This document provides an overview of many types of theatre, including comedy, tragedy, and absurdism. It discusses various forms of comedy like high comedy, low comedy, farce, domestic comedies, and comedies of manners. It also covers tragedy and the concept of the tragic hero. Additionally, it summarizes forms of theatre like expressionism, epic theatre developed by Brecht, and the theatre of the absurd developed by playwrights like Beckett and Ionesco. Finally, it briefly touches on other theatrical traditions from around the world such as Sanskrit drama, Peking opera, Japanese theatre, Islamic shadow theatre, and more.

1. Chapter 11Chapter 11
Many Types of TheatreMany Types of Theatre

2. Comedy and TragedyComedy and Tragedy
High comedyHigh comedy includes any play that depends onincludes any play that depends on
sophisticated humor, wit, political satire, or socialsophisticated humor, wit, political satire, or social
commentary.commentary.
Low comedyLow comedy depends on gags, clowning, puns, anddepends on gags, clowning, puns, and
slapstick.slapstick.
FarceFarce traps the characters in a fast-paced situation withtraps the characters in a fast-paced situation with
wild complications, mistaken identities, and incrediblewild complications, mistaken identities, and incredible
coincidences.coincidences.

3. Comedy and TragedyComedy and Tragedy
Domestic comediesDomestic comedies take an entertaining look at thetake an entertaining look at the
problems and complications of common everydayproblems and complications of common everyday
people.people.
Comedy of mannersComedy of manners plays are set during the age ofplays are set during the age of
aristocrats and kings and poke fun at the bedroomaristocrats and kings and poke fun at the bedroom
escapades, marital infidelities, and hypocrisies of theescapades, marital infidelities, and hypocrisies of the
upper classes.upper classes.
Comedy of ideasComedy of ideas are cerebral, socially relevant playsare cerebral, socially relevant plays
that force audiences to reassess their culture,that force audiences to reassess their culture,
community, and values.community, and values.

4. Comedy and TragedyComedy and Tragedy
A tragic play is one that takes a serious look at theA tragic play is one that takes a serious look at the
meaning of life and human suffering.meaning of life and human suffering.
The purpose of these plays is not to make the audienceThe purpose of these plays is not to make the audience
feel depressed but rather to enable them to experiencefeel depressed but rather to enable them to experience
an intense, twofold feeling of pity and fear known asan intense, twofold feeling of pity and fear known as
catharsiscatharsis. Catharsis can occur when one truly. Catharsis can occur when one truly
encounters life and confronts its many riddles.encounters life and confronts its many riddles.

5. Comedy and TragedyComedy and Tragedy
Anton Chekhov, theAnton Chekhov, the
great Russiangreat Russian
playwright, called manyplaywright, called many
of his plays comediesof his plays comedies
even though theyeven though they
covered suchcovered such
depressing subjects asdepressing subjects as
debt, lost love anddebt, lost love and
missed opportunities.missed opportunities.
WilliamMissouriDowns

6. Comedy and TragedyComedy and Tragedy
AA tragictragic hero has ahero has a
character flawcharacter flaw , a, a
personal failing that leadspersonal failing that leads
to his or her downfall.to his or her downfall.
The ancient GreeksThe ancient Greeks
called this flaw thecalled this flaw the
hamartiahamartia. A common. A common
hamartia ishamartia is hubrishubris——
overbearing pride oroverbearing pride or
arrogance.arrogance.
ArenaPal/Topham/TheImageWorks

7. The Advent of RealismThe Advent of Realism
 InventionsInventions
 PhotographyPhotography
 Light bulbLight bulb
 Internal combustion engineInternal combustion engine
 AutomobileAutomobile
 IdeasIdeas
 Charles DarwinCharles Darwin
 Karl MarxKarl Marx
 Sigmund FreudSigmund Freud
MichalDaniel/Proofsheet

8. NaturalismNaturalism
 An extreme form ofAn extreme form of
Realism, an accurateRealism, an accurate
“slice of life” look at“slice of life” look at
existence.existence.
 The Russian playwrightThe Russian playwright
Maxim Gorky (1868–Maxim Gorky (1868–
1936), whose play1936), whose play TheThe
Lower DepthsLower Depths (1902) took(1902) took
a stark look at peoplea stark look at people
living in the cellar of aliving in the cellar of a
Moscow flophouse.Moscow flophouse.
SOVFOTO/EASTFOT
O

