Drama

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Drama is the specific mode of fiction represented in performance.[1] The term comes from a
Greek word meaning "action" (Classical Greek: δρᾶμα, drama), which is derived from "to
do","to act" (Classical Greek: δράω, draō). The enactment of drama in theatre, performed by
actors on a stage before an audience, presupposes collaborative modes of production and a
collective form of reception. The structure of dramatic texts, unlike other forms of literature, is
directly influenced by this collaborative production and collective reception.[2] The early modern
tragedy Hamlet (1601) by Shakespeare and the classical Athenian tragedy Oedipus the King (c.
429 BCE) by Sophocles are among the masterpieces of the art of drama.[3] A modern example is
Long Day's Journey into Night by Eugene O’Neill (1956).[4]
The two masks associated with drama represent the traditional generic division between comedy
and tragedy. They are symbols of the ancient Greek Muses, Thalia and Melpomene. Thalia was
the Muse of comedy (the laughing face), while Melpomene was the Muse of tragedy (the
weeping face). Considered as a genre of poetry in general, the dramatic mode has been
contrasted with the epic and the lyrical modes ever since Aristotle's Poetics (c. 335 BCE)—the
earliest work of dramatic theory.[5]
The use of "drama" in the narrow sense to designate a specific type of play dates from the 19th
century. Drama in this sense refers to a play that is neither a comedy nor a tragedy—for
example, Zola's Thérèse Raquin (1873) or Chekhov's Ivanov (1887). It is this narrow sense that
the film and television industry and film studies adopted to describe "drama" as a genre within
their respective media.[6] "Radio drama" has been used in both senses—originally transmitted in
a live performance, it has also been used to describe the more high-brow and serious end of the
dramatic output of radio.[7]
Drama is often combined with music and dance: the drama in opera is generally sung
throughout; musicals generally include both spoken dialogue and songs; and some forms of
drama have incidental music or musical accompaniment underscoring the dialogue (melodrama
and Japanese Nō, for example).[8] In certain periods of history (the ancient Roman and modern
Romantic) some dramas have been written to be read rather than performed.[9] In improvisation,
the drama does not pre-exist the moment of performance; performers devise a dramatic script
spontaneously before an audience.[10]
Contents
 1 History of Western drama
o 1.1 Classical Athenian drama
o 1.2 Roman drama
o 1.3 Medieval
o 1.4 Elizabethan and Jacobean
o 1.5 Modern and postmodern
 2 Asian drama
o 2.1 India
 2.1.1 Sanskrit theatre
 2.1.2 Modern Indian drama
 2.1.3 Modern Urdu drama of India and Pakistan
 2.1.4 China
 2.1.5 Japan
 3 Forms of drama
o 3.1 Opera
o 3.2 Pantomime
o 3.3 Creative drama
 4 Legal status
o 4.1 UK
 5 See also
 6 Notes
 7 Sources
 8 External links
History of Western drama
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 e
History of theatre
Classical Athenian drama
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Classical Athenian drama
Western drama originates in classical Greece.[11] The theatrical culture of the city-state of Athens
produced three genres of drama: tragedy, comedy, and the satyr play. Their origins remain
obscure, though by the 5th century BCE they were institutionalised in competitions held as part
of festivities celebrating the god Dionysus.[12] Historians know the names of many ancient Greek
dramatists, not least Thespis, who is credited with the innovation of an actor ("hypokrites") who
speaks (rather than sings) and impersonates a character (rather than speaking in his own person),
while interacting with the chorus and its leader ("coryphaeus"), who were a traditional part of
the performance of non-dramatic poetry (dithyrambic, lyric and epic).[13] Only a small fraction of
the work of five dramatists, however, has survived to this day: we have a small number of
complete texts by the tragedians Aeschylus, Sophocles and Euripides, and the comic writers
Aristophanes and, from the late 4th century, Menander.[14] Aeschylus' historical tragedy The
Persians is the oldest surviving drama, although when it won first prize at the City Dionysia
competition in 472 BCE, he had been writing plays for more than 25 years.[15] The competition
("agon") for tragedies may have begun as early as 534 BCE; official records ("didaskaliai")
begin from 501 BCE, when the satyr play was introduced.[16] Tragic dramatists were required to
present a tetralogy of plays (though the individual works were not necessarily connected by
story or theme), which usually consisted of three tragedies and one satyr play (though exceptions
were made, as with Euripides' Alcestis in 438 BCE). Comedy was officially recognised with a
prize in the competition from 487 to 486 BCE. Five comic dramatists competed at the City
Dionysia (though during the Peloponnesian War this may have been reduced to three), each
offering a single comedy.[17] Ancient Greek comedy is traditionally divided between "old
comedy" (5th century BCE), "middle comedy" (4th century BCE) and "new comedy" (late 4th
century to 2nd BCE).[18]
Roman drama
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Roman and Byzantine theatre
Following the expansion of the Roman Republic (509–27 BCE) into several Greek territories
between 270–240 BCE, Rome encountered Greek drama.[19] From the later years of the republic
and by means of the Roman Empire (27 BCE-476 CE), theatre spread west across Europe,
around the Mediterranean and reached England; Roman theatre was more varied, extensive and
sophisticated than that of any culture before it.[20] While Greek drama continued to be performed
throughout the Roman period, the year 240 BCE marks the beginning of regular Roman drama.
[21]
From the beginning of the empire, however, interest in full-length drama declined in favour
of a broader variety of theatrical entertainments.[22] The first important works of Roman
literature were the tragedies and comedies that Livius Andronicus wrote from 240 BCE.[23] Five
years later, Gnaeus Naevius also began to write drama.[23] No plays from either writer have
survived. While both dramatists composed in both genres, Andronicus was most appreciated for
his tragedies and Naevius for his comedies; their successors tended to specialise in one or the
other, which led to a separation of the subsequent development of each type of drama.[23] By the
beginning of the 2nd century BCE, drama was firmly established in Rome and a guild of writers
(collegium poetarum) had been formed.[24] The Roman comedies that have survived are all
fabula palliata (comedies based on Greek subjects) and come from two dramatists: Titus
Maccius Plautus (Plautus) and Publius Terentius Afer (Terence).[25] In re-working the Greek
originals, the Roman comic dramatists abolished the role of the chorus in dividing the drama
into episodes and introduced musical accompaniment to its dialogue (between one-third of the
dialogue in the comedies of Plautus and two-thirds in those of Terence).[26] The action of all
scenes is set in the exterior location of a street and its complications often follow from
eavesdropping.[26] Plautus, the more popular of the two, wrote between 205 and 184 BCE and
twenty of his comedies survive, of which his farces are best known; he was admired for the wit
of his dialogue and his use of a variety of poetic meters.[27] All of the six comedies that Terence
wrote between 166 and 160 BCE have survived; the complexity of his plots, in which he often
combined several Greek originals, was sometimes denounced, but his double-plots enabled a
sophisticated presentation of contrasting human behaviour.[27] No early Roman tragedy survives,
though it was highly regarded in its day; historians know of three early tragedians—Quintus
Ennius, Marcus Pacuvius and Lucius Accius.[26] From the time of the empire, the work of two
tragedians survives—one is an unknown author, while the other is the Stoic philosopher Seneca.
[28]
Nine of Seneca's tragedies survive, all of which are fabula crepidata (tragedies adapted from
Greek originals); his Phaedra, for example, was based on Euripides' Hippolytus.[29] Historians do
not know who wrote the only extant example of the fabula praetexta (tragedies based on Roman
subjects), Octavia, but in former times it was mistakenly attributed to Seneca due to his
appearance as a character in the tragedy.[28]
Medieval
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Medieval theatre
In the Middle Ages, drama in the vernacular languages of Europe may have emerged from
religious enactments of the liturgy. Mystery plays were presented on the porch of the cathedrals
or by strolling players on feast days. Miracle and mystery plays, along with moralities and
interludes, later evolved into more elaborate forms of drama, such as was seen on the
Elizabethan stages.
Elizabethan and Jacobean
Main article: English Renaissance theatre
One of the great flowerings of drama in England occurred in the 16th and 17th centuries. Many
of these plays were written in verse, particularly iambic pentameter. In addition to Shakespeare,
such authors as Christopher Marlowe, Thomas Middleton, and Ben Jonson were prominent
playwrights during this period. As in the medieval period, historical plays celebrated the lives of
past kings, enhancing the image of the Tudor monarchy. Authors of this period drew some of
their storylines from Greek mythology and Roman mythology or from the plays of eminent
Roman playwrights such as Plautus and Terence.
Modern and postmodern
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 e
Modern drama
The pivotal and innovative contributions of the 19th-century Norwegian dramatist Henrik Ibsen
and the 20th-century German theatre practitioner Bertolt Brecht dominate modern drama; each
inspired a tradition of imitators, which include many of the greatest playwrights of the modern
era.[30] The works of both playwrights are, in their different ways, both modernist and realist,
incorporating formal experimentation, meta-theatricality, and social critique.[31] In terms of the
traditional theoretical discourse of genre, Ibsen's work has been described as the culmination of
"liberal tragedy", while Brecht's has been aligned with an historicised comedy.[32]
Other important playwrights of the modern era include Antonin Artaud, August Strindberg,
Anton Chekhov, Frank Wedekind, Maurice Maeterlinck, Federico García Lorca, Eugene
O'Neill, Luigi Pirandello, George Bernard Shaw, Ernst Toller, Vladimir Mayakovsky, Arthur
Miller, Tennessee Williams, Jean Genet, Eugène Ionesco, Samuel Beckett, Harold Pinter,
Friedrich Dürrenmatt, Dario Fo, Heiner Müller, and Caryl Churchill.
Asian drama
India

Performer playing Sugriva in the Koodiyattam form of Sanskrit theatre.

Main article: Theatre in India
The earliest form of Indian drama was the Sanskrit drama.[33] It began after the development of
Greek and Roman drama and before the development of theatre in other parts of Asia.[33] It
emerged sometime between the 2nd century BCE and the 1st century CE and flourished between
the 1st century CE and the 10th, which was a period of relative peace in the history of India
during which hundreds of plays were written.[34] With the Islamic conquests that began in the
10th and 11th centuries, theatre was discouraged or forbidden entirely.[35] Later, in an attempt to
re-assert indigenous values and ideas, village theatre was encouraged across the subcontinent,
developing in a large number of regional languages from the 15th to the 19th centuries.[36]
Modern Indian theatre developed during the period of colonial rule under the British Empire,
from the mid-19th century until the mid-20th.[37]
Sanskrit theatre
Main article: Sanskrit drama
The earliest-surviving fragments of Sanskrit drama date from the 1st century CE.[38] The wealth
of archeological evidence from earlier periods offers no indication of the existence of a tradition
of theatre.[39] The ancient Vedas (hymns from between 1500 to 1000 BCE that are among the
earliest examples of literature in the world) contain no hint of it (although a small number are
composed in a form of dialogue) and the rituals of the Vedic period do not appear to have
developed into theatre.[39] The Mahābhāṣya by Patañjali contains the earliest reference to what
may have been the seeds of Sanskrit drama.[40] This treatise on grammar from 140 BCE provides
a feasible date for the beginnings of theatre in India.[40]
The major source of evidence for Sanskrit theatre is A Treatise on Theatre (Nātyaśāstra), a
compendium whose date of composition is uncertain (estimates range from 200 BCE to 200 CE)
and whose authorship is attributed to Bharata Muni. The Treatise is the most complete work of
dramaturgy in the ancient world. It addresses acting, dance, music, dramatic construction,
architecture, costuming, make-up, props, the organisation of companies, the audience,
competitions, and offers a mythological account of the origin of theatre.[40]
Its drama is regarded as the highest achievement of Sanskrit literature.[41] It utilised stock
characters, such as the hero (nayaka), heroine (nayika), or clown (vidusaka). Actors may have
specialised in a particular type. It was patronized by the kings as well as village assemblies.
Famous early playwrights include Bhasa, Kalidasa (famous for Vikrama and Urvashi, Malavika
and Agnimitra, and The Recognition of Shakuntala), Śudraka (famous for The Little Clay Cart),
Asvaghosa, Daṇḍin, and Emperor Harsha (famous for Nagananda, Ratnavali and Priyadarsika).
Śakuntalā (in English translation) influenced Goethe's Faust (1808–1832).[41]
Modern Indian drama
Rabindranath Tagore, who was awarded the Nobel Prize for Literature in 1913, is probably
India's best-known modern playwright.[42] His plays are written in Bengali and include Chitra
(Chitrangada, 1892), The King of the Dark Chamber (Raja, 1910), The Post Office (Dakghar,
1913), and Red Oleander (Raktakarabi, 1924).[42]
Modern Urdu drama of India and Pakistan

