Dramatic texts: what are they, types, characteristics and examples?

Let's see what a dramatic text consists of, what its structure is, and what dramatic genres there are.

Since the invention of writing, billions of lines and texts have been written. Some for purely informative purposes, others for dissertations or essays, and others solely for the purpose of generating an elaborate narrative in order to enjoy a good story.

But sometimes a text is not created just to be read. Sometimes the aim is for a person to sing or express its content in a specific way, and in some cases texts are created not to be read but to be interpreted before an audience. The latter is the case of dramatic texts, which we are going to talk about in the next section.which we are going to talk about in this article.

What do we call dramatic text?

The name of dramatic text is given to all that writing that is written for the purpose of being performed in public, not by mere reading but by means of theatrical performance.. In this type of text, one or several situations of conflict between different characters are interpreted, which form a story that is represented through the dialogues and actions of the actors. The action takes place on a specific stage set in a specific space and time, and the conflict in question develops over multiple scenes.

The dramatic text is one of the three main literary genres, along with narrative and lyric or poetry.. It shares with the first the fact of generating a story with introduction, development and denouement, while it has in common with the second the fact of seeking a representation away from the mere literal reading.

It is the basic text of the theater, although it should not be identified as a synonym of it, since the dramatic text will only be the literary elaboration and not the representation itself. In addition, it has the particularity that although the author of the text is one (who receives the name of playwright), the story that reaches the spectator does not reach him directly. the story that reaches the spectator does not come directly through the text but through the interpretation of the actors and the staging by the director. and the staging done by the director.

Likewise, this type of text must include not only what happens but the way in which it happens: the appearance, the gestures or the tone maintained by the aspects, as well as the general information of the scenography (luminosity, place and exact time in which the action occurs, etc.) and the costumes.

Two types of text in one

One of the most relevant characteristics of the dramatic text is that for its good development it is necessary that two different types of text are elaborated at the same time, otherwise its interpretation could vary enormously and distort or completely change the story in question or its meaning.

In the first place we can find the main text, which refers to the set of lines that express the dialogues (or monologues) of the characters and which is the main element that keeps the story moving forward. It also includes the division into acts, frames and scenes, as well as the development of the action itself..

The second of the text types is the secondary text, which are the set of annotations that the author makes in order to indicate how the scene in question takes placeMovement, environment, clothing or gesticulation would fall into this type of text.

Basic structure

Dramatic texts have a general basic structure, analogous to that of the narrative genre.. In this sense, we can find the existence of an approach or introduction in which the circumstances prior to the conflict and its staging are presented.

This is followed by the crux or development, in which the conflict progresses in such a way that the characters try to confront it, reacting and acting to resolve it. Finally, there is the denouement, in which, after a climax where the conflict reaches its maximum intensity, an end to the conflict situation is reached (whether this end is satisfactory or not for the characters).

In addition to this, another aspect to take into account is how not the conflict but the whole work itself is structured. In this sense, while a narrative may be divided into chapters, in the case of a dramatic text, it may be divided into two or more chapters. in the case of the dramatic text the action is divided into actsThe main dramatic genres are: tableaux (which do not necessarily involve the curtain coming down as in the act but in which the scenery is changed) and scenes (marked by the characters and their entrances and exits).

The main dramatic genres

Within dramatic texts we can find different types of genre. Although there are several subgenres there are various sub-genres such as the entremeses, the farce or vaudeville, or even the operaIn general, the three dramatic genres are considered to be the following.

Drama

Drama is one of the first and main dramatic genres (not in vain, the name of the genre comes from the Greek word for the action of acting).

It depicts the existence of a conflict that is resolved over several scenes. It usually has a serious and realistic tone and presents great reflections on different themes, although it does not about different themes, although it does not necessarily have to be sad.

Tragedy

Another of the great genres within this literary genre is tragedy, which is characterized by severe and solemn conflicts. characterized by presenting severe and solemn conflicts, the characters being doomed to an extreme destiny or outcomeThe characters are doomed to an extreme destiny or outcome, usually linked to death.

Often the characters are known and respected characters or heroes, and in them stands out the expression of powerful emotions difficult to control and usually a desperate action to avoid a misfortune from which they can not get rid of.

