While dramatic productions frequently conform to a written text, it is not the use of such a text but rather the fictional mimetic (from Greek mimēsis, “imitation,” “representation”) nature of the performer’s behaviour that makes a work dramatic. For example, a person walking a tightrope is performing an acrobatic act, whereas a person who pretends to be an acrobat walking a tightrope is performing a dramatic act. Both performers are engaged in theatrical presentation, but only the latter is involved in the creation of dramatic illusion. Though a dramatic performance may include dancing, singing, juggling, acrobatics, or other nondramatic elements, it is concerned mainly with the representation of actual or imagined life.
A History of Theatre Quiz
Shakespeare claimed that all the world’s a stage, but there are no questions about him in this quiz. Figure out how much you know about other parts of theatrical history.
In nondramatic theatrical productions there is no imitation of “another existence” but simply the entertainment or excitation of the audience by the performer. Whether acrobatic or musical, gestural or vocal, such activity is theatrical because it is presented by a live performer to an audience, but it remains nondramatic so long as it has a purely presentational quality rather than a representational one.
In any single theatrical production, one or another type of activity may so prevail that there is little difficulty in determining the aesthetic nature of the final work. A play by the 19th-century Norwegian dramatist Henrik Ibsen, with its depiction of middle-class behaviour, minimizes nondramatic activity; the recital of a song by the 19th-century Romantic composer Franz Schubert, by contrast, with its emphasis upon musical values, may ignore dramatic elements and, to a considerable extent, even the act of presentation itself. Between these two extremes, however, there are many types of theatrical production in which the aesthetic nature of the form is less simple. Opera, for example, employs both drama and music in shifting patterns of emphasis.
In Europe and the United States several forms arose in the 20th century that combine dramatic and nondramatic material. Vaudeville, or music hall, for instance, employs a succession of various acts, such as fictional sketches, musical and dance numbers, and feats of dexterity, of which some are representational and others are not. In the musical theatre, song and dance serve both to further the narrative and to provide a break from purely dramatic presentation. This variety also characterizes much Asian theatre, in which dramatic moments are elaborated in dance exhibitions. In light of these examples, the definition of what constitutes theatrical production must remain elastic.
For a general discussion of theatre as an art form, as well as a specific treatment of the crafts of acting and directing, see theatre, directing, and acting. The aesthetic dimension of a dramatic production is discussed under stage design. Drama as a literary genre is treated under dramatic literature. Drama or dramatic literature is also treated in numerous other articles, including those on the literature or theatre of a specific country or region, of which the following are examples: Western theatre; African literature; American literature; English literature; French literature; German literature; Greek literature; Japanese literature; and Oceanic literature. Other articles that pertain to theatrical production include circus and puppetry.
Elements of theatrical production
According to the British director Peter Brook, theatre occurs whenever someone crosses neutral space and is watched by another person. This definition of theatre raises some problems, such as the difficulty of determining neutral space, but it is useful in its firm commitment to demystifying theatrical production. In former times the idea of the actor as motivated by a desire to create astonishment and wonder was sometimes seen as the basis of all theatre. Certainly there are types of theatrical performance that entail ritual and magic, but theatre is far more frequently rooted in attempts to structure emotion and experience.