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Urdu Drama evolved from the prevailing dramatic traditions of North India shaping Rahas or
Raas as practiced by exponents like Nawab Wajid Ali Shah of Awadh. His dramatic experiments
led to the famous Inder Sabha of Amanat and later this tradition took the shape of Parsi Theatre.
Agha Hashr Kashmiri is the culmination of this tradition.
In some way or other, Urdu theatre tradition has greatly influenced modern Indian theatre.
Among all the languages Urdu (which was called Hindi by early writers), along with Gujrati,
Marathi and Bengali theatres have kept flourishing and demand for its writers and artists has not
subsided by the drama aficionados. For Urdu drama, no place is better than Bombay Film
industry otherwise known as Hindi film industry. All the early gems of Urdu Theatre (performed
by Parsi Companies) were made into films. Urdu Dramatic tradition has been a spectator’s
delight since 100 years and counting.
Drama as a theme is made up of several elements. It focuses on life and different aspects of it.
The thing to be noticed here is that drama on stage imitates drama in life. It has been said that,
there has always been a mutual relationship between theatre and real life. Great historical
personalities like Shakespeare have influenced Modern Urdu tradition to a large extent when
Indian, Iranian, Turkish stories and folk was adapted for stage with heavy doses of Urdu poetry.
In modern times writers like Imtiaz Ali Taj, Rafi Peer, Krishan Chander, Manto, Upender Nath
Ashk, Ghulam Rabbani, Prof. Mujeeb and many others shaped this tradition.
While Prof Hasan, Ghulam Jeelani, J.N,Kaushal, Shameem Hanfi, Jameel Shaidayi, etc. belong
to the old generation, contemporary writers like Danish Iqbal, Sayeed Alam, Shahid Anwar,
Iqbal Niyazi, and Anwar are a few postmodern playwrights actively contributing in the field of
Urdu Drama.
Sayeed Alam is known for his wit and humour and more particularly for Plays like 'Ghalib in
New Delhi' 'Big B'and many other gems which are regularly staged for massive turn out of
theatre lovers. Maulana Azad is his magnum opus both for its content and style.
Danish Iqbal's play about 'Dara Shikoh' directed by M. S. Sathyu is considered a modern classic
for the use of newer theatre techniques and contemporary perspective. His other plays are 'Sahir'
on the famous lyricist and revolutionary poet. 'Kuchh Ishq kiya Kuchh Kaam' is another play
written by Danish which is basically a Celebration of the Faiz's poetry, featuring events from the
early part of his life, particularly the events and incidents of pre-partition days which shaped his
life and ideals. 'Chand Roz Aur Meri Jaan' - another play inspired from Faiz's letters written
from various jails during the Rawalpindi Conspiracy days. He has written 14 other plays
including 'Dilli Jo Ek Shehr Thaa' and 'Main Gaya Waqt Nahin hoon'. Shahid's 'Three B' is also
a significant play. He has been associated with many groups like 'Natwa' and others. Zaheer
Anwar has kept the flag of Urdu theatre flying in Kolkata. Unlike the writers of previous
generation Sayeed, Shahid, Danish Iqbal and Zaheer do not write bookish plays but their work is
a product of vigorous performing tradition. Iqbal Niyazi of Mumbai has written several plays in
Urdu, his play "AUR KITNE JALYANWALA BAUGH?" won a National award other awards.
Hence this is the only generation after Amanat and Agha Hashr who actually write for stage and
not for libraries.
China
Main article: Chinese opera
Chinese theatre has a long and complex history. Today it is often called Chinese opera although
this normally refers specifically to the popular form known as Beijing Opera and Kunqu; there
have been many other forms of theatre in China.
Japan
Japanese Nō drama is a serious dramatic form that combines drama, music, and dance into a
complete aesthetic performance experience. It developed in the 14th and 15th centuries and has
its own musical instruments and performance techniques, which were often handed down from
father to son. The performers were generally male (for both male and female roles), although
female amateurs also perform Nō dramas. Nō drama was supported by the government, and
particularly the military, with many military commanders having their own troupes and
sometimes performing themselves. It is still performed in Japan today.[43]
Kyōgen is the comic counterpart to Nō drama. It concentrates more on dialogue and less on
music, although Nō instrumentalists sometimes appear also in Kyōgen. Kabuki drama,
developed from the 17th century, is another comic form, which includes dance.
Forms of drama
Opera
Western opera is a dramatic art form, which arose during the Renaissance in an attempt to revive
the classical Greek drama tradition in which both music and theatre were combined. Being
strongly intertwined with western classical music, the opera has undergone enormous changes in
the past four centuries and it is an important form of theatre until this day. Noteworthy is the
huge influence of the German 19th century composer Richard Wagner on the opera tradition. In
his view, there was no proper balance between music and theatre in the operas of his time,
because the music seemed to be more important than the dramatic aspects in these works. To
restore the connection with the traditional Greek drama, he entirely renewed the operatic format,
and to emphasize the equal importance of music and drama in these new works, he called them
"music dramas".
Chinese opera has seen a more conservative development over a somewhat longer period of
time.
Pantomime
Main article: Pantomime
These stories follow in the tradition of fables and folk tales. Usually there is a lesson learned,
and with some help from the audience, the hero/heroine saves the day. This kind of play uses
stock characters seen in masque and again commedia dell'arte, these characters include the
villain (doctore), the clown/servant (Arlechino/Harlequin/buttons), the lovers etc. These plays
usually have an emphasis on moral dilemmas, and good always triumphs over evil, this kind of
play is also very entertaining making it a very effective way of reaching many people.
Creative drama
Creative drama includes dramatic activities and games used primarily in educational settings
with children. Its roots in the United States began in the early 1900s. Winifred Ward is
considered to be the founder of creative drama in education, establishing the first academic use
of drama in Evanston, Illinois[citation needed].
Legal status
UK
The Copyright, Designs and Patents Act 1988 does not define a dramatic work except to state
that it includes a work of dance or mime. However, it is clear that dramatic work includes the
scenario or script for films, plays (written for theatre, cinema, television or radio).[44] and
choreographic works.[45]
BAB I
PENDAHULUAN

Sastra pada dasarnya merupakan ciptaan, sebuah kreasi bukan semata - mata sebuah
imitasi (dalam Luxemburg, 1989: 5). Karya sastra sebagai bentuk dan hasil sebuah pekerjaan
kreatif, pada hakikatnya adalah suatu media yang mendayagunakan bahasa untuk
mengungkapkan tentang kehidupan manusia. Oleh sebab itu, sebuah karya sastra, pada
umumnya, berisi tentang permasalahan yang melingkupi kehidupan manusia. Kemunculan sastra
lahir dilatar belakangi adanya dorongan dasar manusia untuk mengungkapkan eksistensi dirinya.
(dalam Sarjidu, 2004: 2).
 Biasanya kesusastraan dibagi menurut daerah geografis atau bahasa. Jadi, yang termasuk
dalam kategori Sastra adalah: Novel cerita/cerpen (tertulis/lisan), syair, pantun,
sandiwara/drama, lukisan/kaligrafi.

Drama / teater adalah salah satu sastra yang amat popular hingga sekarang. Bahkan di
zaman ini telah terjadi perkembangan yang sangat pesat di bidang teater. Contohnya sinetron,
film layar lebar, dan pertunjukan – pertunjukan lain yang menggambarkan kehidupan makhluk
hidup.

Selain itu, seni drama / teater juga telah menjadi lahan bisnis yang luar biasa. Dalam hal
ini, penyelanggara ataupun pemeran akan mendapat keuntungan financial serta menjadi terkenal,
tetapi sebelum sampai ke situ seorang penyelenggara atau pemeran harus menjadi insan yang
profesionalitas agar dapat berkembang terus.

Berdasarkan ulasan di atas, maka penulis membuat makalah ini guna membantu para
pembaca yang ingin menekuni dunia drama. Selain tentang pengertian dan unsur – unsur drama,
makalah ini juga memuat catatan tentang manfaat drama serta dilengkapi juga dengan panduan
bagaimana akting yang baik.

Demikian gambaran isi makalah ini dari penulis. Akhir kata, kami ucapkan terima kasih.

Selamat Membaca…!!
 BAB II
PEMBAHASAN

A. Pengertian Drama

Kata drama berasal dari bahasa Yunani Draomai yang berarti berbuat, berlaku,
bertindak. Jadi drama bisa berarti perbuatan atau tindakan.

Arti pertama dari Drama adalah kualitas komunikasi, situasi, actiom (segala yang terlihat
di pentas) yang menimbulkan perhatian, kehebatan (axcting), dan ketegangan pada para
pendengar.

Arti kedua, menurut Moulton Drama adalah hidup yang dilukiskan dengan gerak (life
presented in action).

Menurut Ferdinand Brunetierre : Drama haruslah melahirkan kehendak dengan action.

Menurut Balthazar Vallhagen : Drama adalah kesenian melukiskan sifat dan sifat
manusia dengan gerak.

Arti ketiga drama adalah cerita konflik manusia dalam bentuk dialog yang diproyeksikan
pada pentas dengan menggunakan percakapan dan action dihadapan penonton (audience)

Adapun istilah lain drama berasal dari kata drame, sebuah kata Perancis yang diambil
oleh Diderot dan Beaumarchaid untuk menjelaskan lakon-lakon mereka tentang kehidupan kelas
menengah. Dalam istilah yang lebih ketat, sebuah drama adalah lakon serius yang menggarap
satu masalah yang punya arti penting – meskipun mungkin berakhir dengan bahagia atau tidak
bahagia – tapi tidak bertujuan mengagungkan tragedi. Bagaimanapun juga, dalam jagat modern,
istilah drama sering diperluas sehingga mencakup semua lakon serius, termasuk didalamnya
tragedi dan lakon absurd.

Drama adalah satu bentuk lakon seni yang bercerita lewat percakapan dan action tokoh-
tokohnya. Akan tetapi, percakapan atau dialog itu sendiri bisa juga dipandang sebagai pengertian
action. Meskipun merupakan satu bentuk kesusastraan, cara penyajian drama berbeda dari
bentuk kekusastraan lainnya. Novel, cerpen dan balada masing-masing menceritakan kisah yang
melibatkan tokoh-tokoh lewat kombinasi antara dialog dan narasi, dan merupakan karya sastra
yang dicetak. Sebuah drama hanya terdiri atas dialog; mungkin ada semacam penjelasannya, tapi
hanya berisi petunjuk pementasan untuk dijadikan pedoman oleh sutradara. Oleh para ahli,
dialog dan tokoh itu disebut hauptext atau teks utama; petunjuk pementasannya disebut
nebentext atau tek sampingan.

Contoh;

Chaterina ( bergegas masuk, membawa berita bagus ); Raina ! ( ia mengucapkan Raina, dengan
tekanan pada i ) Raina ! ( ia menunjuk ketempat tidur, berharap menemukan Raina disitu )
Mengapa, di mana….! ( Raina menoleh kedalam ruangan).

Fase-fase dalam kurung diatas adalah petunjuk permainan untuk sutradara dan pemain.
Ini memandu para aktor dan sutradara maupun tetang penataan perlengkapan panggung. George
Bernard Shaw ( 1856 – 1950 ), pelopor realisme dalam sejarah drama Inggris, memberi petunjuk
secara panjang lebar pada nebentext-nya yang ditemukan dalam kebanyakan naskahnya karena
ia tidak ingin interprestasi lakon-lakonnya menyeleweng dari apa yang sebenarnya ia kehendaki.

Tidak adanya narasi dalam drama bisa digantikan oleh akting para pemain yang, dengan
menghubunkan diri mereka sendiri dengan perlengkapan, perlampuan dan iringan musik,
menciptakan suasan dan menghidupkan panggung itu menjadi dunia yang amat nyata.
Disamping itu, penjelasan tentang tokoh disampaikan melalui dialog antara tokoh yang
membicarakan tokoh lain. Pada puisi, daya ekpresi dan irama mentepati posisi yang dominan.
Oleh karena itu, puisi tidak bercerita. Jika balada bertumpu pada narasi, sebab sebenarnya balada
adalah kisah, atau cerita yang dinyanyikan. Contohnya, mahabarata dan ramayana dalam bentuk
tembang. Puisi yang dibaca dengan baik menjadi dramatik, seperti yang dilakukan Rendra, aktor
baik. Maka “Tidak tidak diragukan lagi drama kadang dianggap diambil dari kata dramen yang
berarti sesuatu untuk dimainkan.”Mungkin drama memperoleh hampir semua efektivitasnya dari
kemampuannya untuk mengatur dan menjelaskan pengalaman manusia. Oleh karenanya, drama,
seperti halnya karya sastra pada umumnya, dapat dianggap sebagai interprestasi penulis lakon
tentang hidup. Unsur dasar drama-perasaan,hasrat, konflik dan rekonsilasi merupakan unsur
utama pengalaman manusia.

Dalam kehidupan nyata, semua pengalaman emosional tersebut merupakan kumpulan

berbagai kesan yang saling ada hubungannya. Bagaimanapun juga, dalam drama, penulis lakon
mampu mengorganisir semua pengalaman ini ke dalam satu pola yang bisa dipahami. Penonton
melihat materi kehidupan nyata yang disajikan dalam bentuk yang padat makna dengan
menghapus hal-hal yang tidak penting dan memberi tekanan kepada hal-hal yang penting.

Penulis lakon menulis drama untuk dipentaskan, ia menulis drama itu dengan
membayangkan action dan ucapan para aktor diatas panggung. Jadi ucapan dan action yang
terwujud dalam dialog itu adalah bagian paling penting, yang tanpa itu drama bukan benar-benar
sebuah lakon. Karena itu, sebuah drama mewujudkan action, emosi, pemikiran, karakterisasi,
yang perlu digali dari dialog-dialog itu. Adalah satu keharusan bagi seorang sutradra untuk
menganalisis drama sebelum memanggugkan drama itu.

B. Sejarah Drama

Kebanyakan dari kita mengira bahwa drama berasal dari Yunani Kuno. Namun
demikian, sebuah buku yang berjudul A History of the theatre menunjukan pada kita bahwa
pemujaan pada Dionisus, yang kelak diubah kedalam festival drama di Yunani, berasal dari
Mesir Kuno. Tek Piramid yang bertanggal 4000SM. Adalah naskah Abydos Passion Play yang
terkenal. Tentu saja para pakar masih meragukan apakah teks itu drama atau bukan sebelum
Gaston Maspero menunjukan bahwa dalam teks tersebut ada petunjuk action dan indikasi
berbagai tokohnya.

Ada tiga macam teori yang mempersoalkan asal mula drama. Menurut Brockett, drama
mungkin telah berkembang dari upacara relijius primitif yang dipentaskan untuk minta
pertolonga dari Dewa. Upacara ini mengandung banyak benih drama. Para pendeta sering
memerankan mahluk superaalami atau binatang; dan kadang – kadang meniru action berburu,
misalnya. Kisah-kisah berkembang sekitar beberapa ritus dan tetap hidup bahkan setelah upacara
itu sendiri sudah tidak diadakan lagi. Kelak mite-mite itu merupakan dasar dari banyak drama.