Comedy

The third of the three great dramatic genres, in comedy we observe a type of work aimed at the search for a happy ending, always with a jocular tone and aiming to make the spectator laugh and enjoy it.. It usually deals with different aspects of everyday life and the acceptance of imperfection and the peculiarity of the events, situations and characters that are interpreted in it prevails.

An example of a dramatic text

In order to make it clearer what a dramatic text is, here is a fragment of William Shakespeare's play Hamlet. Specifically, it is a fragment of the fourth scene of the third act: the moment in which Hamlet performs his well-known soliloquy.

“ Hamlet (soliloquy) To be, or not to be, that is the question: which is the worthier action of the spirit, to suffer the piercing shots of unjust fortune, or to oppose the arms to this torrent of calamities, and put an end to them with daring resistance? To die is to sleep, no more? And by a dream, shall we say, afflictions ended, and pains without number, the heritage of our feeble nature?

This is a term we should eagerly solicit. To die is to sleep... and perhaps to dream. Yes, and see here the great obstacle, for the consideration that dreams may occur in the silence of the grave, when we have abandoned this mortal spoil, is a very powerful reason to stop us.

This is the consideration that makes our unhappiness so long; who, if this were not so, would endure the slowness of courts, the insolence of clerks, the outrages that the merit of the most unworthy men peacefully receives, the anguish of an ill-paid love, the injuries and misfortunes of age, the violence of tyrants, the contempt of the proud?

When he who suffers this, could procure his stillness with only a dagger. Who could tolerate so much oppression, sweating, groaning under the weight of an annoying life if it were not that the fear that there is something beyond Death (that unknown country from whose limits no wayfarer turns) makes us pregnant with doubts and makes us suffer the evils that are near us, rather than go in search of others of which we have no certain knowledge?

This foresight makes cowards of us all, so that the natural dye of courage is weakened by the pale varnish of prudence, the most important enterprises by this consideration alone change course, are not executed and are reduced to vain designs. But... the beautiful Ophelia! Gracious child, I hope my faults will not be forgotten in your prayers.

Ophelia How have you felt, sir, in all these days?

Hamlet Thank you very much. Well.

Ophelia I keep in my possession some expressions of yours, which I wish to restore to you long ago, and I ask you to take them now.

Hamlet No, I never gave you anything.

Ophelia You know well, sir, that I tell you the truth. And with them you gave me words, of so soft a breath composed that they increased with extreme value, but now that perfume is dissipated, receive them, for a generous soul considers the most opulent gifts as vile, if the affection of the giver grows cold. See them here.

Hamlet O! O! art thou honest?

Ophelia Sire...

Hamlet Are you beautiful?

Ophelia What do you mean by that?

Hamlet That if you are honest and beautiful, you must not consent that your honesty should deal with your beauty.

Ophelia Can beauty have a better companion than honesty?

Hamlet Undoubtedly not. The power of beauty will turn honesty into a procuress, before honesty can give beauty its likeness. Once this was considered a paradox; but in the present age it is a proven thing.... I loved you before, Ofelia.

Ofelia So you gave me to understand.

Hamlet And you should not have believed me, because virtue can never be so perfectly ingested in our hardened trunk, that it takes away that original resentment... I have never loved you.

Ofelia I was very much deceived.

Hamlet Look, go to a convent, why should you expose yourself to be the mother of sinful children? I am moderately good; but when I consider some things of which I can accuse myself, it would be better if my mother had not given birth to me.

I am very proud, vindictive, ambitious; with more sins on my head than thoughts to explain them, fancy to give them form, nor time to carry them into execution. To what end are wretches like me to exist dragged between heaven and earth? We are all insignificant wicked; believe none of us, go away, go to a convent? Where is your father? (...)

Bibliographical references:

• Aston, E. & George Savona. (1991). Theatre as Sign-System: A Semiotics of Text and Performance. London and New York: Routledge.
• Milling, J. & Ley, G. (2001). Modern Theories of Performance: From Stanislavski to Boal. Basingstoke, Hampshire and New York: Palgrave.