What are the three main types of drama structure?

Drama structure 1. Types and characteristics of drama structure: Due to the limitation of stage and time, drama is the most economical performance and the art that can best capture the audience. The quality of drama structure is not only related to the integrity and unity of a script, but also one of the prerequisites for the success of drama. A complete drama structure can provide the whole process of the occurrence, development and transformation of a specific contradiction, which will make it easier for people to understand the causal relationship of this contradiction and thus realize the regularity of things. The so-called "structure" is the organization of life materials reflected in the script, also called "layout". Drama structure is the playwright's design and arrangement of all plots according to the requirements of shaping characters, expressing ideological themes and the special laws of drama art. There are three kinds of drama structures: retrospective, open and portrait exhibition. (1) backtracking structure The backtracking structure is also called the closed structure. Its main characteristics are: few people appear, and the time and place of plot development are highly concentrated, which basically conforms to the principle of "three unifications" (time, place and plot are the same). The plot begins near the climax, and the previous events are integrated into the plot development by flashback. Such as Ibsen's A Doll's House and Cao Yu's Thunderstorm. The advantages of this structure are: centralized and unified, closely linked, and easy to achieve dramatic results. (2) The "open" structure unfolds the story according to the time sequence of story development, with more characters, longer unfolding time, changeable scenes and more twists and turns; There can be no flashback. Such as Shakespeare's Romeo and Juliet, Lao She's Teahouse and Cao Yu's Yuan Ye. In Yuan Ye, Hu Qiu escapes from prison, revenges Jiao's family, kills Zi Xing, and escapes with his fiancee's gold. In desperation, he committed suicide, which completely promoted the orderly development of the plot. The advantages of this structure are: beginning and ending, showing the original story on the stage, and being able to accommodate a wide range of life materials. (3) Portrait display structure "Portrait display structure" aims to display a large number of people and social features in fragments. For example, Cao Yu's Sunrise. When Cao Yu wrote Sunrise, he was "determined to abandon the structure used in Thunderstorm and stop focusing on a few people". Although Sunrise has primary and secondary characters, it has no central character, and it is the guest and the master, which set each other off and become interesting. Conflicts are not single-line, but multi-clues. The purpose is to complete a theme through the shaping of more characters and criticize the unreasonable dark society of "damage is not enough to serve more". "Sunrise" takes social butterfly and Fang as a string of characters. Through them, on the one hand, they contacted the "surplus" of the decadent and declining upper class, such as Ba Jin, Pan Yueting and the grandmother of the rich woman Gu Ba; On the one hand, it is related to "underachievers" at the bottom of society, such as Shengsan Huang and Tracy. In this way, the two worlds of "surplus" and "shortage" are presented to the audience, and people can see the inside and outside of a semi-colonial urban society. High-class debauchery, drunkenness and trouble; The miserable life of the lower classes, who have no food to eat and sell their lives. 2. The structural features of Thunderstorm The structure of Thunderstorm is a typical "lock" structure. The author constructs Thunderstorm by retrospective method, and integrates the sin of Zhou Puyuan abandoning Shi Ping thirty years ago into the plot development by retrospective method, combining the "past drama" with the "present drama" very closely. At the same time, the author skillfully applied the creative principle of "three unifications". The story of Thunderstorm spans more than 30 years, but it is completed in one day. Focus on time, place and people. Drama structure is directly related to drama conflict. It is actually the art of organizing dramatic conflicts and arranging dramatic plots. Although there are not many characters in Thunderstorm, the plot is complex, and the characters from all sides of the conflict are linked by blood and family relations, making the structure very compact. All kinds of contradictions in Thunderstorm are concentrated in Zhoufu, and the culprit is. How to expose this character? The forms or components of drama structure can usually be divided into four parts: beginning, development, climax and ending. As the peak of plot development, the climax is the most tense and meaningful moment of the whole play, and it is also the most attractive place of the play. A play always has a climax. Every scene has a small climax, and each small climax finally develops into the climax of the whole drama. 3. Structural characteristics of the teahouse The structure of the teahouse is open. It broke through the "three unifications" form of traditional drama and made bold exploration and innovation. As Lao She himself said, "My writing style is somewhat new, and I am not completely bound by old stereotypes". From the overall structure, intercept three representative fragments in history. Before and after 50 years of social life, condensed in a short three-act drama. Teahouse subtly reflects the social changes through the rise and fall of Yutai Teahouse in Beijing. "A big teahouse is a small society", which brilliantly shows the theme of "destroying three eras" and is known as "Tujuan Opera". Its structure has three characteristics: a. Teahouse does not promote the development of the plot with consistent dramatic conflicts, and does not pursue a complete story. Instead, it focuses on the fate of many characters and their relationship, and describes many life fragments. The figure sketch seems to be loose, but under the theme of "destroying three eras", it has formed a unique and complete structure of "scattered in