Teori kedua memberi kesan bahwa himne pujian dinyanyikan bersama didepan makam
seorang pahlawan. Pembicara memisahkan diri dari koor dan memperagakan perbuatan-
perbuatan dalam kehidupan almarhum pahlawan itu. Bagian yang diperagakan makin lama
makin rumit dan koor tidak dipakai lagi. Seorang kritisi memberi kesan bahwa sementara koor
makinlama makin kurang penting, muncul pembicara lain. Dialog mulai terjadi ketika ada dua
pembicara diatas panggung.
 Teori ketiga memberi kesan bahwa drama tumbuh dari kecintaan manusia untuk
bercerita. Kisah – kisah yang diceritakan disekeliling api perkemahan menciptakan kembali
kisah – kisah perburuan atau peperangan, atau perbuatan gagah seorang pahlawan yang telah
gugur. Ketiga teaori itu merupakan cikal-bakal drama. Meskipun tak seorang pun merasa pasti
mana yang terbaik, harus diingat bahwa ketiganya membicarakan tentang action. Konon, action
adalah intisari dari seni pertunjukan.

C. Unsur – unsur Drama

Unsur-unsur dalam drama meliputi :
1) Tema : gagasan/ide/dasar cerita.
2) Alur : tahapan cerita yang bersambungan. Meliputi Pemaparan, pertikaian,
penggawatan, klimaks, peleraian. Dilihat dari cara menyusun : alur maju/lurus,
alur mundur, alur sorot balik, alur gabungan.
3) Tokoh : Pemain/orang yang berperan dalam cerita.
Tokoh dilihat dari watak : protagonis, antagonis, dan tritagonis
Tokoh dilihat dari perkembangan watak : tokoh bulat dan tokoh datar.
Tokoh dilihat dari kedudukan dalam cerita : tokoh utama(sentral) dan tokoh
bawahan (sampingan).
4) Latar : bagian dari cerita yang menjelaskan waktu dan tempat kejadian ketikatokoh
mengalami peristiwa
Latar terbagi dalam :
- latar sosial : latar yang berupa, waktu, suasana, masa, bahasa.
- latar fisik : latar yang berupa benda-benda di sekitar tokoh misal, rumah, ruang
tamu, dapur, sawah, hutan, pakaian/ baju.
5) Amanat : pesan atau sisipan nasihat yang disampaikan pengarang melalui tokoh dan
konflik dalam suatu cerita.

Hal mendasar yang membedakan antara karya sastra puisi, prosa, dan drama adalah pada
bagian dialog. Dialog adalah komunikasi antar tokoh yang dapat dilihat (bila dalam naskah
drama) dan didengar langsung oleh penonton, apabila dalam bentuk drama pementasan.

D. Struktur Drama
 Seorang Aristoteles, filsuf Yunani yang hidup sekitar 300 S.M. telah menulis Poetics.
Untuk mengenali plot, karakter, pikiran, diksi, musik dan spektakel dari tragedi. Kelak
identifikasi itu dianggap sebagai falsafah dasar dari strukturalisme yang oleh T.S. Eliot disebut
the Formalistick Approach
 Strukturdramatik :

Eksposisi : Isinya pemaparan masalah utama atau konflik utama yang berkaitan dengan posisi
diametral antara protagonis dan antagonis. Hasil akhir : Antagonis berhasil menghimpun
kekuatan yang lebih dominan.
Raising Action : Isinya menggambarkan pertentangan kepentingan antar tokoh. Hasil akhir :
Protagonis tidak berhasil melemahkan Antagonis. Antagonis mengancam kedudukan Protagonis.
Krisis diawali.
Complication : Isinya perumitan pertentangan dengan hadirnya konflik sekunder. Pertentangan
meruncing dan meluas, melibatkan sekutu kedua kekuatan yang berseteru. Hasil akhir :
Antagonis dan sekutunya memenangkan pertentangan. Kubu protagonis tersudut.
Klimaks : Isinya jatuhnya korban dari kubu Protagonis, juga korban dari kubu Antagonis. Hasil
akhir : Peristiwa-peristiwa tragis dan menimbulkan dampak besar bagi perimbangan kekuatan
antar kubu.
Resolusi : Isinya hadirnya tokoh penyelamat, bisa muncul dari kubu protagonis atau tokoh baru
yang berfungsi sebagai penyatu kekuatan kekuatan konflik, sehingga situasi yang kosmotik
dapat tercipta kembali. Pada tahap ini, pesan moral disampaikan, yang biasanya berupa solusi
moral yang berkaitan dengan tema atau konflik yang sudah diusung.

Berikut contoh penggunaan struktur drama dalam Drama Romeo Juliet.

Pada awal plot kita ada eksposisi. Ini memberi penonton informasi yang diperlukan
tentang peristiwa sebelumnya, situasi sekarang atau tokoh-tokohnya. Dalam kebanyakan lakon,
sudah sejak awal pengarang memberi tekanan kepada satu pertanyaan atau konplik penting.
Pada awal kisah Romeo and Juliet, Shakespeare telah menyajikan pertengkaran antara Sampson,
Gregory lawan Baltazar dan Abraham, satu penjelasan yang memberi ‘Leitmotive’ kepada tema,
konplik dan rekonsiliasinya.

Gregory : Anda berkelahi, ya ?

Abraham : Berkelahi? Ah, ngak, nggak!

Sampson : Tapi kalau ya, saya memihak anda, saya mengabdi sebaik anda

Abraham : ah, tak akan lebih baik.

Sampson : Baiklah

Gregory : (kesamping kepada Sampson, melihat Tybalt keluar panggung)

Katakanlah lebih baik. Itu salah satu dari orang majikanku datang.

Sampson : Ya, lebih baik.

Abraham : Bohong!

Sampson : Cabut pedangmu, kalau kamu lelaki. Gregory, ingat hantamanmu.

( mereka berkelahi ).

Dialog diatas menciptakan suasana babak itu dan suatu pelukisan singkat tapi lengkap
tenatang konplik antara keluarga Montague versus keluarga Capulet yang akan menimbulkan
bencana itu.

Terkadang juga ada eksposisi tentang tokoh-tokoh. Sebuah film berjudul Jango versus
Santana dapat dijadikan contoh. Film itu dimulai dengan sebuah pemandangan. Sebidang tanah
tandus dengan pohon-pohon kaktus tumbuh disana-sini. Sementara fokus kamera bergerak
kearah kanan, seorang lelaki dengan baju kotor dan basah kuyup tampak berlutut didepan sebuah
makam. Lelaki itu berdiri dan kamera mengambil gambarnya dalam teknik medium. Posisi
enface memberikan gambaran jelas tokot itu. Ia tak mengalami kemalangan, tapi ia
menghadapinya dengan tegar. Pelukisan singkat tapi hampir lengkap dari tokoh tersebut
memberi titik awal yang jelas untuk memulai film itu.

Dalam eksposisi itu, unsur-unsur konpliknya statis. Melalui satu insiden yang
merangsang maka action mulai bergerak. Disini konflik dramatik besar mulai jelas menyatukan
kejadian – kejadian dalam lakon itu. Insiden yang merangsang dalam Romeo and Juliet tampak
ketika Tybalt mengenali Romeo dan ingin menantang berkelahi. Presiden dari stimulasi itu
terjadi ketika inang memberi tahu Juliet bahwa Romeo adalah anggota keluarga Montague.
Unsur statis dalam eksposisi itu mulai bergerak dan konflik sehari-hari antara Sampson versus
Abraham makin lama makin menjadi makin serius. ( Babak I ) timbul serentetan konflik ketika
Romeo membocorkan rahasianya kepada teman-temannya, memanjat tembok kebun keluarga
Capulet, dan menunggu Juliet muncul dijendelanya waktu gadis itu muncul, keduanya saling
mengungkapkan cinta dan memutuskan untuk kawin lari ( Babak II). Makin lama lakon itu
makin tegang sampai pendeta sampai pendeta Laurence berharap, setelah menyeleggarakan
upacara pernikahan, pertikaian antara keluarga itu akan berakhir dan Romeo berpendapat begitu.
Kisah cinta sederhana antara pemuda dan pemudi itu sekarang berkembang menjadi idealisme
yang melibatkan masalah besar yang dihadapi kedua orang tua itu. Tidak diragukan bahwa
konflikasi tersebut menuju suatu krisi, satu titik balik ketika informasi yang sebelumnya
dirahasiakan sedikit sebagian terungkap dan masalah dramatik itu bisa dijawab.

Meskipun Juliet sudah menikah dengan Romeo, ia tidak berterus terang pada ayahnya.
Oleh karenanya itu, Capulet tetap menjalankan rencananya untuk menikahkan Juliet dengan
Paris. Karena pernikahan akan berlangsung pada hari kamis, pendeta Laurence mengusulkan
agar pada hari rabu Juliet harus menelan ramuan yang akan membuatnya mati suri; sementara
Laurence akan mengirimkan pesan pada Romeo untuk menyelamatkan Juliet dari makam
keluarga Capulet, karena ia merasa yakin gadis itu akan dimakamkan disana. Capulet, karena
ditentang oleh putrinya, memutuskan untuk mengajukan pernikahan itu sehari. Rencana itu
membuat Juliet harus segera mereguk racun tadi. Agar rencananya tidak terhalang, ia menyuruh
inang keluar dan tanpa pikir panjang langsung mereguk racun tadi. Paginya inang menemukan
Juliet sudah tak bernyawa. Laurence dan Paris tiba; tapi upacara pernikahan harus diubah
menjadi upacara pemakaman ( Babak IV ).

Bagian terakhir dari lakon itu, sering disebut resolusi, berkembang dari krisis sampai tirai
ditutup untuk terakhir kalinya. Ini terkadang mengumpulkan berbagai alur action dan membawa
situasinya ke suatu keseimbangan baru, dengan demikian hasilnya bisa jadi memuaskan, tapi
mungkin juga mengecewakan harapan penonton.

Karena tidak tahu bahwa Jliet hanya kelihatannya mati, Balthazar tiba di Mantua
sebelum pendeta tiba dan memberi tahukan tentang kematian Juliet. Mendengar itu Romeo
membeli racun untuk bunuh diri dimakam Juliet. Setelah membunuh Paris, Romeo mereguk
racun itu. Ketika terjaga, Juliet menemukan Romeo yang sudah mati dan bunuh diri. Pertikaian
kedua keluarga itu berakhir di atas dua kekasih yang sudah mati ( Babak V )

E. Kelengkapan Drama
• Naskah drama : skrip yang dijadikan panduan pemain sebelum pentas.
• Penulis naskah : orang yang menulis skenario dan dialog dalam bentuk jadi naskah
drama
 • Sutradara : orang yang memimpin atau yang mengatur suatu kelompok drama.
• Pemain : orang yang berperan melakonkan cerita
• Lighting : pengatur cahaya dalam pementasan
• Tata busana/make up : bagian kelengkapan drama yang bertugas merias dan memakaian
propertis pakaian
• Tata suara : pengatur suara untuk memunculkan efek tertentu dalam pementasan
• Tata panggung : kelengkapan drama yang mengatur latar setiap adegan
• Panggung : tempat bagi pemain untuk melakonkan cerita

F. Jenis – jenis Drama

Drama menurut masanya dapat dibedakan dalam dua jenis yaitu drama baru dan drama
lama.
1. Drama Baru / Drama Modern
Drama baru adalah drama yang memiliki tujuan untuk memberikan pendidikan kepada
mesyarakat yang umumnya bertema kehidupan manusia sehari-hari.

2. Drama Lama / Drama Klasik

Drama lama adalah drama khayalan yang umumnya menceritakan tentang kesaktian,
kehidupan istanan atau kerajaan, kehidupan dewa-dewi, kejadian luar biasa, dan lain
sebagainya.
Macam-Macam Drama Berdasarkan Isi Kandungan Cerita :
1. Drama Komedi
Drama komedi adalah drama yang lucu dan menggelitik penuh keceriaan.
2. Drama Tragedi
Drama tragedi adalah drama yang ceritanya sedih penuh kemalangan.
3. Drama Tragedi Komedi
Drama tragedi-komedi adalah drama yang ada sedih dan ada lucunya.
4. Opera
Opera adalah drama yang mengandung musik dan nyanyian.
5. Lelucon / Dagelan
Lelucon adalah drama yang lakonnya selalu bertingkah pola jenaka merangsang gelak tawa
penonton.
6. Operet / Operette
Operet adalah opera yang ceritanya lebih pendek.
7. Pantomim
Pantomim adalah drama yang ditampilkan dalam bentuk gerakan tubuh atau bahasa isyarat
tanpa pembicaraan.
8. Tablau
Tablau adalah drama yang mirip pantomim yang dibarengi oleh gerak-gerik anggota tubuh
dan mimik wajah pelakunya.
9. Passie
Passie adalah drama yang mengandung unsur agama / relijius.
10. Wayang
Wayang adalah drama yang pemain dramanya adalah boneka wayang. Dan lain sebagainya.