9. Romanticism and MelodramaRomanticism and Melodrama
 Melodramas have formulaicMelodramas have formulaic
plots filled with oversimplifiedplots filled with oversimplified
moral dilemmas and supportmoral dilemmas and support
the values of love, marriage,the values of love, marriage,
God, and country.God, and country.
 Romanticism was a reaction toRomanticism was a reaction to
the Enlightenment (1650–1800),the Enlightenment (1650–1800),
a period of great philosophical,a period of great philosophical,
scientific, technological,scientific, technological,
political, and religiouspolitical, and religious
revolutions that changed humanrevolutions that changed human
thought forever.thought forever.
Libraryof
Congress

10. Understanding ShakespeareUnderstanding Shakespeare
 Almost 400 years after hisAlmost 400 years after his
death, Shakespeare is onedeath, Shakespeare is one
of the most producedof the most produced
playwrights in the world.playwrights in the world.
 He coined the phrases “toHe coined the phrases “to
catch a cold,” “foregonecatch a cold,” “foregone
conclusion,” “as luck wouldconclusion,” “as luck would
have it,” “too much of a goodhave it,” “too much of a good
thing,” “in one fell swoop,”thing,” “in one fell swoop,”
“good riddance,” “vanish into“good riddance,” “vanish into
thin air,” and “in the twinklingthin air,” and “in the twinkling
of an eye.”of an eye.”
LouAnneWright

11. ExpressionismExpressionism
Expressionism was created in response to RealismExpressionism was created in response to Realism
and Naturalism, which film was better at depicting.and Naturalism, which film was better at depicting.
VandammTheatreCollection/TheNewYorkPublicLibrary,Astor,
Lenox,andTildenFoundations

12. Epic TheatreEpic Theatre
Bertolt Brecht (1898 – 1956) was a GermanBertolt Brecht (1898 – 1956) was a German
playwright/director who responded to the devastation ofplaywright/director who responded to the devastation of
World War I and its causes with a political theatre thatWorld War I and its causes with a political theatre that
expected its audience to take action.expected its audience to take action.
Epic Theatre has existed for hundreds of years. BrechtEpic Theatre has existed for hundreds of years. Brecht
saw it as the perfect way to confront the social andsaw it as the perfect way to confront the social and
political problems of his day. But he rebelled againstpolitical problems of his day. But he rebelled against
theatrical illusions such as suspense, rising action,theatrical illusions such as suspense, rising action,
climax, and other plot devices that lull the audience intoclimax, and other plot devices that lull the audience into
a trance-like state and emotional catharsis.a trance-like state and emotional catharsis.

13. Alienation EffectAlienation Effect
The Threepenny OperaThe Threepenny Opera
incorporates manyincorporates many
elements that foster theelements that foster the
alienation effect. Politicalalienation effect. Political
slogans are projectedslogans are projected
onto the back wall of theonto the back wall of the
set, and songs serve toset, and songs serve to
keep the audience fromkeep the audience from
getting too attached togetting too attached to
the characters.the characters.
R.Finkelstein

14. Theatre of the AbsurdTheatre of the Absurd
The FatalistThe Fatalist
Believe that we are trapped in an irrationalBelieve that we are trapped in an irrational
universe where even basic communication isuniverse where even basic communication is
impossibleimpossible
 Samuel Beckett (1906-1989)Samuel Beckett (1906-1989)
 Waiting for GodotWaiting for Godot (1953)(1953)
 EndgameEndgame (1957)(1957)
 Knapp’s Last TapeKnapp’s Last Tape (1958)(1958)
 Happy DaysHappy Days (1961)(1961)
Robbie Jack/Corbis

