drama essays examples

What this handout is about

This handout identifies common questions about drama, describes the elements of drama that are most often discussed in theater classes, provides a few strategies for planning and writing an effective drama paper, and identifies various resources for research in theater history and dramatic criticism. We’ll give special attention to writing about productions and performances of plays.

What is drama? And how do you write about it?

When we describe a situation or a person’s behavior as “dramatic,” we usually mean that it is intense, exciting (or excited), striking, or vivid. The works of drama that we study in a classroom share those elements. For example, if you are watching a play in a theatre, feelings of tension and anticipation often arise because you are wondering what will happen between the characters on stage. Will they shoot each other? Will they finally confess their undying love for one another? When you are reading a play, you may have similar questions. Will Oedipus figure out that he was the one who caused the plague by killing his father and sleeping with his mother? Will Hamlet successfully avenge his father’s murder?

For instructors in academic departments—whether their classes are about theatrical literature, theater history, performance studies, acting, or the technical aspects of a production—writing about drama often means explaining what makes the plays we watch or read so exciting. Of course, one particular production of a play may not be as exciting as it’s supposed to be. In fact, it may not be exciting at all. Writing about drama can also involve figuring out why and how a production went wrong.

What’s the difference between plays, productions, and performances?

Talking about plays, productions, and performances can be difficult, especially since there’s so much overlap in the uses of these terms. Although there are some exceptions, usually plays are what’s on the written page. A production of a play is a series of performances, each of which may have its own idiosyncratic features. For example, one production of Shakespeare’s Twelfth Night might set the play in 1940’s Manhattan, and another might set the play on an Alpaca farm in New Zealand. Furthermore, in a particular performance (say, Tuesday night) of that production, the actor playing Malvolio might get fed up with playing the role as an Alpaca herder, shout about the indignity of the whole thing, curse Shakespeare for ever writing the play, and stomp off the stage. See how that works?

Be aware that the above terms are sometimes used interchangeably—but the overlapping elements of each are often the most exciting things to talk about. For example, a series of particularly bad performances might distract from excellent production values: If the actor playing Falstaff repeatedly trips over a lance and falls off the stage, the audience may not notice the spectacular set design behind him. In the same way, a particularly dynamic and inventive script (play) may so bedazzle an audience that they never notice the inept lighting scheme.

A few analyzable elements of plays

Plays have many different elements or aspects, which means that you should have lots of different options for focusing your analysis. Playwrights—writers of plays—are called “wrights” because this word means “builder.” Just as shipwrights build ships, playwrights build plays. A playwright’s raw materials are words, but to create a successful play, they must also think about the performance—about what will be happening on stage with sets, sounds, actors, etc. To put it another way: the words of a play have their meanings within a larger context—the context of the production. When you watch or read a play, think about how all of the parts work (or could work) together.

For the play itself, some important contexts to consider are:

• The time period in which the play was written
• The playwright’s biography and their other writing
• Contemporaneous works of theater (plays written or produced by other artists at roughly the same time)
• The language of the play

Depending on your assignment, you may want to focus on one of these elements exclusively or compare and contrast two or more of them. Keep in mind that any one of these elements may be more than enough for a dissertation, let alone a short reaction paper. Also remember that in most cases, your assignment will ask you to provide some kind of analysis, not simply a plot summary—so don’t think that you can write a paper about A Doll’s House that simply describes the events leading up to Nora’s fateful decision.

Since a number of academic assignments ask you to pay attention to the language of the play and since it might be the most complicated thing to work with, it’s worth looking at a few of the ways you might be asked to deal with it in more detail.

There are countless ways that you can talk about how language works in a play, a production, or a particular performance. Given a choice, you should probably focus on words, phrases, lines, or scenes that really struck you, things that you still remember weeks after reading the play or seeing the performance. You’ll have a much easier time writing about a bit of language that you feel strongly about (love it or hate it).