G. AKTING YANG BAIK

Akting tidak hanya berupa dialog saja, tetapi juga berupa gerak. Dialog yang baik ialah
dialog yang :
1. terdengar (volume baik)
2. jelas (artikulasi baik)
3. dimengerti (lafal benar)
4. menghayati (sesuai dengan tuntutan/jiwa peran yang ditentukan dalam naskah)
5. Gerak yang balk ialah gerak yang :
6. terlihat (blocking baik)
7. jelas (tidak ragu-ragu, meyakinkan)
8. dimengerti (sesuai dengan hukum gerak dalam kehidupan)
9. menghayati (sesuai dengan tuntutan/jiwa peran yang ditentukan dalam naskah)

Penjelasan :
1. Volume suara yang baik ialah suara yang dapat terdengar sampai jauh.
2. Artikulasi yang baik ialah pengucapan yang jelas. Setiap suku kata terucap dengan jelas dan
terang meskipun diucapkan dengan cepat sekali. Jangan terjadi kata-kata yang diucapkan
menjadi tumpang tindih.
3. Lafal yang benar pengucapan kata yang sesuai dengan hukum pengucapan bahasa yang
dipakai . Misalnya berani yang berarti “tidak takut” harus diucapkan berani bukan ber-ani.
4. Menghayati atau menjiwai berarti tekanan atau lagu ucapan harus dapat menimbulkan kesan
yang sesuai dengan tuntutan peran dalam naskah.
5. Blocking ialah penempatan pemain di panggung, diusahakan antara pemain yang satu
dengan yang lainnya tidak saling menutupi sehingga penonton tidak dapat melihat pemain
yang ditutupi.
6. Pemain lebih baik terlihat sebagian besar bagian depan tubuh daripada terlihat sebagian
besar belakang tubuh. Hal ini dapat diatur dengan patokan sebagai berikut
 a. Kalau berdiri menghadap ke kanan, maka kaki kanan sebaiknya berada didepan.
b. Kalau berdiri menghadap ke kiri, maka kaki kiri sebaiknya berada didepan.
c. Harus diatur pula balance para pemain di panggung. Jangan sampai seluruh pemain
mengelompok di satu tempat. Dalam hal mengatur balance, komposisinya:
· Bagian kanan lebih berat daripada kiri
· Bagian depan lebih berat daripada belakang
· Yang tinggi lebih berat daripada yang rendah
· Yang lebar lebih berat daripada yang sempit
· Yang terang lebih berat daripada yang gelap
· Menghadap lebih berat daripada yang membelakangi

Komposisi diatur tidak hanya bertujuan untuk enak dilihat tetapi juga untuk mewarnai
sesuai adegan yang berlangsung; Jelas, tidak ragu-ragu, meyakinkan, mempunyai pengertian
bahwa gerak yang dilakukan jangan setengah-setengah bahkan jangan sampai berlebihan. Kalau
ragu-ragu terkesan kaku sedangkan kalau berlebihan terkesan over acting. Dimengerti, berarti
apa yang kita wujudkan dalam bentuk gerak tidak menyimpang dari hukum gerak dalam
kehidupan. Misalnya bila mengangkat barang yang berat dengan tangan kanan, maka tubuh kita
akan miring ke kiri, dsb. Menghayati berarti gerak-gerak anggota tubuh maupun gerak wajah
harus sesuai tuntutan peran dalam naskah, termasuk pula bentuk dan usia.
H. PERKEMBANGAN DRAMA DI INDONESIA
Perkembangan drama di Indonesia tak sesemarak dan setua perkembangan puisi dan prosa.
Kalau puisi dan prosa mengenal puisi lama dan porsa lama, tak demikianlah dengan drama.
Genre sastra drama di Indonesia benar-benar baru, seiring dengan perkembangan pendidikan di
Indonesia, muncul pada tahun 1900-an.
Sastra drama di Indonesia ditulis pada awal abad 19, tepatnya tahun 1901, oleh seorang
peranakan Belanda bernama F. Wiggers, berupa sebuah drama satu babak berjudul Lelakon
Raden Beij Soerio Retno. Untuk selanjutnya bermunculanlah naskah-naskah drama dalam
bahasa Melayu Rendah yang ditulis oleh para pengarang peranakan Belanda dan atau Tionghoa.
Selanjutnya, anak Indonesia sendiri yang mulai menulis drama. Berikut ini Anda akan
disuguhi beberapa dramawan Indonesia dari mulai Rustam Effendi (lahir 1903) sampai dengan
Hamdy Salad (lahir 1961).

Tahun Pengarang Judul

Kelahiran
Pengarang
1903 Rustam Effendi Bebasari
1905 Sanusi Pane Kertajaya
1906 Abu Hanifah Taufan di Atas Asia
1916 Trisno Sumarjo Tumbang
1918 D. Jayakusuma Rama Bargawa
1920 Utuy Tatang Sontani Bunga Rumah Makan
1921 Usmar Ismail Leburan Seniman
1926 Asrul Sani Mahkamah
1928 Mohammad Iblis
1933 Diponegoro Bung Besar
1934 Misbach Yusa Biran Domba-domba

1935 D. Sularto Revolusi

1937 Rahman Age Pembenci Matahari

1938 Motinggo Busye Malam Jahanam

1938 Ajip Rosidi Masyitoh

1941 Saini KM Egon

1942 Arifin C. Noer Dalam Bayangan

1943 Vredi Kasram Marta Tuhan atawa Interogasi

1944 Aspar Paturusi Syeh Siti Jenar

1945 Putu Wijaya Perahu Nuh II

1946 Wisran Hadi Dam

1949 Akhudiat Cindua Mato

1955 N. Riantiarno Jaka Tarub

1959 Yono Daryono Sampek Engtay

1961 Arthur S. Nalan Ronggeng-ronggeng

Hamdy Salad Syair Ikan Tongkol

Perempuan dalam
 Kereta

I. MANFAAT DRAMA/TEATER

Banyak hal yang dapat kita raih dalam bermain drama, baik fisik maupun psikis.
Pembicaraan ini tidak akan memisahkan secara rinci antara bermain drama dan teater, karena
keduanya merupakan satu kesatuan yang utuh. Di bawah ini akan diuraikan manfaat bermain
drama atau teater.

a. Meningkatkan pemahaman

Meningkatkan pemahaman kita terhadap fenomena dan kejadian-kejadian yang

sering kita saksikan dan kita hadapi dalam kehidupan sehari-hari. Kita menyadari bahwa
memahami orang lain merupakan pekerjaan yang paling sulit dan membutuhkan waktu.
Untuk itu drama/teater merupakan salah satu cara untuk memecahkannya. Dengan bermain
drama atau berteater kita selalu berkumpul dengan orang-orang yang sama sekali berbeda
dengan diri kita. Dari segi individual differences inilah kita dituntut untuk memahami orang
lain. Pemahaman kita kepada orang lain tidak hanya dilihat dari orangnya, melainkan
keseluruhan orang tersebut. Meliputi sifat, watak, cara berbicara, cara bertindak (tingkah
laku), cara merespon suatu masalah, merupakan keadaan yang harus kita pahami dari orang
tersebut.
b. Mempertajam kepekaan emosi

Drama melatih kita untuk menahan rasa, melatih kepekaan rasa, menumbuhkan
kepekaan, dan mempertajam emosi kita. Rasa kadang kala tidak perlu dirasakan, karena
sudah ada dalam diri kita. Perlu diingat bahwa rasa, sebagai sesuatu yang khas, perlu
dipupuk agar semakin tajam. Apa yang ada dihadapan kita perlu adanya rasa. Kalau tidak,
maka segala sesuatu yang ada akan kita anggap wajar saja. Padahal sebenarnya tidak
demikian. Kita semakin peka terhadap sesuatu tentu saja melalui latihan yang lebih. Rasa
indah, seimbang, tidak cocok, tidak asyik, tidak mesra adalah bagian dari emosi. Oleh karena
itu, perasaan perlu ditingkatkan untuk mencapai kepuasan batin.

Drama menyajikan semua itu. Peka panggung, peka kesalahan, peka keindahan, peka
suara atau musik, peka lakuan yang tidak enak dan enak, semua berasal dari rasa. Semakin
kita perasa semakin halus pula tanggapan kita terhadap sesuatu yang kita hadapi.

c. Pengembangan ujar

Naskah drama sebagai genre sastra, hampir seluruhnya berisi cakapan. Cakapan
secara tepat, intonasi, maka ujar kita semakin jelas dan mudah dipahami oleh lawan bicara.
Kejelasan tersebut dapat membantu pendengar untuk mencerna makna yang ada. Harus ada
kata yang ditekankan supaya memudahkan pemaknaan. Dimana kita memberi koma (,) dan
titik (.). hampir keseluruhan konjungsi harus diperhatikan selam kita berlatih membaca
dalam bermain drama. Suara yang tidak jelas dapat berpengaruh pada pendengar dan lebih-
lebih pemaknaan pendengar atau penonton. Di sini perlu adanya kekuatan vokal dan warna
vokal yang berbeda dalam setiap situasi. Tidak semua situasi memerlukan vokal yang sama.
Tidak semua kalimat harus ditekan melainkan pasti ada yang dipentingkan. Drama memberi
semua kemungkinan ini. Sebagai salah satu karya sastra yang harus dipentaskan dan berisi
lakuan serta ucapan.

d. Apresiasi dramatik.

Apresiasi dramatik dikatakan sebagai pemahaman drama. Realisasi pemahaman ini

adalah dengan pernyataan baik dan tidak baik. Kita bisa memberi pernyataan tersebut jika
kita tidak pernah mengenal drama. Semakin sering kita menonton pementasan drama
semakin luas pula pemahaman kita terhadap drama atau teater. Karena itulah, kita dituntut
 untuk lebih meningkatkan kecintaan kita terhadap drama. Hal ini dilakukan dengan tujuan
memperoleh wawasan dramatik yang lebih baik.

e. Pembentukan Postur Tubuh

Postur berkaitan erat dengan latihan bermain drama, latihan ini dibagi menjadi dua
golongan besar, yaitu dasar dan lanjut. Yang termasuk latihan dasar ini adalah latihan vokal
dan latihan olah tubuh. Yang terkait dengan postur adalah olah tubuh. Kelenturan tubuh
diperlukan dalam bermain drama, sebab bermain drama memerlukan gerak-gerik. Gerak-
gerik inilah yang nantinya dapat membentuk postur tubuh kita sedemikian rupa.

f. Berkelompok (Bersosialisasi)

Bermain drama tidak mungkin dilaksanakan sendirian, kecuali monoplay. Bermain

drama, secara umum, dilakukan secara berkelompok atau group. Betapa sulitnya mengatur
kelompok sudah kita pahami bersama, bagaimana kita bisa hidup secara berkelompok adalah
bergantung pada diri kita sendiri.
Masing-masing orang dalam kelompok drama memiliki tugas dan tanggung jawab yang
sama. Tak ada yang lebih dan tak ada yang kurang, semuanya sama rendah dan sama tinggi,
sama-sama penting. Untuk itu, drama selalu menekankan pada sikap pemahaman kepada
orang lain dan lingkungannya.
Kelompok drama harus merupakan satu kesatuan yang utuh. Semua unsur dalam drama
tidak ada yang tidak penting, melainkan semuanya penting. Rasa kebersamaan, memiliki,
dan menjaga keharmonisan kelompok merupakan tanggung jawab dan tugas semua anggota
kelompok itu. Bukan hanya tugas dan tanggung jawab ketua kelompok. Baik buruknya
pementasan drama tidak akan dinilai dari salah seorang anggota kelompok tetapi semua
orang yang terlibat dalam pementasan. Oleh karena itu, perlu adanya kekompakan,
kebersamaan, dan kesatuan serta keutuhan.

g. Menyalurkan hobi

Bermain drama dapat juga dikatakan sebagai penyalur hobi. Hobi yang berkaitan
dengan sastra secara umum dan drama khususnya. Dalam drama terdapat unsur-unsur sastra.
Drama sebagai seni campuran (sastra, tari, arsitektur).
 BAB III
PENUTUP

A. Kesimpulan

- Drama adalah satu bentuk lakon seni yang bercerita lewat percakapan dan action tokoh-
tokohnya. Akan tetapi, percakapan atau dialog itu sendiri bisa juga dipandang sebagai
pengertian action.

- Sebuah buku yang berjudul A History of the theatre menunjukan pada kita bahwa pemujaan
pada Dionisus, yang kelak diubah kedalam festival drama di Yunani, berasal dari Mesir
Kuno. Tek Piramid yang bertanggal 4000SM. Adalah naskah Abydos Passion Play yang
terkenal.

- Unsur – unsur Drama

- Tema
- Alur
- Tokoh
- Latar
- Amanat

- Manfaat drama/teater :
 Menyalurkan hobi
 Berkelompok (Bersosialisasi)
 Pembentukan Postur Tubuh
 Apresiasi dramatik.
 Pengembangan ujar
 Mempertajam kepekaan emosi
 Meningkatkan pemahaman

B. Saran

- Hendaknya pihak sekolah menambah kegiatan ekstrakurikuler di bidang seni drama, agar
siswa mendapat bimbingan dan lebih dapat mengekspresikan bakatnya.
- Hendaknya sekolah mengadakan pagelaran / pertunjukan drama, agar siswa lebih matang
dalam mengembangkan bakat seni dramanya.
 DAFTAR PUSTAKA

1. http://sendratasik.wordpress.com/2008/12/05/pengertian-drama-dan-teknik-penulisan-naskah-
drama/
2. http://www.slideshare.net/hanifphone/drama-429983
3. http://aamovi.wordpress.com/2009/03/26/pengertian-drama-dan-teater-2/
4. http://organisasi.org/arti-definisi-pengertian-drama-dan-jenis-macam-drama-pelajaran-bahasa-
indonesia
5. http://my-name-is-sedre.jimdo.com/2009/05/09/pengetahuan-dasar-teater-dan-drama

http://awan965.wordpress.com/2008/02/27/perkembangan-sastra-di-indonesia/

CHAPTER I
INTRODUCTION

Literature is essentially a creation, a creation not only - the eye of a costume (in Luxemburg,
1989: 5). Literature as a form and the result of a creative work, is essentially a media that utilize
the language to express about human lives. Therefore, a work of literature, in general, contains
about issues surrounding human life. The emergence of literature was born against the
background of the basic human urge to express her existence. (In Sarjidu, 2004: 2).
Literature is usually divided according to geographical region or language. So, are included in
the Literature categories are: Novel story / stories (written / oral), poetry, verse, theater / drama,
painting / calligraphy.
Drama / theater is one of the most popular literature until now. Even in this day and age there
has been a very rapid development in the field of theater. For example soap operas, movies, and
performances - performances that depict the lives of other living things.
In addition, the art of drama / theater also has a tremendous business area. In this case,
penyelanggara or actor would benefit financially as well as being famous, but before reaching
there a cast operator must be a man or a professional in order to grow steadily.
Based on the above review, the authors make this paper in order to assist readers who wish to
pursue the world of drama. In addition to the definition and elements - elements of drama, the
paper also contains a note on the benefits of drama and come equipped with a guide to good
acting.
Thus this paper is an overview of the author. Finally, we thank you.
Happy Reading ...!