form but not in spirit". Although there is no complete central plot, the rise and fall of Yutai Teahouse is an obvious clue connecting the pictures of Life III. B Teahouse has a long time span. In order to prevent the three acts from becoming three isolated blocks, a string of characters, the Big Silly Yang, was specially set up to introduce the plot in the form of "counting treasures", which played a role in linking the scenes. C, the characteristics of the character arrangement. The main characters run through the whole play from Zhuang to Lao, and Wang Lifa, Chang and Qin all appear in three acts. The minor roles are descendants of father and son, played by the same actor. For example, in the late Qing Dynasty, the thug Er Dezi, the matchmaker Liu and his son all inherited Tang Tiezui's father's business, making the audience feel that people, things and things are related. Many other unimportant characters come and go at once, and each character tells his own story, all related to the times. In this play, there are more than 70 people on the stage, and there are more than 40 people with names. These people are involved in various religions, including teahouse owners and waiters, physiognomists, matchmakers, foreigners, capitalists, eunuchs, thugs, deserters, spies, bankrupt farmers and young students. Write these characters' occupation, identity, personality and other characteristics vividly, accurately and vividly. (5) Drama language Drama language is different from novels and essays. It uses pure spoken language, not narrative style. It must adapt to the requirements of drama stage and performance, and has the basic characteristics of individuality, refined beauty, action, implicit beauty and humor. Drama has two languages: one is the language of characters, that is, lines, including dialogue, monologue and narration. It is the main means of portraying characters, describing drama conflicts and expressing themes, and it is the basic material of the script. The second is the writer's "stage suggestion". 1, Personalization of Drama Language An excellent drama language must be personalized language, because the shaping of characters in drama mainly depends on the language of the characters. The individualization of drama language requires that the language of the characters in the drama must conform to the identity and personality of the characters, which is conducive to expressing the unique personality of the characters. The personalized language of characters in Lao She's and Cao Yu's works is very prominent and has always been praised by people. Lao She believes that the dialogue between characters must be personalized language. "You can judge a person by his voice.". The dialogues in Teahouse are all the languages that the characters should speak, so the differences between the characters are very clear. At the beginning of the play, a rich man had an argument in a teahouse because of a pigeon, which caused a conversation between Master Song, Master Chang, Master Dezi and Master Ma. How are the personality characteristics of the characters manifested: Master Song: It seems that something has happened again? Master Chang: I can't fight anyway! If you really want to take a taxi, go outside the city as soon as possible; What are you doing in the teahouse? Erd: (leans over) Who are you gossiping about? Grandpa Chang: (not to be outdone) Where did you ask me? Who else is responsible for spending money on tea? Master Song: (looking at Er Dezi) I said, Sir, are you a policeman in the camp? Come on, sit down and have a bowl. We are all outfielders. Erd: You don't care if I'm a policeman! Master Chang: If you want to be awesome, go with foreigners. Foreigners are interested! The British and French allied forces burned the Yuanmingyuan, and your family ate official salaries, but I didn't see you go to the front! Erdezi, don't say you don't fight foreigners, I'll discipline you first! Wang Lifa: Dude, we are all friends on the street. We have something to say. Grandpa, sit behind you! Grandpa Chang: (flashing) What do you want? Erd: What? I can't touch foreigners. Can't I touch you? Master Ma: (without standing up) Er Dezi, you are great! Delko: (Looking around, he sees Master Ma) Drink, Master Ma, where are you? I am clumsy. I didn't see you! Master Ma: What's the matter? Why do you always talk about fighting? Erd: Sugarcane! You are right! I'll do it in the back. Li San, I'm waiting for tea money! (Walking to the back) Master Chang: (complaining to Master Ma in the past) Master, you are wise, so you can judge! Master Ma: (stands up) I have something to do. Goodbye (out) 2. Refinement of dramatic language. Due to the limitation of time and space, drama language must be refined. The refined beauty of drama language lies in the richness and profundity of lines, that is to say, the most abundant and extensive content is expressed in the most economical language, with one as ten and less as more. For example, in the first act of Teahouse, a poor farmer was forced to make a living and sold his daughter Kang to eunuch Pang. Kang Shunzi said the line "I" twice after the performance, but told the whole story about the complex psychology of the characters in a specific situation: Kang Liu: Girl! Junko! Dad is not a man, he is an animal! But what do you want me to do? If you don't find a place to eat, you will starve to death! If I don't get a few taels of silver, I'll call my boss and beat him to death! You, Junko, accept your fate and accumulate virtue! Kang: I, I ... (speechless) Pockmarked Liu: (running over) Are you back? Nod? Come and meet the manager! Kowtow to the manager! Kang: I'm (I'm going to faint) 3. The task of dramatic language is not only to express individuality, but also to launch dramatic conflicts, which must be shown in its actions. Therefore, dramatic language must also be full of strong actions. The action of dramatic language means that the characters in the drama not only show their words, but also show their own psychological activities, thoughts and feelings. Combine gestures, expressions and body movements to promote the development of the plot. For example, in the second act of Thunderstorm, when Lu Dahai