That said, here are two common ways to talk about how language works in a play:

How characters are constructed by their language

If you have a strong impression of a character, especially if you haven’t seen that character depicted on stage, you probably remember one line or bit of dialogue that really captures who that character is. Playwrights often distinguish their characters with idiosyncratic or at least individualized manners of speaking. Take this example from Oscar Wilde’s The Importance of Being Earnest :

ALGERNON: Did you hear what I was playing, Lane? LANE: I didn’t think it polite to listen, sir. ALGERNON: I’m sorry for that, for your sake. I don’t play accurately—anyone can play accurately—but I play with wonderful expression. As far as the piano is concerned, sentiment is my forte. I keep science for Life. LANE: Yes, sir. ALGERNON: And, speaking of the science of Life, have you got the cucumber sandwiches cut for Lady Bracknell?

This early moment in the play contributes enormously to what the audience thinks about the aristocratic Algernon and his servant, Lane. If you were to talk about language in this scene, you could discuss Lane’s reserved replies: Are they funny? Do they indicate familiarity or sarcasm? How do you react to a servant who replies in that way? Or you could focus on Algernon’s witty responses. Does Algernon really care what Lane thinks? Is he talking more to hear himself? What does that say about how the audience is supposed to see Algernon? Algernon’s manner of speech is part of who his character is. If you are analyzing a particular performance, you might want to comment on the actor’s delivery of these lines: Was his vocal inflection appropriate? Did it show something about the character?

How language contributes to scene and mood

Ancient, medieval, and Renaissance plays often use verbal tricks and nuances to convey the setting and time of the play because performers during these periods didn’t have elaborate special-effects technology to create theatrical illusions. For example, most scenes from Shakespeare’s Macbeth take place at night. The play was originally performed in an open-air theatre in the bright and sunny afternoon. How did Shakespeare communicate the fact that it was night-time in the play? Mainly by starting scenes like this:

BANQUO: How goes the night, boy? FLEANCE: The moon is down; I have not heard the clock. BANQUO: And she goes down at twelve. FLEANCE: I take’t, ’tis later, sir. BANQUO: Hold, take my sword. There’s husbandry in heaven; Their candles are all out. Take thee that too. A heavy summons lies like lead upon me, And yet I would not sleep: merciful powers, Restrain in me the cursed thoughts that nature Gives way to in repose!

Enter MACBETH, and a Servant with a torch

Give me my sword. Who’s there?

Characters entering with torches is a pretty big clue, as is having a character say, “It’s night.” Later in the play, the question, “Who’s there?” recurs a number of times, establishing the illusion that the characters can’t see each other. The sense of encroaching darkness and the general mysteriousness of night contributes to a number of other themes and motifs in the play.

Productions and performances

Productions.

For productions as a whole, some important elements to consider are:

• Venue: How big is the theatre? Is this a professional or amateur acting company? What kind of resources do they have? How does this affect the show?
• Costumes: What is everyone wearing? Is it appropriate to the historical period? Modern? Trendy? Old-fashioned? Does it fit the character? What does their costume make you think about each character? How does this affect the show?
• Set design: What does the set look like? Does it try to create a sense of “realism”? Does it set the play in a particular historical period? What impressions does the set create? Does the set change, and if so, when and why? How does this affect the show?
• Lighting design: Are characters ever in the dark? Are there spotlights? Does light come through windows? From above? From below? Is any tinted or colored light projected? How does this affect the show?
• “Idea” or “concept”: Do the set and lighting designs seem to work together to produce a certain interpretation? Do costumes and other elements seem coordinated? How does this affect the show?

You’ve probably noticed that each of these ends with the question, “How does this affect the show?” That’s because you should be connecting every detail that you analyze back to this question. If a particularly weird costume (like King Henry in scuba gear) suggests something about the character (King Henry has gone off the deep end, literally and figuratively), then you can ask yourself, “Does this add or detract from the show?” (King Henry having an interest in aquatic mammals may not have been what Shakespeare had in mind.)

Performances

For individual performances, you can analyze all the items considered above in light of how they might have been different the night before. For example, some important elements to consider are:

• Individual acting performances: What did the actor playing the part bring to the performance? Was there anything particularly moving about the performance that night that surprised you, that you didn’t imagine from reading the play beforehand (if you did so)?
• Mishaps, flubs, and fire alarms: Did the actors mess up? Did the performance grind to a halt or did it continue?
• Audience reactions: Was there applause? At inappropriate points? Did someone fall asleep and snore loudly in the second act? Did anyone cry? Did anyone walk out in utter outrage?