CHAPTER II
DISCUSSION
A. Definition of Drama
The word drama comes from the Greek meaning Draomai do, in effect, act. So drama can mean
the act or acts.
Drama is the first meaning of the communication quality, situation, actiom (all that is seen on
stage) that give rise to concern, intension (axcting), and strain on the listeners.
The second meaning, according to Moulton Drama is a life characterized by motion (life
Presented in action).
According to Ferdinand Brunetierre: Drama must give birth to the will of the action.
According to Balthazar Vallhagen: Drama is the art depicts nature and human nature in motion.
The third meaning of drama is the story of human conflict in the form of dialogue which is
projected on the stage with the use of conversation and action in front of the audience (the
audience)
The other term comes from the word drame drama, a French word taken by Diderot and
Beaumarchaid to explain the play, they play about the life of the middle class. In more rigorous
terms, a drama is a serious play that worked on one issue that has importance - even though it
may end up with a happy or unhappy - but it is not intended to glorify the tragedy. However, in
the modern universe, the term drama is often expanded to include all serious drama, including
tragedy and absurd story.
Drama is a form of story telling through the art of conversation and action of his characters.
However, a conversation or dialogue itself can also be viewed as a sense of action. Although it is
a form of literary, dramatic way of presenting different from other forms of kekusastraan.
Novels, short stories and ballads of each telling a story involving the characters through a
combination of dialogue and narration, and the printed literature. A play consists only of
dialogue, maybe there is such an explanation, but only contains the instructions to be used as
guidelines for staging by the director. By experts, dialogue and characters are called hauptext or
main text; instructions pementasannya called nebentext or tek side.
Examples;
Chaterina (rushing in, bringing good news); Raina! (He said Raina, with emphasis on i) Raina!
(He pointed to bed, expecting to find Raina there) Why, where ....! (Raina looked into the room).
Phases in parentheses above are the instructions to the director and game players. It guides the
actors and directors as well as stage props neighbor arrangement. George Bernard Shaw (1856 -
1950), a pioneer of realism in the history of English drama, hinted at some length on his
nebentext found in most of the script because he did not want the play-lakonnya perverted
interpretation of what she really wants.
The absence of narrative in the play can be replaced by the acting of the players, with
menghubunkan themselves with the equipment, perlampuan and musical accompaniment,
creating the atmosphere and turn on the world stage it becomes very real. In addition, an
explanation of the figures presented through dialogue between characters who talk about other
characters. In the poem, the expression and rhythm mentepati dominant position. Therefore, the
poem does not tell you. If a ballad based on a narrative, because in fact the ballad is a story, or
stories are sung. For example, the Mahabharata and the Ramayana in the form of song. Read a
good poem to be dramatic, as did Renda, a good actor. Then "no drama no doubt sometimes be
taken from dramen word that means something to be played." Perhaps the drama of getting
almost all of its effectiveness from its ability to organize and explain human experience.
Therefore, the drama, as well as works of literature in general, can be regarded as a scriptwriter
interpretation of life. Basic elements of drama, feeling, passion, conflict and reconciliation is a
key element of human experience.
In real life, all the emotional experience is a collection of impressions which has to do with each
other. However, in the drama, the author of the play is able to organize all this experience into a
single pattern that can be understood. The audience sees real-life material presented in the form
of a solid meaning to remove things that are not essential and put pressure on the important
things.
Scriptwriter to write the drama was staged, he wrote the play with the thought of action and
speech of the actors on stage. So the speech and action that is realized in that dialog is the most
important, without which the drama is not really a play. Therefore, an action drama realize,
emotions, thoughts, characterization, which needs to be extracted from the dialogues. Is a must
for a sutradra to analyze memanggugkan drama drama before it.
B. History of Drama
Most of us think that comes from ancient Greek drama. However, a book called A History of the
theater show us that the worship of Dionysus, which later turned into a drama festival in Greece,
dating from Ancient Egypt. Pyramids are dated 4000SM Tech. Abydos is the manuscript of the
famous Passion Play. Of course, the experts still doubt whether or not the drama of the text
before Gaston Maspero shows that there are clues in the text of the action and an indication of
the various characters.
There are three kinds of theories that question the origin of drama. According to Brockett, drama
may have evolved from primitive religious ceremonies are staged to ask for aid from the gods.
This ceremony contains many seeds of drama. The priests often played superaalami beings or
animals, and sometimes - sometimes mimic the action of hunting, for example. The stories
evolve around some of the rites and remains alive even after the ceremony itself was not held
again. Later myths that are the basis of much drama.
The second theory suggests that the hymns of praise sung together in front of the tomb of a hero.
Broke away from the speaker's choir and demonstrate actions in the life of the deceased hero.
Sections exhibited more and more complicated and the choir is not used anymore. One critic
suggests that while the choir makinlama increasingly less important, other speakers appeared.
Dialogue is taking place when there are two speakers on the stage.
The third theory suggests that grew from a love of human drama to tell stories. Story - a story
told around a camp fire re-create the story - the story of the hunt or war, or the gallant deeds of a
hero who has died. Teaori third was a forerunner of drama. Although no one was sure which one
is best, it must be remembered that all three talk about the action. That said, the action is the
essence of the performing arts.
C. Element - element of Drama
Elements in the drama include:
1) Theme: notion / idea / basic story.
2) Flow: the story continuous phase. Include exposure, fights, penggawatan, climax,
denouement. Judging from how to prepare: path forward / straight, flow backward, flashback
groove, groove joint.
3) Figures: The player / person that plays a role in the story.
Figures seen from the character: the protagonist, antagonist, and tritagonis
Figures seen from the development of character: character round and flat characters.
Figures seen from the positions of the story: the main character (central) and subordinate
characters (sideline).
4) Background: part of the story that explains the time and scene of an incident ketikatokoh
Background is divided into:
- The social background: the background in the form, time, atmosphere, time, language.
- Physical background: the background of the objects around such figures, house, living room,
kitchen, fields, woods, clothing / clothes.
5) Mandate: inserts the message or advise that conveyed the author through the characters and
conflicts in a story.
This fundamental difference between literary works of poetry, prose, and drama is on the dialog.
Dialogue is a communication between the figures can be seen (if in a drama script) and be heard
directly by the viewer, when in the form of drama performances.
D. Dramatic Structure
A Aristotle, Greek philosopher who lived around 300 BC has written Poetics. To recognize the
plot, character, thought, diction, music and spectacle of tragedy. Later, the identification was
considered as the basic philosophy of structuralism that by TS Eliot called the Formalistick
Approach.

Strukturdramatik:
Exposition: It's the exposure of the major problems or major conflicts related to the position
diametrically between the protagonist and antagonist. The end result: Antagonist managed to
collect a more dominant force.
Raising Action: The contents describe a conflict of interest between the characters. The end
result: The protagonist does not work weakens antagonists. Antagonists threatens the position of
protagonist. The crisis began.
Complication: The contents perumitan disagreement with the presence of secondary conflicts.
Tapered and widespread opposition, involving the two allies hostile forces. The end result:
Antagonist and its allies win the conflict. Kubu protagonist cornered.
Climax: The contents of the camp casualties Protagonist, Antagonist also victims of the camp.
The end result: the tragic events and a big impact on the balance of power between the sides.
Resolution: It's the presence of a savior figure, could emerge from the stronghold of the
protagonist or a new character that serves as a unifying force strength of the conflict, so the
situation can be created again kosmotik. At this stage, delivered a moral message, which is
usually a moral solution to the theme or the conflict that has been carried.
Here's an example of using the structure of drama in the drama Romeo Juliet.
At the beginning of our existing plot exposition. It gives the audience the necessary information
about previous events, the present situation or the characters. In most plays, the author has been
since the beginning of applying pressure to a question or konplik important. At the beginning of
the story of Romeo and Juliet, Shakespeare has presented an argument between Sampson,
Gregory Baltazar opponent and Abraham, an explanation that gives 'Leitmotive' to the theme,
konplik and reconciliation.
Gregory: You fight, huh?
Abraham: Fighting? Ah, ngak, no!
Sampson: But if so, I sided with you, I serve as your
Abraham: ah, there will be better.
Sampson: Well
Gregory: (aside to Sampson, see Tybalt out stage)
Say better. It's one of the master came.
Sampson: Yes, it's better.
Abraham: Liar!
Sampson: Unplug your sword, if you are male. Gregory, remember hantamanmu.
(They fight).
Dialogue on creating an atmosphere round it and a brief but complete delineation between
family tenatang konplik Montague versus Capulet family that will lead to disaster.
Sometimes there is also an exposition about the characters. A movie called Jango versus Santana
can be used as an example. The film begins with a scene. Barren piece of land with cactus trees
grow here and there. While the focus of the camera moves to the right, a man with dirty clothes
and wet look on his knees in front of a tomb. The man stood up and the camera takes a picture in
the art medium. Enface position tokot it gives a clear picture. He did not experience adversity,
but he was tough to deal with. Brief but nearly complete depiction of such figures give a clear
starting point to start the movie.
In that exposition, konpliknya static elements. Through an incident that stimulate the action
starts to move. Major dramatic conflict here began clearly brings together the events - events in
the play. The incident, which stimulates the Romeo and Juliet appears when Tybalt recognizes
Romeo and want a fight. President of the stimulation that occurs when the host tells Juliet that
Romeo is a Montague family. Static elements of the exposition it started moving and the daily
conflict between Sampson versus Abraham increasingly becoming more serious. (Act I) a series
of conflicts arise when Romeo divulge his secret to his friends, climbing the garden wall of
Capulet family, Juliet appears and wait for the girl appeared dijendelanya time, they express love
to each other and decided to elope (Act II). The longer the play more and more tense until the
pastor to pastor Laurence hope, after menyeleggarakan wedding ceremony, the dispute between
the family will end and Romeo believes so. A simple love story between a boy and girl that is
now evolving into ideals involving the major problems the parents. There is no doubt that it led
to a crisis konflikasi, a turning point when the information previously undisclosed least partially
unfold and dramatic problems can be answered.
Although she was married to Romeo, he did not come clean to his father. Therefore, the Capulet
continue with his plan to marry Juliet to Paris. Because the wedding will take place on Thursday,
pastor Laurence proposed that on Wednesday she had to swallow a potion that will make it a
dead faint, while Laurence will send a message to Romeo to rescue Juliet from the Capulet
family tomb, because he felt sure she would be buried there. Capulet, as opposed by his
daughter, decided to ask the wedding day. The plan must be made Juliet drank the poison was.
In order for the plan is not blocked, he told the host came out and immediately blurted drank
poison earlier. Morning host finds Juliet's lifeless. Laurence and Paris arrive; but the wedding
ceremony should be changed to a funeral (Act IV).
The last part of the play, often called the resolution, evolved from the crisis until the curtain
closed for the last time. This action sometimes collects a variety of grooves and bring the
situation to a new equilibrium, thus the results can be satisfying, but it may also disappoint the
audience expectations.
Not knowing that Jliet just seems dead, Balthazar arrived in Mantua before the priest arrived and
told about the death of Juliet. Heard that Romeo bought poison to kill himself buried her. After
killing Paris, Romeo drank the poison. When awake, Juliet finds Romeo dead and committed
suicide. The dispute ended in the two families of two lovers who have died (Act V)
E. Completeness of Drama
• The script drama: a script that guides players made before the performance.
• Script writer: the person who wrote the screenplay and dialogue in the form of finished plays
• Director: the person who leads or who organize a drama group.
• Players: those who contribute stories melakonkan
• Lighting: light regulator in the staging
• Tata fashion / make up: the completeness of the drama in charge of makeup and wear
properties memakaian
• Tata voice: the voice control to bring up a specific effect in staging
• Tata stage: the completeness of the drama that set the background of each scene
• Stage: a place for players to melakonkan story
F. Type - type of Drama
Drama can be distinguished according to their time in the two types of new drama and long
drama.
A. New Drama / Drama Modern
The new drama is the drama that has the purpose to provide education to the general theme
mesyarakat of everyday human life.
2. Lama Drama / Drama Classics
Long drama is drama fantasy that is generally told of supernatural powers, or royal istanan life,
the life of gods, extraordinary events, and so forth.
Various sorts of Drama-Based Content Content of Stories:
A. Comedy Drama
Drama skit was funny and full of fun tickles.
2. Drama Tragedy
Tragedy is the sad story full of drama that goes wrong.
3. Drama Tragedy Comedy
Tragedy-comedy drama is the drama that is sad and there is a punchline.
4. Opera
Opera is a drama that contains music and singing.
5. Jokes / slapstick
The joke is always acted drama that lakonnya playful patterns stimulate the audience's laughter.
6. Operetta / Operette
Opera operetta is a shorter story.
7. Pantomime
Pantomime is drama presented in the form of body movements or gestures without speech.
8. Tablau
Tablau is a drama which is accompanied by a mime-like movements of the limbs and facial
culprit.

