Subject
Drama -- Technique Books
Best books
George Pierce Baker
Dramatic Technique
"Dramatic Technique" by George Pierce Baker is a guide on the art of playwriting written in the early 20th century. The text aims to bridge the gap between instinctive dramatists and the formal study of dramatic construction, providing insights into how successful plays have been crafted over time. It emphasizes the importance of learning from historical practices and aims to equip aspiring playwrights with a clearer understanding of the dynamics of drama. At the start of the book, Baker discusses the misconceptions surrounding the nature of drama and dramatists, arguing against the idea that playwrights are solely born rather than made. He emphasizes the necessity of studying dramatic techniques from both contemporary and historical perspectives, illustrating that successful dramatic construction reflects universal, special, and individual techniques. Baker’s preface sets the framework for the detailed exploration that follows, highlighting the blending of action, characterization, and dialogue as essential components in achieving emotional resonance with an audience.
Roy C. (Roy Caston) Flickinger
The Greek theater and its drama
"The Greek Theater and Its Drama" by Roy C. Flickinger is a scholarly publication written in the early 20th century. This work provides an in-depth analysis of the origins, evolution, and significance of Greek drama and theater, exploring foundational elements such as tragedy and comedy and their social and cultural contexts in ancient Greece. The opening of the book establishes the author's intentions and methods, outlining the goals of the text, which include elaborating on the unique conventions of Greek drama shaped by its environment, emphasizing the importance of dramatic technique, and comparing ancient practices with modern parallels. Flickinger expresses a commitment to making Greek theater more accessible to readers unfamiliar with classical literature while integrating recent scholarship to present a comprehensive survey of this crucial aspect of Western cultural heritage. He acknowledges existing debates in dramatic criticism regarding the nature of theater and aims to synthesize various perspectives to enrich the understanding of Greek drama's development and relevance.
August Wilhelm von Schlegel
Lectures on Dramatic Art and Literature
"Lectures on Dramatic Art and Literature" by August Wilhelm von Schlegel is a scholarly work that compiles a series of lectures on the nature of dramatic poetry and its historical evolution, likely written in the early 19th century. This critical text offers insights into the distinctions between ancient and modern dramatic forms, examining various dramatic traditions from Greeks to Romantic poets, while engaging deeply with the principles of criticism, aesthetics, and the artistic spirit inherent in the theatre. The opening of the book introduces the author’s thoughts on the value of literature and reflects on the transformative power of reading. Schlegel posits that literature allows individuals to connect with the most profound thoughts and insights of humanity across time and geography. He outlines his intention to explore the essence of dramatic art, including discussions of tragedy and comedy, and the contrasts between classical and romantic literature. The early passages hint at the structural complexity of the lectures to follow, setting the stage for an analytical journey through the various genres and styles of drama, as well as their cultural significance.
William Archer
Play-Making: A Manual of Craftsmanship
"Play-Making: A Manual of Craftsmanship" by William Archer is a guide for aspiring playwrights published in the early 20th century. The book focuses on the art and craft of writing plays, addressing various aspects of playwriting, including themes, character development, and the intricacies of dramatic construction. The opening of the work presents a prefatory note emphasizing the originality and practicality of Archer's insights into playwriting. He acknowledges the existence of previous theories and rules but argues against the notion of absolute rules, stressing the importance of common sense and creativity in dramatic writing. The text outlines the structure of the manual, indicating that it will systematically address critical components of playwriting, like choosing a theme and developing characters while also recognizing the complexities inherent in creating an engaging theatrical narrative. Overall, the beginning sets the stage for a thorough exploration of playwright craftsmanship, aimed at guiding new dramatists through the challenges they may face in the creative process.
Gustav Freytag
Die Technik des Dramas
"Die Technik des Dramas" by Gustav Freytag is a treatise on dramatic theory written in the mid-19th century. This work aims to explore the craft of drama, detailing its foundation principles, structure, and the various rules that govern effective dramatic writing. Freytag emphasizes the necessity for a structured approach to drama, aiming to guide aspiring playwrights and provide insight into the complexities of creating compelling narratives. The opening of the text introduces Freytag's intentions and the motivations behind his exploration of dramatic theory. He begins by discussing the evolution of drama and the changing nature of artistic forms over time, contrasting ancient and modern interpretations. Freytag acknowledges that while established techniques and rules can sometimes seem restrictive, they ultimately serve to enhance a writer's creative capabilities, particularly by providing clarity and structure. This section sets the stage for a thorough examination of dramatic elements, including character development, the unity of action, and the overall construction of a successful play.
Richard G. (Richard Green) Moulton
Shakespeare as a Dramatic Artist A Popular Illustration of the Principles of Scientific Criticism
"Shakespeare as a Dramatic Artist" by Richard G. Moulton is a scholarly examination of Shakespeare's theatrical techniques and innovations written in the late 19th century. This work aims to present Shakespeare not only as a playwright of profound human insight but also as a meticulous craftsman of dramatic art, showcasing specific principles of scientific criticism. Its primary focus explores key plays and the methods Shakespeare utilized within them to enhance dramatic effect. At the start of the text, Moulton outlines his objectives, emphasizing the need to correct common misconceptions about Shakespeare's artistic abilities, particularly in terms of dramatic structure and techniques. He discusses the erroneous impression that Shakespeare's genius rendered him indifferent to dramatic art's technicalities, proposing instead that an understanding of his methods is crucial for appreciating his contributions to theatre. Moulton's analyses consider various plays, touching on storytelling, character development, and the interplay of themes like Nemesis. He sets the stage for a detailed exploration of Shakespeare's craft, aiming to both educate and foster deeper appreciation for the playwright's work among readers and students alike.