Response papers

Instructors in drama classes often want to know what you really think. Sometimes they’ll give you very open-ended assignments, allowing you to choose your own topic; this freedom can have its advantages and disadvantages. On the one hand, you may find it easier to express yourself without the pressure of specific guidelines or restrictions. On the other hand, it can be challenging to decide what to write about. The elements and topics listed above may provide you with a jumping-off point for more open-ended assignments. Once you’ve identified a possible area of interest, you can ask yourself questions to further develop your ideas about it and decide whether it might make for a good paper topic. For example, if you were especially interested in the lighting, how did the lighting make you feel? Nervous? Bored? Distracted? It’s usually a good idea to be as specific as possible. You’ll have a much more difficult time if you start out writing about “imagery” or “language” in a play than if you start by writing about that ridiculous face Helena made when she found out Lysander didn’t love her anymore.

If you’re really having trouble getting started, here’s a three point plan for responding to a piece of theater—say, a performance you recently observed:

• Make a list of five or six specific words, images, or moments that caught your attention while you were sitting in your seat.
• Answer one of the following questions: Did any of the words, images, or moments you listed contribute to your enjoyment or loathing of the play? Did any of them seem to add to or detract from any overall theme that the play may have had? Did any of them make you think of something completely different and wholly irrelevant to the play? If so, what connection might there be?
• Write a few sentences about how each of the items you picked out for the second question affected you and/or the play.

This list of ideas can help you begin to develop an analysis of the performance and your own reactions to it.

If you need to do research in the specialized field of performance studies (a branch of communication studies) or want to focus especially closely on poetic or powerful language in a play, see our handout on communication studies and handout on poetry explications . For additional tips on writing about plays as a form of literature, see our handout on writing about fiction .

Works consulted

We consulted these works while writing this handout. This is not a comprehensive list of resources on the handout’s topic, and we encourage you to do your own research to find additional publications. Please do not use this list as a model for the format of your own reference list, as it may not match the citation style you are using. For guidance on formatting citations, please see the UNC Libraries citation tutorial . We revise these tips periodically and welcome feedback.

Carter, Paul. 1994. The Backstage Handbook: An Illustrated Almanac of Technical Information , 3rd ed. Shelter Island, NY: Broadway Press.

Vandermeer, Philip. 2021. “A to Z Databases: Dramatic Art.” Subject Research Guides, University of North Carolina. Last updated March 3, 2021. https://guides.lib.unc.edu/az.php?a=d&s=1113 .

Worthen, William B. 2010. The Wadsworth Anthology of Drama , 6th ed. Boston: Cengage.

You may reproduce it for non-commercial use if you use the entire handout and attribute the source: The Writing Center, University of North Carolina at Chapel Hill

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How to write a good drama essay?

Essay paper writing

Thinking about the cultural heritage of a country, people usually remember music, paintings, costumes, and even cuisine, but often forget about drama. This art has taken various forms in different countries, and most nations have a great history of its development.

For ages, it has evolved from being merely entertainment for masses to something a lot bigger and more valuable. It started reflecting the real life, presenting both beautiful and ugly sides of it, teaching people important lessons, educating them, delivering certain messages, and raising public awareness.

Therefore, if you were assigned a drama essay, you have a wide variety of topics to choose from and viewpoints to consider. While picking the topic might not be the biggest issue, as you likely know a few plays you might want to review, the writing part might be a little tricky. Let us walk you through it though.

Drama essay outline

There is nothing special about the structure of dramatic essays. Its main elements are:

• Introduction. Start with a hook phrase, provide a few sentences with some background information on the topic, and end the introductory paragraph with a thesis statement showing the purpose of your paper.
• Body. If you are writing a typical 1-2-page essay, the body will likely consist of about 3-5 paragraphs, each with its own main idea and supporting sentences.
• Conclusion. The main task of this section is to restate the thesis statement, briefly overview the discussion you had in the body, and leave your readers some food for thought.

Drama essay format

The question of formatting always concerns students because it constitutes a considerable part of the overall grade. If you are a school student, you will likely be asked to use APA or MLA style. But if you study at a university, then the choice of formatting styles can be wider. Therefore, it is better to clarify which one would be the most suitable with your professor before you start working on your essay.