9. Passie
Passie is a drama that contains elements of religion / religious.
10. Puppet
Puppet is a drama that his plays are puppets player. And so forth.
G. Acting GOOD
Acting not only in the form of dialogue, but also in the form of motion. A good dialogue is the
dialogue:
A. sound (both volumes)
2. clear (well articulated)
3. understood (correct pronunciation)
4. to live (according to the demands / life roles defined in the text)
5. Balk motion is the motion that:
6. looks (good blocking)
7. clear (no doubt in doubt, convince)
8. understandable (in accordance with the laws of motion in life)
9. to live (according to the demands / life roles defined in the text)
Explanation:
A. Volume is a good sound can be heard far away.
2. A good articulation is clear pronunciation. Every syllable spoken in a clear and bright even
though spoken very quickly. Do not place the spoken word into overlapping.
3. The correct pronunciation pronunciation of words that correspond to the pronunciation of the
language of the law. For example, bold, which means "no fear" had not dared to say ani.
4. Appreciate or animate means of pressure or greeting song should be able to give the
impression that according to the demands of the role of the manuscript.
5. Blocking is the placement of players on the stage, cultivated among the players with each
other does not cover each other so that the audience can not see the player who is covered.
6. The player looks better most of the front of the body than the visible part of the rear body. It
can be set with the following standards

a. If you stand facing to the right, then right foot should be in front.
b. If you stand facing to the left, then left foot should be in front.
c. Must be set also balance the players on stage. Do not let all the players clustered in one place.
In the event that set the balance, composition:
• The right side is heavier than the left
• The front is heavier than the rear
• The higher the weight than the low
• The width of the narrow heavier than
• The light is heavier than the dark
• Overlooking heavier than the backs
Composition aims to set not only unsightly but also for coloring according to the last scene;
Obviously, do not hesitate, convincing, had the sense that the motion is made not half do not
even half over. If you hesitate while if excessively rigid impressed impressed over acting.
Understandably, then what we realized in the form of motion does not deviate from the laws of
motion in life. For example, when the heavy lifting with his right hand, then our body will be
tilted to the left, and so on. Appreciate the mean motion of the motion of the body and facial
movements must match the demands of the role of the manuscript, including the shape and age.
H. DRAMA DEVELOPMENT IN INDONESIA
Developments in Indonesia was sesemarak drama and poetry and prose as old growth. If you
know the poetry and prose and poetry porsa long time, not so with the drama. Literary genre of
drama in Indonesia is really new, along with the development of education in Indonesia,
emerged in the 1900s.
Written literary drama in Indonesia in the early 19th century, precisely in 1901, by a Dutch
descent named F. Wiggers, in the form of a one-act drama entitled Lelakon Raden Soerio Retno
Beij. For the next rise of the drama texts in Malay Low written by the authors of Dutch descent
or Chinese.
Furthermore, Indonesia's own children who began writing plays. Following this you will be
treated to some of the playwright Indonesia began Rustam Effendi (born 1903) up to Hamdy
Salad (born 1961).
Author Title Author Year of Birth
1903
1905
1906
1916
1918
1920
1921
1926
1928
1933
1934
1935
1937
1938
1938
1941
1942
1943
1944
1945
1946
1949
1955
1959
Rustam Effendi 1961
Sanusi Pane
Abu Hanifah
Trisno Sumarjo
D. Jayakusuma
Tatang Utuy Sontani
Usmar Ismail
Asrul Sani
Mohammad Diponegoro
Misbach Yusa Biran
D. Sularto
Rahman Age
Motinggo Busye
Ajip Rosidi
Saini KM
Arifin C. Noer
Marta Kasram Vredi
Aspar Paturusi
Putu Wijaya
Hadi Wisran
Akhudiat
N. Riantiarno
Yono Daryono
Arthur S. Nalan
Hamdy Salad
Bebasari
Kertajaya
Top storm in Asia
Collapse
Rama Bargawa
Eating Flowers
Fused Artists
Court
Devil
Big Man
Revolutionary sheep
The sun haters
Hell Night
Masyitoh
Egon
The image of God, neither in Interrogations
Sheikh Siti Jenar
Noah's Boat II
Dam
Cindua Mato
Jaka Tarub
Sampek Engtay
Ronggeng-ronggeng
Fish poem Cob
Women in the Train

I. BENEFITS OF DRAMA / THEATRE

Lots of things can we achieve in dramatic play, both physically and psychologically. This talk
will not separate in detail the play drama and theater, as both are one unified whole. Below will
be described the benefits of playing drama or theater.
a. Improve understanding
Improve our understanding of phenomena and events that we see and we often encounter in
everyday life. We realize that understanding others is the most difficult and takes time. For that
drama / theater is one way to solve it. By playing drama or berteater we always get together with
people who are totally different from us. In terms of individual differences that we are required
to understand others. Our understanding to others is not only seen the man, but the whole
person. Include the nature, character, speech, how to act (behavior), how to respond to a
problem, a situation that we must understand from the person.

b. Sharpen your emotional sensitivity

Drama trains us to hold the flavor, taste sensitivity training, foster sensitivity, and sharpen our
emotions. Sense sometimes does not need to be felt, because there is within us. Keep in mind
that sense, as something unique, it should be fostered in order to more sharply. What lies before
us need a sense. If not, then everything we think there will be only natural. But they are not. We
are increasingly sensitive to anything, of course with more practice. Exquisite flavor, balanced,
not suitable, no fun, no tender is part of the emotion. Therefore, the feeling should be increased
to achieve inner satisfaction.
Drama presents all of it. Sensitive stage, error-sensitive, sensitive to beauty, sensitive to sound or
music, which is not sensitive lakuan good and bad, all derived from the taste. The more we taste
the more subtle are our response to something that we face.
c. Development of said
Plays as a genre of literature, almost entirely of conversations. The exact conversation,
intonation, it says we are getting clear and easily understood by the listener. Clarity can help the
listener to digest the meaning of the existing. There should be words that are emphasized in
order to facilitate interpretation. Where we give a comma (,) and dot (.). almost all conjunctions
should be noted that we practice immersion in a play reading. Is not clear sounds can affect the
audience and all the more meaning the listener or viewer. Here the need for vocal strength and
vocal colors are different in every situation. Not all situations require the same vowel. Not all
sentences should be suppressed, but there must be something overlooked. Drama gives all these
possibilities. As one literary work to be performed and contains lakuan and speech.
d. Dramatic appreciation.
Said to be the understanding of the dramatic appreciation of drama. This realization is a
statement of understanding good and bad. We can give such a statement if we never know the
drama. The more we watch the drama performances also expanding our understanding of the
drama or theater. For this reason, we are required to further enhance our love of drama. This is
done with the aim of gaining a better insight into the dramatic.
e. Formation Posture
Posture training is closely related to dramatic play, exercise is divided into two major categories,
namely basic and advanced. Which includes basic exercises are exercises and vocal exercises of
the body. Posture is associated with body work. Body flexibility is needed in the dramatic play,
dramatic play need for gestures. Gestures is what will be our posture in such a way.
f. Groups (Social)
Impossible to implement dramatic play alone, except monoplay. Dramatic play, in general,
performed in groups or group. How difficult it is to set the group we already understand, how we
can live in groups is dependent on ourselves.
Each person in the drama has a duty and responsibility of the same. Nothing more and nothing
less, all the same at low and high, are equally important. For that, the drama has always insisted
on an understanding attitude to others and the environment.
Group of drama should be a unified whole. All elements in the drama there is nothing important,
but all are essential. Sense of togetherness, belonging, and maintaining group harmony is the
responsibility and duty of all members of the group. Not only the duties and responsibilities of
the group chairman. Good bad drama performances will not be judged by a member of the group
but all the people involved in staging. Therefore, the need for unity, togetherness, and unity and
wholeness.
g. Hobby
Dramatic play can also be regarded as a hobby dealer. Hobby-related literature in general and
drama in particular. In the drama there are elements of literature. Drama as a mixture of art
(literature, dance, architecture).

CHAPTER III
CLOSING

A. Conclusion
- Drama is a form of story telling through the art of conversation and action of his characters.
However, a conversation or dialogue itself can also be viewed as a sense of action.
- A book entitled A History of the theater show us that the cult of Dionysus, which later turned
into a drama festival in Greece, dating from Ancient Egypt. Pyramids are dated 4000SM Tech.
Abydos is the manuscript of the famous Passion Play.
- Elements - elements of drama
- Theme
- Flow
- Figures
- Background
- Mandate
- Benefits of drama / theater:
Distribute hobby
a Group (Social)
The establishment of Body Posture
dramatic appreciation.
Development said
To sharpen the emotional sensitivity
Increase the understanding of
B. Suggestion
- Should the school adds extra curricular activities in the field of performing arts, so that
students receive guidance and more able to express his talent.
- Schools should hold a show / drama performances, so that students are more mature in
developing the artistic talents of his plays.

REFERENCES

A. http://sendratasik.wordpress.com/2008/12/05/pengertian-drama-dan-teknik-penulisan-naskah-
drama/
2. http://www.slideshare.net/hanifphone/drama-429983
3. http://aamovi.wordpress.com/2009/03/26/pengertian-drama-dan-teater-2/
4.
5. http://my-name-is-sedre.jimdo.com/2009/05/09/pengetahuan-dasar-teater-dan-drama
6. http://awan965.wordpress.com/2008/02/27/perkembangan-sastra-di-indonesia/

History of Drama
Ancient Drama
The origins of Western drama can be traced to the celebratory music of 6th-century BC Attica, the Greek
region centered on Athens. Although accounts of this period are inadequate, it appears that the poet
Thespis developed a new musical form in which he impersonated a single character and engaged a
chorus of singer-dancers in dialogue. As the first composer and soloist in this new form, which came to
be known as tragedy, Thespis can be considered both the first dramatist and the first actor. Of the
hundreds of works produced by Greek tragic playwrights, only 32 plays by the three major innovators in
this new art form survive. Aeschylus created the possibility of developing conflict between characters by
introducing a second actor into the format. His seven surviving plays, three of which constitute the only
extant trilogy are richly ambiguous inquiries into the paradoxical relationship between humans and the
cosmos, in which people are made answerable for their acts, yet recognize that these acts are
determined by the gods.
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Medieval Drama
Medieval drama, when it emerged hundreds of years later, was a new creation rather than a rebirth, the
drama of earlier times having had almost no influence on it. The reason for this creation came from a
quarter that had traditionally opposed any form of theater: the Christian church. In the Easter service, and
later in the Christmas service, bits of chanted dialogue, called tropes, were interpolated into the liturgy.
Priests, impersonating biblical figures, acted out minuscule scenes from the holiday stories. Eventually,
these playlets grew more elaborate and abandoned the inside of the church for the church steps and the
adjacent marketplace. Secular elements crept in as the artisan guilds took responsibility for these
performances; although the glorification of God and the redemption of humanity remained prime
concerns, the celebration of local industry was not neglected.
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Restoration And 18th-Century Drama

The theaters established in the wake of Charles II's return from exile in France and the Restoration of the
monarchy in England (1660) were intended primarily to serve the needs of a socially, politically, and
aesthetically homogeneous class. At first they relied on the pre-Civil War repertoire; before long,
however, they felt called upon to bring these plays into line with their more "refined," French-influenced
sensibilities. The themes, language, and dramaturgy of Shakespeare's plays were now considered out of
date, so that during the next two centuries the works of England's greatest dramatist were never
produced intact. Owing much to Moliere, the English comedy of manners was typically a witty, brittle
satire of current mores, especially of relations between the sexes. Among its leading examples were She
Would if She Could (1668) and The Man of Mode (1676) by Sir George Etherege; The Country Wife
(1675) by William Wycherley; The Way of the World (1700) by William Congreve; and The Recruiting
Officer (1706) and The Beaux' Stratagem (1707) by George Farquhar.
The resurgence of Puritanism, especially after the Glorious Revolution of 1688, had a profound effect on
18th-century drama. Playwrights, retreating from the free-spirited licentiousness of the Restoration,
turned towards ofter, sentimental comedy and moralizing domestic tragedy. The London Merchant (1731)
by George Lillo consolidated this trend.A prose tragedy of the lower middle class, and thus an important
step on the road to realism, it illustrated the moral that a woman of easy virtue can lead an industrious
young man to the gates of hell.
Satire enjoyed a brief revival with Henry Fielding and with John Gay, whose The Beggar's Opera (1728)
met with phenomenal success. Their wit, however, was too sharp for the government, which retaliated by
imposing strict censorship laws in 1737. For the next 150 years, few substantial English authors bothered
with the drama.
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19th Century Drama and The Romantic Rebellion

In its purest form, Romanticism concentrated on the spiritual, which would allow humankind to transcend
the limitations of the physical world and body and find an ideal truth. Subject matter was drawn from
nature and "natural man" (such as the supposedly untouched Native American). Perhaps one of the best
examples of Romantic drama is Faust (Part I, 1808; Part II, 1832) by the German playwright Johann
Wolfgang von Goethe. Based on the classic legend of the man who sells his soul to the devil, this play of
epic proportions depicts humankind's attempt to master all knowledge and power in its constant struggle
with the universe. The Romantics focused on emotion rather than rationality, drew their examples from a
study of the real world rather than the ideal, and glorified the idea of the artist as a mad genius unfettered
by rules. Romanticism thus gave rise to a vast array of dramatic literature and production that was often
undisciplined and that often substituted emotional manipulation for substantial ideas.
Romanticism first appeared in Germany, a country with little native theatre other than rustic farces before
the 18th century. By the 1820s Romanticism dominated the theatre of most of Europe. Many of the ideas
and practices of Romanticism were evident in the late 18th-century Sturm und Drang movement of
Germany led by Goethe and the dramatist Friedrich Schiller. These plays had no single style but were
generally strongly emotional, and, in their experimentation with form, laid the groundwork for the rejection
of Neo-Classicism. The plays of the French playwright René Charles Guilbert de Pixérécourt paved the
way for French Romanticism, which had previously been known only in the acting of François Joseph
Talma in the first decades of the 19th century. Victor Hugo's Hernani (1830) is considered the first French
Romantic drama.
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The Modern Drama

