THE NATURE OF DRAMA GEORGE J. WATSON Renu Koyu
George J Watson’s The Nature of Drama is the first chapter of his book Drama: An Introduction (1983). This chapter introduces the dramatic art form. It explains in detail all the major components of drama with illustrations from different literary periods and different literary cultures, beginning with the Ancient Greeks to the Absurdist plays of the 1950s. In a way, it is an extensive and thorough exploration of the dramatic literary form. It is systematically arranged in 7 parts for easy reading and understanding
Definition
n order to come to a comprehensive understanding of “drama”, Watson references various definitions given by many scholars of the field and arrives at one that encompasses the important characteristics of the dramatic literary form. Watson’s search brings him to the conclusion that “theatricality” is an important aspect of drama. By “theatricality” Watson means performance on a stage. The other important requirements are “real life people pretending to be imagined people” – i.e., actors- and a “particular emphasis on action, of a concentrated, often intense, kind”. (1) Thus, the important elements of the dramatic art form are its theatricality; actors; and concentrated and intense action. Taking these points into consideration, he defines drama as a “representation of carefully selected actions by living people on stage in front of an audience”. (2) In this section, Watson works out a definition of drama that includes all its essential elements that distinguishes it from other literary forms and gives it its distinction.
1.1 Define drama according to your understanding of it from reading the above passage. 2.1.2 Do you agree with Watson’s definition of drama. Give reasons.
Origins and Universality
2 Origins and Universality After arriving at a definition of drama, Watson traces its origins to understand its significance in human society. He observes that one of the most important characteristics of drama is that it is a communal art form, that is, it requires the participation of people. Usually this involves a group that performs on stage and a larger group – the audience- who watch the performance. This communal aspect is an inheritance of early cultures- its primitive fertility rituals and religious observances. Watson states that, “drama’s relationship to the myths, legends and folk observances of a culture is the major source of its power.” The plays of prominent African playwrights like Wole Soyinka, Robert Serumaga, James Ng’ombe use elements of African tribal religions and myths in their dramas. For them, the rituals of tribal groups – essentially an early version of the dramatic form- continue to influence and inspire their dramatic creations. Similarly, during the early twentieth century, Irish playwrights like W.B. Yeats and J.M. Synge incorporated/used Irish legend, folk-tale and symbolism to revitalise the English theatrical traditions. Myths also provide the symbolism to comment on the concerns of the modern world. All over the world, playwrights have successfully adapted traditional stories to the contemporary stage and proved that the human condition is a universal experience in spite of its various cultural forms. The adaptation of the Irish playwright J.M. Synge’s play The Shadow of the Glen (1930) to a Ugandan setting by Ugandan playwright Erisa Kironde in The Trick (1966) attests to the universality of drama. Watson states that both Greek and English plays were originally closely connected with religious rituals. Even though each of these became secular in the process of its development, “it can still call upon powerful ritualised effects when necessary.” Shakespeare did this by employing pagan celebration of fertility in his comedies, As You Like It and A Midsummer Night’s Dream. Rituals continue to be an important and powerful aspect in many dramatic performances. However, Watson reminds us that it is not the archaic origins of the drama that sustains it but its “naturalness”. Watson insists that the naturalness of theatricality means humans instinctively gravitate towards it from their early childhood and that it is essential for one’s intellectual development. In fact, playwrights develop and sharpen this instinct to use it their arts.
2.2.1 Trace the history of drama through human civilization. 2.2.2 How do playwrights use ritualistic elements in their plays?
1 Has the stage conditions changed since the Ancient Greek Theatrical traditions? 2.3.2 What are the criticisms against naturalistic theatre?
2 What does physicality of the stage mean?
3 What are plot and action in a drama? 2.5.2 What are the key elements of dramatic action
4 How is dramatic language different from everyday language? 2.6.2 What importance does language play in drama
5 Write a short note on drama from your understanding of George J. Watson’s The Nature of Drama. 3.2 What are the major components of drama according to George J. Watson?