Drama essay help: best tips

Drama studies, the same as numerous other courses, require their students to work on different kinds of tasks, and many of them involve essay writing. Even though you are familiar with various types of papers and have certainly worked on a wide range of topics, the most frequent task you may be assigned is usually an analysis paper. No matter how many essays you have prepared before, drama writing assignments will be a unique, unusual, and unexpectedly enjoyable experience that will fascinate you each time.

As most professors try to help their students relish each drama essay assignment and approach it creatively, they often leave minimum instructions to follow. While some people see it as an opportunity to learn in comfort and recognize the limits of their own perception, others freeze in confusion, having no idea what to do next. It is completely natural to feel baffled when you are used to staying within limits set by teachers but are suddenly given so much freedom for experiments and action. It is just important to come out of this perplexed state and make a clear plan like this one:

Choose a play

Obviously, a drama analysis essay cannot be done if there is nothing to analyze. Therefore, it is important to pick the play first. Teachers can provide their students with a list of plays to choose from, and as you have no time to watch them all and then pick one, read brief descriptions of them on the Web, and go with the play you liked the most.

If you have no list, the situation gets a bit more complicated, but there is no need to worry, as you can create such a list on your own. Focus on the topic you are currently studying on the course, and search for plays that would have the needed time frame, country, exact theatre, or team of actors. Make your own little research on these plays to figure out what they are about and make the final decision on what you are going to analyze.

Think of the assessment criteria

The type of paper you are working on implies that you need to analyze certain aspects of the play you will watch, and it is crucial to decide what those things will be. If you have to focus on technical attributes of the play, then lights, quality of music, costumes, and decorations are the nice assessment choices. However, writing about drama, you will more often be asked to put the emphasis on something spiritual or emotional. In this case, it is better to examine acting itself, as well as the role of crewmembers, their involvement, language, feelings, and contribution to the play. You can always look up the criteria, but it is better to come up with a few on your own, write them all down, and make sure they all will be suitable for your essay on drama.

Outline, write, and revise

When you feel ready for writing about drama, create proper working conditions for yourself, and prepare an outline first. Find a place where nothing will bother you, turn off your phone, and take everything you need for writing. Look up how to structure the work, check out the outline provided above, or find a suitable sample and check how it is organized.

You can either use a similar structure or outline the drama paper on your own using the data you have. Think about the purpose of the work, the information you want to present, and the way you will shape your discussion. Start writing a drama review only when the outline is ready and make sure to proofread it when you finish.

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• Literary Terms

When & How to Write Drama

• Definition & Examples
• When & How to Write Drama

How to Write Drama

• Start with characters . The best dramas are usually character- driven. They have a cast of main characters (usually fewer than 10), plus a handful of supporting characters. These characters should all be very distinct from one another, and the main characters should be authentic and life-like. This way, the audience can relate to them and cares what happens to them.
• Introduce conflict. All stories revolve around conflict, and this is especially true in drama. The conflict could be anything – the simplest example is political conflict or war, but you might also have competing love interests, clashes in personality, or simply a struggle against misfortune.
• Don’t forget about comic relief. Unless you’re writing a tragedy (see section 6), there should be at least some amount of humor in your drama. Otherwise, the negative emotions will get overwhelming and the experience will be too unpleasant for the reader. Give a few funny lines to your characters, or add an amusing situation somewhere to cut the tension – just make sure that this comic relief arises naturally from the story and it doesn’t feel like you’re cramming it in.

When to Use Drama

Drama is great for a creative writing project. It offers opportunities to work on character development, story structure, and a whole other set of writing skills. Every once in a while, you may also find a place for drama in formal essays , but you have to be careful.

For example, history essays are often more enjoyable to read if you craft them with a “dramatic” eye – focusing on a small set of main characters, contrasting these characters and their various desires, and fully describing the conflict at the center of the story. These techniques, in combination with good research and persuasive logic, can turn a good essay into a great one. However, you do have to be careful – too much drama in a formal essay can start to seem distracting, and you don’t want to give the impression that you’re more committed to the entertainment value than to the research and analysis.