From the time of the Renaissance on, theatre seemed to be striving for total realism, or at least for the
illusion of reality. As it reached that goal in the late 19th century, a multifaceted, antirealistic reaction
erupted. Avant-garde Precursors of Modern Theatre Many movements generally lumped together as the
avant-garde, attempted to suggest alternatives to the realistic drama and production. The various
theoreticians felt that Naturalism presented only superficial and thus limited or surface reality-that a
greater truth or reality could be found in the spiritual or the unconscious. Others felt that theatre had lost
touch with its origins and had no meaning for modern society other than as a form of entertainment.
Paralleling modern art movements, they turned to symbol, abstraction, and ritual in an attempt to
revitalize the theatre. Although realism continues to be dominant in contemporary theatre, television and
film now better serve its earlier functions.
The originator of many antirealist ideas was the German opera composer Richard Wagner. He believed
that the job of the playwright/composer was to create myths. In so doing, Wagner felt, the creator of
drama was portraying an ideal world in which the audience shared a communal experience, perhaps as
the ancients had done. He sought to depict the "soul state", or inner being, of characters rather than their
superficial, realistic aspects. Furthermore, Wagner was unhappy with the lack of unity among the
individual arts that constituted the drama. He proposed the Gesamtkunstwerk, the "total art work", in
which all dramatic elements are unified, preferably under the control of a single artistic creator.
Wagner was also responsible for reforming theatre architecture and dramatic presentation with his
Festival Theatre at Bayreuth, Germany, completed in 1876. The stage of this theatre was similar to other
19th-century stages even if better equipped, but in the auditorium Wagner removed the boxes and
balconies and put in a fan-shaped seating area on a sloped floor, giving an equal view of the stage to all
spectators. Just before a performance the auditorium lights dimmed to total darkness-then a radical
innovation.
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Symbolist Drama
The Symbolist movement in France in the 1880s first adopted Wagner's ideas. The Symbolists called for
"detheatricalizing" the theatre, meaning stripping away all the technological and scenic encumbrances of
the 19th century and replacing them with a spirituality that was to come from the text and the acting. The
texts were laden with symbolic imagery not easily construed-rather they were suggestive. The general
mood of the plays was slow and dream-like. The intention was to evoke an unconscious response rather
than an intellectual one and to depict the nonrational aspects of characters and events. The Symbolist
plays of Maurice Maeterlinck of Belgium and Paul Claudel of France, popular in the 1890s and early 20th
century, are seldom performed today. Strong Symbolist elements can be found, however, in the plays of
Chekhov and the late works of Ibsen and Strindberg. Symbolist influences are also evident in the works
of such later playwrights as the Americans Eugene O'Neill and Tennessee Williams and the Englishman
Harold Pinter, propounder of "theatre of silence". Also influenced by Wagner and the Symbolists were the
Swiss scenic theorist Adolphe Appia and theEnglish designer Edward Henry Gordon Craig, whose turn-
of-the-century innovations shaped much of 20th-century scenic and lighting design. They both reacted
against the realistic painted settings of the day, proposing instead suggestive or abstract settings that
would create, through light and scenic elements, more of a mood or feeling than an illusion of a real
place. In 1896 a Symbolist theatre in Paris produced Alfred Jarry's Ubu roi, for its time a shocking, bizarre
play. Modelled vaguely on Macbeth, the play depicts puppet-like characters in a world devoid of decency.
The play is filled with scatological humor and language. It was perhaps most significant for its shock
value and its destruction of virtually all-contemporaneous theatrical norms and taboos. Ubu roi freed the
theatre for exploration in any direction the author wished to go. It also served as the model and
inspiration for future avant-garde dramatic movements and the absurdist drama of the 1950s.
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Expressionist Drama
The Expressionist movement was popular in the 1910s and 1920s, largely in Germany. It explored the
more violent, grotesque aspects of the human psyche, creating a nightmare world onstage.
Scenographically, distortion and exaggeration and a suggestive use of light and shadow typify
Expressionism. Stock types replaced individualized characters or allegorical figures, much as in the
morality plays, and plots often revolved around the salvation of humankind.
Other movements of the first half of the century, such as Futurism, Dada, and Surrealism, sought to bring
new artistic and scientific ideas into theatre.
Ensemble Theatre
Perhaps the most significant development influenced by Artaud was the ensemble theatre movement of
the 1960s. Exemplified by the Polish Laboratory Theatre of Jerzy Grotowski, Peter Brook's Theatre of
Cruelty Workshop, Théâtre du Soleil, the French workers' cooperative formed by Ariane Mnouchkine, and
the Open Theatre, led by Joseph Chaikin, ensemble theatres abandoned the written text in favor of
productions created by an ensemble of actors.The productions, which generally evolved out of months of
work, relied heavily on physical movement, nonspecific language and sound, and often-unusual
arrangements of space .
Absurdist Theatre
The most popular and influential nonrealistic genre of the 20th century was absurdism. Absurdist
dramatists saw, in the words of the Romanian-French playwright Eugène Ionesco, "man as lost in the
world, all his actions become senseless, absurd, useless. Absurdist drama tends to eliminate much of the
cause-and-effect relationship among incidents, reduce language to a game and minimize its
communicative power, reduce characters to archetypes, make place nonspecific, and view the world as
alienating and incomprehensible. Absurdism was at its peak in the 1950s, but continued to influence
drama through the 1970s. The American playwright Edward Albee's early dramas were classified as
absurd because of the seemingly illogical or irrational elements that defined his characters' world of
actions. Pinter was also classed with the absurdists. His plays, such as The Homecoming (1964), seem
dark, impenetrable, and absurd. Pinter explained, however, that they are realistic because they resemble
the everyday world in which only fragments of unexplained activity and dialogue are seen and heard.
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Contemporary Drama
Although pure Naturalism was never very popular after World War I, drama in a realist style continued to
dominate the commercial theatre, especially in the United States. Even there, however, psychological
realism seemed to be the goal, and nonrealistic scenic and dramatic devices were employed to achieve
this end. The plays of Arthur Miller and Tennessee Williams, for instance, use memory scenes, dream
sequences, purely symbolic characters, projections, and the like. Even O'Neill's later works-ostensibly
realistic plays such as Long Day's Journey into Night (produced 1956)-incorporate poetic dialogue and a
carefully orchestrated background of sounds to soften the hard-edged realism. Scenery was almost
always suggestive rather than realistic. European drama was not much influenced by psychological
realism but was more concerned with plays of ideas, as evidenced in the works of the Italian dramatist
Luigi Pirandello, the French playwrights Jean Anouilh and Jean Giraudoux, and the Belgian playwright
Michel de Ghelderode. In England in the 1950s John Osborne's Look Back in Anger (1956) became a
rallying point for the postwar "angry young men"; a Vietnam trilogy of the early 1970s, by the American
playwright David Rabe, expressed the anger and frustration of many towards the war in Vietnam. Under
he influence of Brecht, many postwar German playwrights wrote documentary dramas that, based on
historical incidents, explored the moral obligations of individuals to themselves and to society. An
example is The Deputy (1963), by Rolf Hochhuth, which deals with Pope Pius XII's silence during World
War II.
Many playwrights of the 1960s and 1970s-Sam Shepard in the United States, Peter Handke in Austria,
Tom Stoppard in England-built plays around language: language as a game, language as sound,
language as a barrier, language as a reflection of society. In their plays, dialogue frequently cannot be
read simply as a rational exchange of information. Many playwrights also mirrored society's frustration
with a seemingly uncontrollable, self-destructive world.
In Europe in the 1970s, new playwriting was largely overshadowed by theatricalist productions, which
generally took classical plays and reinterpreted them, often in bold new scenographic spectacles,
expressing ideas more through action and the use of space than through language.
In the late 1970s a return to Naturalism in drama paralleled the art movement known as Photorealism.
Typified by such plays as American Buffalo (1976) by David Mamet, little action occurs, the focus is on
mundane characters and events, and language is fragmentary-much like everyday conversation. The
settings are indistinguishable from reality. The intense focus on seemingly meaningless fragments of
reality creates an absurdist, nightmarish quality: similar traits can be found in writers such as Stephen
Poliakoff. A gritty social realism combined with very dark humour has also been popular; it can be seen in
the very different work of Alan Ayckbourn, Mike Leigh, Michael Frayn, Alan Bleasdale, and Dennis Potter.
In all lands where the drama flourishes, the only constant factor today is what has always been constant:
change. The most significant writers are still those who seek to redefine the basic premises of the art of
drama.
Sejarah Drama
Kuno Drama
Asal-usul drama Barat dapat ditelusuri dengan musik dari perayaan 6 abad SM Attica, wilayah Yunani
yang berpusat di Athena. Meskipun rekening periode ini tidak memadai, tampak bahwa penyair Thespis
mengembangkan sebuah bentuk musik baru di mana dia meniru karakter tunggal dan terlibat paduan
suara penyanyi-penari dalam dialog. Sebagai komposer pertama dan solois dalam bentuk baru, yang
kemudian dikenal sebagai tragedi, Thespis dapat dianggap baik dramawan pertama dan aktor pertama.
Dari ratusan karya yang dihasilkan oleh penulis drama tragis Yunani, hanya 32 drama oleh tiga inovator
utama dalam bentuk seni baru bertahan hidup. Aeschylus menciptakan kemungkinan mengembangkan
konflik antara karakter dengan memperkenalkan aktor kedua ke dalam format. Tujuh drama hidup, tiga
di antaranya merupakan trilogi hanya yang masih ada adalah pertanyaan kaya ambigu ke dalam
hubungan paradoks antara manusia dan alam semesta, di mana orang dibuat jawab atas tindakan
mereka, namun mengakui bahwa tindakan ditentukan oleh para dewa.
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Drama Abad Pertengahan
Drama abad pertengahan, ketika muncul ratusan tahun kemudian, adalah ciptaan baru, bukan kelahiran
kembali, drama jaman dulu telah memiliki hampir tidak ada pengaruh di atasnya. Alasan untuk
penciptaan ini berasal dari seperempat yang secara tradisional menentang setiap bentuk teater: gereja
Kristen. Dalam layanan Paskah, dan kemudian dalam pelayanan Natal, potongan dialog meneriakkan,
yang disebut kiasan, yang diinterpolasi ke dalam liturgi. Para imam, tokoh-tokoh Alkitab meniru,
bertindak keluar adegan sangat kecil dari cerita-cerita liburan. Akhirnya, playlets tumbuh lebih rumit
dan meninggalkan bagian dalam gereja untuk tangga gereja dan pasar yang berdekatan. Unsur sekuler
merayap sebagai serikat tukang mengambil tanggung jawab untuk pertunjukan ini, walaupun pemuliaan
Allah dan penebusan umat manusia tetap perhatian utama, perayaan industri lokal tidak diabaikan.
Sebelumnya Topik
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Restorasi Dan ke-18 Abad Drama
Teater didirikan setelah kembali Charles II dari pengasingan di Perancis dan Pemulihan monarki di
Inggris (1660) yang dimaksudkan terutama untuk melayani kebutuhan kelas sosial, politik, dan estetis
homogen. Pada awalnya mereka bergantung pada repertoar sebelum Perang Sipil; lama,
bagaimanapun, mereka merasa terpanggil untuk membawa ke sejalan dengan memainkan perasaan
mereka lebih "halus," Perancis-dipengaruhi. Tema-tema, bahasa, dan dramaturgi karya Shakespeare
yang sekarang dianggap ketinggalan zaman, sehingga selama dua abad berikutnya karya dramawan
Inggris terbesar yang pernah diproduksi utuh. Karena banyak Moliere, komedi Inggris tata krama itu
biasanya sebuah satir, cerdas rapuh dari adat istiadat saat ini, terutama hubungan antara jenis kelamin.
Di antara contoh terkemuka adalah Dia Apakah jika Dia Bisa (1668) dan The Man of Mode (1676) oleh
Sir George Etherege; Para Istri Negara (1675) oleh William Wycherley; Jalan Dunia (1700) oleh William
Congreve; dan The Merekrut Chief (1706) dan The Beaux 'tipu (1707) oleh George Farquhar.
