically recording the difference between stage directions (or scenic indications ) and replicas (or lines of characters), which, in the opinion of Roman Ingarden (Das, 1930: 1st ed, 1960:. 2nd ed, 1965.. 3rd ed), organizes, respectively, the secondary text and text primary. While this is manifested in the speech of the actors, the first uses non-verbal codes such as gestures, mime, choreography, music, props, makeup (or characterization), set design, lighting technique, etc.

This historic dual separation between stage directions and everything you would text "speaks of character," come in contemporary, reiterating important advances. Conceptual changes in the field of art give us examples of where dramaturgical texts: that this separation does not exist, or directions (stage directions) are coupled, inserted at the exact body of the text, making the drama, thereby modifying structurally and conceptually the conceptual limits and structural drama.

etamente from the eighteenth century with Nivelle de la Chaussée, Diderot (Entretiens sur 'Le Fils Naturel, 1757) and Voltaire - the drama was satisfied, however, on a particular genre of text "serious" theater, which sought to overcome classical distinction between tragedy and comedy, combining the characteristic features of both (in terms of characters and action types), and creating thus a closer, bourgeois universe of interests, tastes and concerns of a new audience, which was what then called a third state. In Portugal came to designate a play, as the New Theatre Garção Correia (1760), and ten years later his Departure Meeting or, if after generalizing, as less restrictive designation, in the last years of the century. Was later central concept of romantic drama, with Victor Hugo and, between us, Almeida Garrett, by joining the grotesque and the sublime, dispense with the verse and adopt the language of everyday life, prefer the historic materials and enhance the feeling and freedom individual, among several other features.

In its relationship with literature in general, that the drama comes dramatically, composing, along with the lyrical and the epic (or narrative), the triad that was, from the Renaissance and for some time, incorrectly attributed to Aristotle. It is, indeed, a subsequent theoretical elaboration to its poetic, but has been repeatedly glossed over, although following different criteria for their allocation, as well as to recognize the meaning and value of its components.

In the confrontation with the other two literary modes, the dramatic has been sometimes menorizado, now magnified. Menorizado because understood as incomplete without the scenic realization and therefore simple script or draft without independent existence, or not participate because purely literary elements in it, thus configuring a limiting case of the literary work. But poets like John Keats and T. S. Eliot, advocating, at different times and for reasons not absolutely identical ways, the impersonality of poetry, defended the importance of articulating a voice other than the assumed direct expression of the poetic subject, defining therefore the superiority of the dramatic. Not mean, however, to consider writing pieces as the sole means of achieving dramatic, before admitting that he could and should invade the traditional field of opera.

In this sense it becomes clear the variability of criteria for the definition and evaluation of literary modes, which does not prevent the recognition of a more or less general embodiment of the dramatic, which is its conventional definition, but allowed (as is rule of any "contract") their repeated transgression and reworking.

Elements such as characters, dialogue and action (referred to this conflict or collision of forces either external or internal to the characters) are, accordingly, the basic elements of a fictional universe that, unlike the narrative, is made to be represented on stage. For reasons associated with this scenic vocational nature and the normal expectations of the public as to the duration of a show, the action is usually more concentrated (than a narrative), which does not necessarily imply acceptance of the "rule" the three units (action, time and place), this law supposedly Aristotelian, but actually manufacturing renaissance, and especially dominant in the composition of neoclassical drama.

This idea of concentration conditions, somehow intensified conflict, which favored the idea that the drama is exemplary, and objectively, a collision of forces and a crisis situation and exaltation, as defined Hegel (Aesthetik , 1820-1829, posthumous edition in 1835) and Etienne Souriau (Les deux cent mille their situations Dramatiques, 1950). The latter position, so the drama between life and consciousness, as a moment of entrevisão of dark forces that structural figures present in the microcosms part envision leave while Hegel finds in tragedy colliding rights and opposing values but equally legitimate . Others consider that the drama is a privileged way of commenting on human nature, so for him the man to magnify acquire a lively sense (Pierre Aimé Touchard, Le théâtre des hommes et l'angoisse, 1968), to identify an address about relations between men (Ronald Peacock, the Art of Drama, 1957) or to acknowledge him defining key aspects of a particular culture (Francis Fergusson, the Idea of the Theater, 1949).

Beyond the meaning and value that the dramatic may thus be attributed, there are still considering the formal aspects

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