List of Terms

• Alliteration
• Amplification
• Anachronism
• Anthropomorphism
• Antonomasia
• APA Citation
• Aposiopesis
• Autobiography
• Bildungsroman
• Characterization
• Circumlocution
• Cliffhanger
• Comic Relief
• Connotation
• Deus ex machina
• Deuteragonist
• Doppelganger
• Double Entendre
• Dramatic irony
• Equivocation
• Extended Metaphor
• Figures of Speech
• Flash-forward
• Foreshadowing
• Intertextuality
• Juxtaposition
• Literary Device
• Malapropism
• Onomatopoeia
• Parallelism
• Pathetic Fallacy
• Personification
• Point of View
• Polysyndeton
• Protagonist
• Red Herring
• Rhetorical Device
• Rhetorical Question
• Science Fiction
• Self-Fulfilling Prophecy
• Synesthesia
• Turning Point
• Understatement
• Urban Legend
• Verisimilitude
• Essay Guide
• Cite This Website

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• Essay on Dance

Free Arts, Dance, Music, And Drama Essay Example

Type of paper: Essay

Topic: Dance , Culture , Moth , Art , Performance , Movements , Dances , Arts

Words: 1600

Published: 03/30/2023

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Teaching different art forms such as dance to students is a great challenge because it requires a great deal of confidence, a deep level of understanding of arts and the right mix of skills . For this paper, the workshop that I chose to focus on was the Moth Bangarra Dance performance. I chose dance mainly because of the fact that it was one of the most recently discussed topics in the course and this particular dance workshop was the one that really struck my senses. I wanted to do a dance workshop just like it and so I chose it as the topic of my respond, relate, and react paper. Moreover, dance has already entered the scholarly world and so it would be relevant to incorporate it in arts classes, as evidenced by Hanna’s (2008) paper about dance which she described as a nonverbal language for imagining and learning. The title of the dance itself is Moth. A moth is basically an insect. Its development can be compared to that of a human in that it also involves different life stages or cycles. A human, for example, starts from conception, and then progresses towards infancy, then childhood, adolescence, adult, and later on into an elderly stage of development, until it finally does. The same thing happens to other life forms and this is one of the main takeaways from this particular dance performance. The only difference, however, is that a moth undergoes a different set of stages. What the Moth represents is a story of spiritual inheritance and spiritual existence, from the birth of a new creature down to the point of its demise. It is also worth noting that Moth does not necessarily pertain to a human’s life cycle or stages only. From a cultural perspective, for example, it may be seen that it also represents the resilience of the spirit of indigenous Australians . This is where the idea of this respond part lies in. One of the most common misconceptions when it comes to dance theaters is that they should reflect a certain culture . This is, in part, because people of today’s generation are often made aware about the presence and existence of certain dance types and classes by means of mass media such as movies and television shows. This was the point made by Yun when he discussed how traditional Chinese cultural artifacts such as dances and martial arts often get misrepresented by the people . There are, of course, a lot of other examples out there. This is a classic example wherein a person looks only at the superficial aspects of a dance. Evidently, when one thinks that dances are made just to represent a certain culture, there is clearly a misconception there because dance, just like any other art forms, can be a free form of creation and interpretation . This means that dances can therefore come in many different forms because after all, it may be used as a form of expression . Forms of expression can have as many variations as the total number of human beings in this planet. That is, it can be highly varied. This in fact applies to all forms of art . This can be evidenced by the fact that there are numerous types of dances for every culture. There is ballroom dancing, Latin, Hip Hop, Jazz, and Contemporary. Each form is unique in its own way. I tried to relate it to the Moth dance because students from the class managed to create his or her own comprehensive analysis about the topic and I noticed that most of our works were a subject of our own interpretations. The best way to experience a dance is to know deeply its purpose, what it represents, and how excellently it represents whatever it represents . Only then can one truly get the true value of dance as an art. In this case, I was able to witness that with the Moth performance.

I had no idea at first that there are so many things that can be explored when it comes to the artistic side of dance. I have always thought that dancing is just a form of entertainment. Never did I realize that there dance is also a form of art, art that can define an entire culture. When I embarked on Hanna’s (2008) work about the non-verbal language aspect of dance for example, I learned that there are numerous ways how to appreciate it as a form of art. Another important point would be that of Dinham (2014) where it was discussed how dance (as an art form) has penetrated the education system and that students have to be properly guided on how to appreciate and muster it. This is why when I got to watch the Moth dance by Bangarra, I got motivated to use it as a motif for a proposed learning sequence for students. I just hope that I can master the concept of dance as a form of cultural expression enough to inspire my students to appreciate it the same way I do.