Gotthold Ephraim Lessing
Hamburgische Dramaturgie
"Hamburgische Dramaturgie" by Gotthold Ephraim Lessing is a work on drama written between 1767 and 1769. Originally conceived as theater criticism during Lessing's tenure as dramaturg at Hamburg's German National Theater, this collection revolutionized dramatic theory. Lessing reinterpreted Aristotle's ideas about tragedy, arguing that audiences must feel empathy rather than mere terror. He championed natural, probable plots and characters resembling ordinary people—even when depicting kings. His vision challenged baroque theater's rigid conventions and helped establish bourgeois drama as a new theatrical form.
Georges Polti
Les trente-six situations dramatiques
"Les trente-six situations dramatiques" by Georges Polti is a descriptive list published in 1895. Polti analyzed classical Greek texts and French works to categorize every dramatic situation that might occur in a story or performance. The book presents thirty-six fundamental situations—from supplication and vengeance to self-sacrifice and adultery—each with necessary elements and examples. Originally intended to continue Carlo Gozzi's earlier work, this influential classification system has become a widely used tool for writers, dramatists, and storytellers seeking to understand narrative structure.
Pál Gyulai
Dramaturgiai dolgozatok (1. kötet, 1850-1863)
"Dramaturgiai dolgozatok (1. kötet, 1850-1863)" by Pál Gyulai is a collection of dramatic works and critiques written in the mid-19th century. This foundational volume delves into Hungarian theater, exploring original plays and translations, and addresses the state of drama and literature during Gyulai's time. The writing reflects upon the cultural landscape, critiquing the quality of contemporary works and emphasizing the need for literary revival in Hungary. The opening of this collection introduces the author’s observations about the dramatic art during the period between 1850 and 1863, highlighting the scarcity of literary growth in the Alföld region. Gyulai laments the lack of appreciation for literature in towns like Debreczen and Szeged, advocating for a renewal of local literary engagement through newspapers and original works. He introduces the first original play “Vetélytársak” by Horváth Cyrill, reflecting on the shortcomings of the drama while hoping for a resurgence of serious artistic quality. The section sets a critical tone, emphasizing the need for improvement in Hungarian theater and literature.
Pál Gyulai
Dramaturgiai dolgozatok (2. kötet, 1864-1881)
"Dramaturgiai dolgozatok (2. kötet, 1864-1881)" by Pál Gyulai is a collection of critical essays and dramatic works written in the late 19th century. The text encompasses critiques of various theatrical plays staged at the National Theatre in Hungary, showcasing Gyulai's analytical approach to drama and theatrical practices. The primary focus is on examining the merits and shortcomings of specific plays, exploring themes such as societal norms and the complexities of human emotion within the context of performance. The opening of the collection introduces a series of reviews on comedic plays presented at the National Theatre during the early 1860s. Gyulai discusses the merits of these works, noting both their strengths and weaknesses. He critiques various elements, including plot coherence, character development, and the effectiveness of comedic situations. For instance, he addresses issues of character motivations and the execution of humor, illustrating how the plays reflect societal attitudes and the challenges playwrights face in capturing genuine emotion onstage. Gyulai's insights provide a rich foundation for understanding the evolving landscape of Hungarian theatre at the time.
Lope de Vega
The new art of writing plays
"The new art of writing plays by Lope de Vega" is a dramaturgical treatise in verse from the Spanish Golden Age, likely the early 17th century. It outlines how to craft stage plays that satisfy audience taste while engaging with classical theory, blending practical stagecraft with a poet’s reflections on comedy and tragedy. The book opens with a contextual introduction that sets the author alongside the great innovators of popular theater and frames his core paradox: he knows the classical rules yet openly breaks them to please the paying crowd. The central poem addresses an academy, briefly surveys the origins of comedy and tragedy, and then offers concise, practice-first guidance: choose a single, coherent action; build plays in three acts; compress time where possible; keep the stage seldom empty; delay the resolution until the final moments; and mix tragic and comic tones for variety. It advises writing the plan in prose before versifying, matching speech to character and situation, and using distinct verse forms for different purposes (for lament, narration, high matters, or love). It favors themes of honor and virtue, warns against impossibilities and open satire, prescribes moderate length, and urges decorum and plausible costume. The author closes by acknowledging his own vast, rule-breaking output and defending it on the grounds that playwrights must live by pleasing the public.
Bronson Howard
The Autobiography of a Play Papers on Play-Making, II
"The Autobiography of a Play" by Bronson Howard is a reflective analysis on theatrical writing, structured as a lecture delivered before the Shakspere Society at Harvard University in the late 19th century. This work delves into the complexities of playwriting, revealing insights into the dramatic construction that Howard navigated while adapting one of his own plays, "The Banker's Daughter," across different audiences and cultural contexts. The book offers a unique exploration into the themes of love, sacrifice, and the inherent laws of drama that govern narrative structures, providing a broader view of American theater during an era of significant artistic development. In this autobiographical account, Howard recounts the evolution of his play through various adaptations, emphasizing the changes made to meet the expectations of different audiences in Chicago, New York, and London. He discusses character development, the importance of moral lessons within narratives, and the necessity of altering plots to ensure audience satisfaction. For example, he illustrates how the protagonist's survival in the final act transformed the play’s moral implications, ultimately deepening the emotional stakes. Howard’s reflections provide invaluable insights into the craft of playwriting, illuminating the pressures and considerations playwrights face in balancing artistic integrity with public appeal.
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