15. Theatre of the AbsurdTheatre of the Absurd
The ExistentialistsThe Existentialists
 Maintain that “God is Dead,” and therefore, we have aMaintain that “God is Dead,” and therefore, we have a
responsibility to live our lives “authentically” each dayresponsibility to live our lives “authentically” each day
 Human beings must “take action” and create their ownHuman beings must “take action” and create their own
sense of meaning in the worldsense of meaning in the world
 Jean-Paul Sartre (1908-1980)Jean-Paul Sartre (1908-1980)
 French philosopher and playwright who wrote onFrench philosopher and playwright who wrote on
Existentialism and its place in the worldExistentialism and its place in the world
 Some of his most popular plays include:Some of his most popular plays include:
 The FliesThe Flies (1943)(1943)
 No ExitNo Exit (1944)(1944)

16. Theatre of the AbsurdTheatre of the Absurd
The HilariousThe Hilarious
 Acknowledge that the only sane response to theAcknowledge that the only sane response to the
absurdity of the human condition is to take a comicalabsurdity of the human condition is to take a comical
point of view.point of view.
 Eugene Ionesco (1912-1994)Eugene Ionesco (1912-1994)
 Romanian-born French playwright whose two mostRomanian-born French playwright whose two most
produced play are:produced play are:
 RhinocerosRhinoceros (1959) and(1959) and The Bald SopranoThe Bald Soprano (1949)(1949)
 Harold Pinter (1930-2008)Harold Pinter (1930-2008)
 English playwright who was awarded the Nobel Prize inEnglish playwright who was awarded the Nobel Prize in
2005 who most famous plays include:2005 who most famous plays include:
 The DumbwaiterThe Dumbwaiter (1957),(1957), The Birthday PartyThe Birthday Party (1958), and(1958), and
BetrayalBetrayal (1978)(1978)

17. Precolonial African TheatrePrecolonial African Theatre
 Grew out of ritual andGrew out of ritual and
employed acting,employed acting,
music, storytelling,music, storytelling,
costumes, and dance.costumes, and dance.
 Often used masks.Often used masks.
 Audience participationAudience participation
required.required.
 Concerned withConcerned with
religion andreligion and
community.community.
Marc&EvelyneBernheim/WoodfinCamp&
Associates

18. Sanskrit DramaSanskrit Drama
Sanskrit drama - uses Sanskrit, the oldest ofSanskrit drama - uses Sanskrit, the oldest of
Indian languages, and tells stories based onIndian languages, and tells stories based on
Indian myth.Indian myth.
DinodiaPhoto
Library

19. Peking OperaPeking Opera
AA synthesis of music, dance,synthesis of music, dance,
acting, and acrobatics.acting, and acrobatics.
Because they originallyBecause they originally
performed outdoors, Pekingperformed outdoors, Peking
opera actors developed aopera actors developed a
piercing style of singing theirpiercing style of singing their
lines over boisterous crowds.lines over boisterous crowds.
The orchestra is made up ofThe orchestra is made up of
gongs, cymbals, lutes, rattles,gongs, cymbals, lutes, rattles,
drums, castanets, and a two-drums, castanets, and a two-
string violin.string violin. Lou Anne Wright

20. Japanese TheatreJapanese Theatre
Kabuki Theatre -- Ka (song), Bu (dance) and Ki (skill).Kabuki Theatre -- Ka (song), Bu (dance) and Ki (skill).
A popular theatre form that includes elaborateA popular theatre form that includes elaborate
costumes, melodramatic acting, and special effects.costumes, melodramatic acting, and special effects.
MichaelS.
Yamashita/CORBIS

21. Islamic TheatreIslamic Theatre
•Shadow TheatreShadow Theatre
In the ancient Muslim world,
theatre was not an important
part of its culture.
The Koran, Islam’s holy book,
contains a warning about
“graven images,” which
applies to actors and puppets.
Islamic performers skirted the
rules by back lighting two-
dimensional figures and
casting their shadows on a
screen.
WilliamMissouriDowns

22. Curtain CallCurtain Call
In his famous introductionIn his famous introduction
toto The Story of ArtThe Story of Art, E. H., E. H.
Gombrich says, “There isGombrich says, “There is
no such thing as art.no such thing as art.
There are only artists.”There are only artists.”
This is certainly true in theThis is certainly true in the
theatre—how eachtheatre—how each
designer, director, actor,designer, director, actor,
or playwright sees lifeor playwright sees life
affects the style of theaffects the style of the
plays they createplays they create William Missouri Downs