Kebangkitan Puritanisme, terutama setelah Revolusi Jaya 1688, memiliki efek mendalam pada abad ke-
18 drama. Dramawan, mundur dari licentiousness berjiwa bebas Pemulihan, berpaling ke arah ofter,
komedi sentimentil dan tragedi domestik moral. Merchant London (1731) oleh George Lillo
dikonsolidasikan tragedi trend.A prosa dari kelas menengah ke bawah, dan dengan demikian
merupakan langkah penting di jalan menuju realisme, itu menggambarkan moral yang wanita kebajikan
mudah dapat menyebabkan seorang pemuda rajin untuk alam maut.
Satir menikmati kebangkitan singkat dengan Henry Fielding dan dengan John Gay, yang Opera Pengemis
(1728) bertemu dengan keberhasilan yang fenomenal. Kecerdasan mereka, bagaimanapun, terlalu
tajam untuk pemerintah, yang membalas dengan memberlakukan undang-undang sensor yang ketat
pada 1737. Selama 150 tahun berikutnya, beberapa penulis Inggris substansial terganggu dengan
drama.
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Abad 19 Drama dan Pemberontakan Romantis
Dalam bentuk yang paling murni, Romantisisme berkonsentrasi pada rohani, yang akan memungkinkan
manusia untuk melampaui keterbatasan dari dunia fisik dan tubuh dan menemukan kebenaran ideal.
Subyek diambil dari alam dan "manusia duniawi" (seperti orang Indian dianggap tak tersentuh).
Mungkin salah satu contoh terbaik dari drama romantis adalah Faust (Bagian I, 1808; Bagian II, 1832)
oleh dramawan Jerman Johann Wolfgang von Goethe. Berdasarkan legenda klasik dari orang yang
menjual jiwanya kepada setan, ini bermain proporsi epik menggambarkan upaya umat manusia untuk
menguasai semua pengetahuan dan kekuasaan dalam perjuangan terus-menerus dengan alam semesta.
Kaum Romantik difokuskan pada emosi daripada rasionalitas, menarik teladan mereka dari sebuah
penelitian dari dunia nyata dan bukan yang ideal, dan dimuliakan gagasan seniman sebagai seorang
jenius gila tak terkekang oleh aturan. Romantisisme kemudian timbul berbagai array yang luas dari
literatur dramatis dan produksi yang sering tidak disiplin dan bahwa manipulasi emosional sering diganti
untuk ide-ide besar.
Romantisisme pertama kali muncul di Jerman, sebuah negara dengan teater asli sedikit selain lelucon
yang kasar sebelum abad ke-18. Pada 1820-an didominasi Romantisisme teater sebagian besar Eropa.
Banyak ide dan praktek Romantisisme yang nyata dalam gerakan abad ke-18 akhir und Drang Sturm dari
Jerman dipimpin oleh Goethe dan dramawan Friedrich Schiller. Ini tidak memainkan gaya tunggal tetapi
umumnya sangat emosional, dan, dalam eksperimen mereka dengan bentuk, meletakkan dasar bagi
penolakan terhadap Neo-Classicism. Memainkan dari René dramawan Perancis Charles de Guilbert
Pixérécourt membuka jalan bagi Romantisisme Prancis, yang sebelumnya telah dikenal hanya dalam
akting dari François Joseph Talma dalam dekade-dekade pertama abad ke-19. Victor Hugo Hernani
(1830) dianggap sebagai drama romantis dulu Prancis.
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Drama modern
Dari zaman Renaissance pada, teater tampaknya mengupayakan realisme total, atau setidaknya untuk
ilusi kenyataan. Karena mencapai tujuan tersebut di akhir abad 19, sebuah reaksi, multifaset
antirealistic meletus. Avant-garde Prekursor gerakan Teater modern Banyak umumnya disatukan
sebagai avant-garde, mencoba untuk menyarankan alternatif untuk drama realistis dan produksi. Para
ahli teori berbagai merasa bahwa Naturalisme disajikan realitas-yang hanya dangkal dan dengan
demikian terbatas atau permukaan suatu kebenaran atau kenyataan yang lebih besar dapat ditemukan
dalam spiritual atau tidak sadar. Lain merasa bahwa teater telah kehilangan kontak dengan asal-usulnya
dan tidak memiliki arti bagi masyarakat modern selain sebagai bentuk hiburan. Sejajar gerakan seni
modern, mereka berpaling kepada simbol, abstraksi ritual, dan dalam upaya untuk merevitalisasi teater.
Meskipun realisme terus menjadi dominan dalam teater kontemporer, televisi dan film sekarang lebih
melayani fungsi yang sebelumnya.
Pencetus ide antirealist banyak adalah opera komposer Jerman Richard Wagner. Dia percaya bahwa
tugas dari komposer dramawan / adalah untuk menciptakan mitos. Dengan demikian, Wagner merasa,
pencipta drama yang menggambarkan dunia yang ideal di mana penonton berbagi pengalaman
komunal, mungkin sebagai orang dahulu telah dilakukan. Dia berusaha untuk menggambarkan "negara
jiwa", atau batin, karakter daripada dangkal mereka, aspek realistis. Selain itu, Wagner tidak senang
dengan kurangnya persatuan di antara individu yang merupakan seni drama. Dia mengusulkan
Gesamtkunstwerk, "pekerjaan seni total", di mana semua elemen dramatis disatukan, sebaiknya di
bawah kendali pencipta seni tunggal.
Wagner juga bertanggung jawab untuk mereformasi arsitektur teater dan presentasi dramatis dengan
Festival Teater di Bayreuth, Jerman, selesai pada 1876. Tahap teater ini mirip dengan lain abad ke-19
tahap meski lebih siap, tapi di auditorium Wagner dihapus kotak dan balkon dan dimasukkan ke dalam
area tempat duduk berbentuk kipas di lantai miring, memberikan pandangan yang sama dari panggung
untuk semua penonton. Sesaat sebelum pertunjukan lampu auditorium redup terhadap total inovasi
kegelapan-maka radikal.
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Drama simbolis
Gerakan simbolis di Perancis pada tahun 1880-an pertama mengadopsi ide-ide Wagner. Para simbolis
menyerukan "detheatricalizing" teater, yang berarti melucuti semua sitaan teknologi dan pemandangan
abad ke-19 dan menggantinya dengan spiritualitas yang akan datang dari teks dan akting. Teks-teks
yang sarat dengan citra simbolik tidak mudah ditafsirkan-lebih mereka sugestif. Suasana umum dari
permainan lambat dan mimpi-seperti. Tujuannya adalah untuk membangkitkan respon bawah sadar
bukannya secara intelektual dan untuk menggambarkan aspek nonrasional karakter dan peristiwa.
Memainkan simbolis dari Maurice Maeterlinck dari Belgia dan Paul Claudel Perancis, populer di tahun
1890-an dan awal abad 20, jarang dilakukan hari ini. Kuat simbolis elemen dapat ditemukan, namun,
dalam drama Chekhov dan karya-karya akhir Ibsen dan Strindberg. Pengaruh simbolis juga terlihat
dalam karya-karya dramawan kemudian seperti Amerika Eugene O'Neill dan Tennessee Williams dan
orang Inggris Harold Pinter, propounder dari "teater keheningan". Juga dipengaruhi oleh Wagner dan
simbolis adalah indah Swiss teori Adolphe Appia dan theEnglish desainer Edward Henry Craig Gordon,
yang turn-of-abad-inovasi berbentuk banyak abad ke-20 indah dan desain pencahayaan. Mereka berdua
bereaksi terhadap pengaturan dicat realistis hari, mengusulkan pengaturan bukan sugestif atau abstrak
yang akan menciptakan, melalui elemen ringan dan indah, lebih dari sebuah suasana hati atau perasaan
dari ilusi dari tempat yang nyata. Pada tahun 1896 sebuah teater simbolis di Paris diproduksi Alfred
Jarry yang Ubu Roi, untuk waktu bermain, mengejutkan aneh. Dimodelkan samar-samar pada Macbeth,
lakon wayang menggambarkan seperti karakter dalam dunia yang tanpa kesusilaan. Bermain ini penuh
dengan humor scatological dan bahasa. Itu mungkin yang paling signifikan untuk nilai kejutan dan
kehancuran dari hampir semua norma-kontemporer teater dan tabu. Ubu Roi membebaskan teater
untuk eksplorasi ke segala arah penulis ingin pergi. Hal ini juga menjadi model dan inspirasi untuk masa
avant-garde gerakan dramatis dan drama absurd dari 1950-an.
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Ekspresionis Drama
Gerakan ekspresionis sangat populer pada 1910-an dan 1920-an, sebagian besar di Jerman. Ini
mengeksplorasi, lebih ganas aspek mengerikan dari jiwa manusia, menciptakan dunia mimpi buruk di
atas panggung. Scenographically, distorsi dan berlebihan dan penggunaan sugestif cahaya dan
bayangan Ekspresionisme melambangkan. Jenis Efek diganti karakter individual atau tokoh alegoris,
banyak seperti dalam drama moralitas, dan plot sering berkisar sekitar keselamatan manusia.
Gerakan lain dari paruh pertama abad, seperti Futurisme, Dada, dan Surealisme, berusaha untuk
membawa ide-ide artistik dan ilmiah baru ke dalam teater.
Ensemble Teater
Mungkin perkembangan yang paling signifikan dipengaruhi oleh Artaud adalah teater ansambel gerakan
1960-an. Dicontohkan oleh Teater Laboratorium Polandia Jerzy Grotowski, Teater Peter Brook
Lokakarya Kekejaman, Théâtre du Soleil, koperasi pekerja Perancis yang dibentuk oleh Ariane
Mnouchkine, dan Teater Terbuka, yang dipimpin oleh Joseph Chaikin, teater ansambel meninggalkan
teks tertulis yang mendukung produksi yang diciptakan oleh sebuah ensemble dari produksi actors.The,
yang umumnya berkembang dari bulan bekerja, sangat bergantung pada gerakan fisik, bahasa
nonspesifik dan suara, dan pengaturan yang sering tidak biasa ruang.
Teater absurd
Genre nonrealistic paling populer dan berpengaruh pada abad ke-20 adalah absurdism. Dramawan
absurd melihat, dalam kata-kata Eugène Rumania-Prancis penulis drama Ionesco, "manusia sebagai
hilang di dunia, semua tindakannya menjadi tidak masuk akal, tidak masuk akal, tidak berguna drama
absurd. Cenderung menghilangkan banyak hubungan sebab-akibat antara insiden , mengurangi bahasa
untuk permainan dan meminimalkan daya komunikatif, mengurangi karakter untuk arketipe, membuat
tempat spesifik, dan melihat dunia sebagai mengasingkan dan dimengerti. Absurdism mencapai
puncaknya pada 1950-an, tetapi terus mempengaruhi melalui drama 1970-an. Amerika drama awal
dramawan Edward Albee yang digolongkan sebagai masuk akal karena unsur-unsur yang tampaknya
tidak logis atau tidak rasional yang didefinisikan dunia tokoh-tokohnya 'tindakan Pinter juga
digolongkan dengan absurdists.. memainkan Nya, seperti The Homecoming (1964), tampak gelap, tak
tertembus, dan absurd Pinter menjelaskan., bagaimanapun, bahwa mereka adalah realistis karena
mereka menyerupai dunia sehari-hari di mana hanya fragmen kegiatan dijelaskan dan dialog yang
dilihat dan didengar.
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Drama Kontemporer
Meskipun Naturalisme murni tidak pernah sangat populer setelah Perang Dunia I, drama dalam gaya
realis terus mendominasi teater komersial, terutama di Amerika Serikat. Bahkan di sana,
bagaimanapun, realisme psikologis tampaknya tujuan, dan perangkat indah dan dramatis nonrealistic
dipekerjakan untuk mencapai tujuan ini. Memainkan dari Arthur Miller dan Tennessee Williams,
misalnya, menggunakan layar memori, urutan mimpi, karakter murni simbolis, proyeksi, dan sejenisnya.
Bahkan kemudian O'Neill karya-pura drama realistis seperti Journey Day Long ke Malam (diproduksi
1956)-menggabungkan dialog puitis dan hati-hati mengatur latar belakang suara untuk melunakkan
realisme yang terlatih. Pemandangan hampir selalu sugestif ketimbang realistis. Eropa drama tidak
banyak dipengaruhi oleh realisme psikologis tetapi lebih peduli dengan memainkan ide, sebagaimana
dibuktikan dalam karya-karya dramawan Luigi Pirandello Italia, Perancis Jean Anouilh dramawan dan
Jean Giraudoux, dan dramawan Belgia Michel de Ghelderode. Di Inggris pada 1950-an Lihat John
Osborne Kembali di Anger (1956) menjadi titik kumpul bagi "orang-orang muda yang marah" sesudah
perang, sebuah trilogi Vietnam awal tahun 1970, oleh penulis drama David Amerika Rabe,
mengungkapkan kemarahan dan frustrasi banyak terhadap perang di Vietnam. Di bawah pengaruh dia
Brecht, banyak pasca perang Jerman dramawan menulis drama dokumenter yang, berdasarkan kejadian
sejarah, menjelajahi kewajiban moral individu untuk diri mereka sendiri dan untuk masyarakat.
Contohnya adalah Deputi (1963), oleh Rolf Hochhuth, yang berkaitan dengan keheningan Paus Pius XII
selama Perang Dunia II.
Banyak penulis drama tahun 1960-an dan 1970-an-Sam Shepard di Amerika Serikat, Peter Handke di
Austria, Tom Stoppard di Inggris yang dibangun sekitar drama bahasa: bahasa sebagai permainan,
bahasa sebagai bunyi, bahasa sebagai penghalang, bahasa sebagai cerminan masyarakat . Dalam drama
mereka, dialog sering tidak dapat dibaca hanya sebagai pertukaran rasional informasi. Dramawan
Banyak juga mencerminkan frustrasi masyarakat dengan dunia, tampaknya tak terkendali merusak diri
sendiri.
Di Eropa pada 1970-an, baru penulisan drama sebagian besar dibayangi oleh produksi theatricalist, yang
umumnya mengambil drama klasik dan ditafsirkan kembali mereka, sering dalam huruf tebal kacamata
scenographic baru, mengungkapkan lebih banyak ide melalui tindakan dan penggunaan ruang selain
melalui bahasa.
Pada akhir 1970-an kembali ke Naturalisme dalam drama sejajar dengan gerakan seni yang dikenal
sebagai fotorealisme. Ditandai oleh drama seperti American Buffalo (1976) oleh David Mamet, tindakan
kecil terjadi, fokusnya adalah pada karakter biasa dan acara, dan bahasa adalah fragmentaris-seperti
percakapan sehari-hari. Pengaturan yang bisa dibedakan dari kenyataan. Fokus yang intens pada
fragmen yang tampaknya tidak berarti realitas menciptakan absurd, kualitas mimpi buruk: ciri-ciri yang
sama dapat ditemukan di penulis seperti Stephen Poliakoff. Sebuah realisme sosial betul
dikombinasikan dengan humor yang sangat gelap juga menjadi populer, bisa dilihat dalam karya yang
sangat berbeda dari Alan Ayckbourn, Mike Leigh, Michael Frayn, Alan Bleasdale, dan Dennis Potter.
Di semua negeri di mana drama tumbuh subur, faktor konstan hanya hari ini adalah apa selalu konstan:
perubahan. Yang paling signifikan penulis masih mereka yang berusaha untuk mendefinisikan ulang
premis dasar dari seni drama.