exposed Zhou Puyuan's sinful family history, Shi Ping witnessed the painful changes in his inner world when his eldest son Zhou Ping, who had been away from home for more than 20 years, beat another son Lu Dahai: Lu Dahai: You bastards, let me go. I want to say that you deliberately drowned 2200 coolies ... She burst into tears and blurted out the following words: Oh, "What a bunch of robbers! (walks up to Zhou Ping, sobbing) You are Ping. -Why? -Why did you hit my son? " 4. The implicit beauty of drama language (subtext) The language of excellent drama is always implicit, memorable and intriguing, and contains rich "subtext". Subtext is the yeast of drama. "Subtext" is the real meaning hidden between the lines of the characters, that is, the implication, that is, people often say "there is something in the words" in their daily conversations. In the scene where Zhou Puyuan meets Shi Ping in the second act of Thunderstorm, when Zhou Puyuan doesn't know that Shi Ping is standing in front of him, he shows a feeling of mourning and repentance. When he recognized Shi Ping, he exposed the truth of bourgeois hypocrite. He asked sternly, "What are you doing here?" "Who sent you?" These two sentences come from the subconscious, which have internal language and subtext. What are you doing here? The subtext has two meanings: first, you don't have to come here; The second is the threat. Are you trying to blackmail me? "Who sent you?" The subtext is: It wasn't you, but Gui Lu must have ordered you to blackmail me. He is very afraid that his affair with Shi Ping will be discovered by his servant Gui Lu, which is a serious threat to his reputation and social status. The subtext of these two sentences plays an important role in expressing Zhou Puyuan's hypocritical character. 5. Humor in drama language The so-called "humor" means humor, humor and interest. Screenwriters sometimes use some satirical and exaggerated artistic techniques. The language is full of wit, vividness and interest, which can enhance the appeal of drama art. The vivid, humorous and witty use of language in Teahouse creates a funny and intriguing satirical scene. For example, in the second act, a conversation between Wang Lifa and Tang Tiezui: Tang Tiezui: I heard that the apartment was changed and rented to me, okay? Wang Lifa: Mr. Tang, I'm afraid your hobby is the same as mine-Tang Tiezui: I'll never eat opium again! Wang Lifa: Really? You are really going to make a fortune! Tang Tiezui: I changed my white flour. You see, the cigarettes of hard people are long and loose. (Taking out cigarettes to perform) There is a big piece left in a meal, and white flour is just right. The smoke of the British Empire and the white face of Japan, two great powers are waiting for me alone. Is this a blessing? 6. The sense of stage and poetry of dramatic language A good script is not only literary and can stand reading, but also has a strong sense of stage. It is not only an excellent literary work, but also an excellent stage play. This feature is not only reflected in the lines of script creation, but also in the description of "stage instructions". Poetry is the aesthetic ideal pursued by playwrights. Lao She believes that "drama language should be both vulgar (easy to understand) and poetic, which is a good language." Deeply influenced by national opera, Cao Yu's and Lao She's plays have a strong poetic feeling between the lines. In the script, Cao Yu likes to describe the appearance, personality and life experience of the characters he depicts, and explains and describes the scenes of the characters' lives in detail. This language, like narrative poetry, has a strong lyricism. Cao Yu never writes the characters' lines in isolation and stillness, but lets the characters speak on the spot, and closely links the lines describing the characters' inner activities with the stage effect and scenery description, which has a strong dramatic effect. For example, in the third act of Thunderstorm, Lu Shiping made his daughter Sifeng "swear", which is an obvious example. As a language art, language plays an important role in drama, which is often the key to the success or failure of a drama. Drama refers to the stage performance art that achieves narrative purpose in the form of language, action, dance, music and puppet. The concept of drama in literature refers to the script created for drama performance, that is, the script. There are various forms of theatrical performances, including drama, opera, ballet, musical, puppet show and so on. It is a comprehensive art in which actors play roles on the stage and perform stories in public. Drama is an art in which actors perform stories or situations through dialogue, singing or action. Drama has four elements: actors, stories (situations), stages (performance venues) and audiences. "Actor" is the most important element of the four. He is the spokesman of the role and must have the ability to take responsibility. The biggest difference between drama and other arts is acting. Through the actor's performance, the role in the script can be extended. If you give up the actor's play, the performance will no longer be a drama. There are various forms of theatrical performances, including drama, opera, ballet, musical, puppet show and so on. Due to different cultural backgrounds, drama forms produced by different cultures often have unique traditions and programs, such as western drama, China drama, Indian Brahma drama, Japanese energy rate, kabuki and so on. The concept of modern drama emphasizes the unified expression of all performing elements inside and outside the stage in order to achieve comprehensive artistic effects. Performance elements include actors, stage, props, lighting, sound effects, costumes, makeup, scripts, directors and so on. , and the relationship between the performance on stage and the interaction under the stage (generally called "viewing relationship"). In Taiwan Province Province, China, drama is a broad term, and drama, TV series, movies and other drama forms with scripts as the core are collectively called drama. The concept of drama in literature refers to a script created for dramatic performance, or called a script.