Learning Sequence Selected Year Level: 3rd to 4th Year Selected Arts Disciplines: Dance Idea/Set of Practices from Respond Relate Specifically Addressed: Dance and Culture Learning Sequence Title: Exploring the Cultural Aspects of Dance Big Question: Can Culture and Dance go Hand in Hand? Lesson Objectives Emphasize the importance of symmetry and asymmetry when it comes to cultural dance. Discussion of sudden and erratic movements would also be important because these are great attention catchers. Examples of these would be the galloping, sliding, jumping, spinning, rolling, exploding, and shrinking moves that were used in the Moth performance. Being able to focus on rehearsing these factors would surely make a lot of difference. Relate the ideas to previously-observed cultural dance performances would always be a good idea because at that point, one would be able to realize the importance of a certain aspect. In the Moth performance, for example, the use of symmetry and asymmetry in movements were evident from the time the dance performances emerged from the stage (after a pitch black theater stage). They were waving their hands unilaterally and bilaterally and then alternately. The balance of the performers was also evident. These things take time to develop but they can definitely be learned faster through emphasis.

Elaborations

Appreciating dance as a form of art Appreciating the correlation between dance and culture Learning how to appreciate and perform various cultural dances, especially the Moth dance performance Importance of strength, coordination, form, symmetry, asymmetry, axial, and locomotive movements in cultural dance performances Importance of the different elements of Dance (BASTE-Body, Action, Space, Time, and Energy, individually and collectively). Knowing how to apply theory into practice (from watching to actually doing and performing) Knowing how to practice individually, as a pair, and then as a group, according to what the routine demands Relevant Australian Curriculum Content Descriptors For the elements of dance, when it comes to cultural dances, it would be safe to say that all of them (Body, Action, Space, Time, and Energy, or BASTE) get covered. The use of effort actions and expressive movements may also be integrated here considering how memorable the Moth performance turned out to be for me because of the alternation between fast and slow movements and heavy and light movements. I was also able to observe a lot of slashing and gliding motions during the performance, which is the main reason why it also turned out to be an elegant form of dance performance.

Key Driving Resource: the Bangarra Moth performance.

Additional Resources: Please refer to Resources Section in Learning Sequence. All additional materials are provided through URLs

Arts Review. (2013). Bangarra to dance at the 2014 Holland Dance Festival. Bangarra. (2003). Moth. Banggarra. Belflore, E. (2002). Art as a means of alleviating social exclusion: Does it really work? A critique of instrumental cultural policies and social impact studies in the UK. International Journal of Cultural Policy, 91-106. Bullot, N., & Reber, R. (2013). The artful mind meets art history: Toward a psycho-historical framework for the science of art appreciation. Behavioral and Brain Sciences, 123-137. Carter, A., & O'Shea, J. (2010). The Routledge Dance Studies Reader. Routledge. Golshani, F., Vissicaro, P., & Park, Y. (2004). A multimedia information repository for cross cultural dance studies. Multimedia Tools and Applications, 89-103. Horstehmke, K. (2004). Indigenous knowledge: Conceptions and Misconceptions. Journal of Education, 31-48. Kassing, G. (2016). Discovering Cultural Dance. Human Kinetics. Kealiinohomoku, J. (1969). An anthropologist looks at ballet as a form ethnic dance. Impulse, 24-33. Lowe, S. (2000). Creating Community Art for Community Development. Journal of Contemporary Ethnography, 357-386. Michaels, J. (2012). No More Trouble Zones Workout - Stretching Cool Down. YouTube, https://www.youtube.com/watch?v=JiPzM1AUxao. Olsen, A. (2014). Stretches for Beginning Ballet Daily Stretching Routine. https://www.youtube.com/watch?v=8DxG4B3njGw. Pratt, R. (2004). Art, dance, and music therapy. Physical Medicine and Rehabilitation Clinics in North America, 827-841. Roco. (2008). Australian Aboriginal Crane Dance. YouTube, https://www.youtube.com/watch?v=U2vzsSmqGg8. Yun, S. (2016). Misconception 3: Not Seeing Beyond the Superficial. Shen Yun Performing Arts.

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