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

Since writing was invented, billions of lines and texts have been written. Some for informational purposes only, others for lectures 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 to be read without more. Sometimes it is intended that a person sing or express its content in a specific way, and in some cases texts are prepared not to be read but to be interpreted before the public. This last case is that of dramatic texts, about which we are going to talk throughout this article.

• Related article: "The 13 types of text and their characteristics"

What do we call dramatic text?

Everybody gets the name of dramatic text writing that is made in order to be represented in public not by mere reading but through theatrical performance. In this type of text, one or more situations of conflict between different characters are interpreted, which make up a story that is represented through the dialogues and actions of the actors. The action takes place in a specific setting set in a specific space and time, and the conflict in question unfolds over multiple scenes.

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

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. It also has the particularity that although the author of the text is one (who is called playwright) the story that reaches the viewer comes not directly through the text but through the interpretation of the actors and the montage made by the director.

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

• You may be interested: "The 10 most important elements of theater"

Two types of text in one

One of the most relevant characteristics of the dramatic text is that for its proper development it is necessary to develop two different types of text to the same time, or else your interpretation could vary greatly 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 personals and which is the main element that keeps the story going go ahead. It also includes the division into acts, pictures and scenes, as well as the development of the action itself..

The second of the text types is secondary text, which are the set of annotations that the author makes in order to indicate how the scene in question is carried out: the movement, the environment, the clothing or the gestures would fall within 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.

After that, the knot or development occurs, in which the conflict progresses in such a way that the characters try to face it, reacting and acting to resolve it. Finally the denouement would occur, in which after a climax where the conflict reaches its maximum intensity, an end of 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 of the work itself is structured. In this sense, while a narrative may be divided into chapters in the case of the dramatic text, the action is divided into acts, paintings (which do not necessarily imply the lowering of the curtain 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. Yes OK there are various subgenres such as hors d'oeuvres, farce or vaudeville, or even operaThe three dramatic genres are generally considered to be as follows.

Drama

Drama is one of the first and main dramatic genres (not surprisingly, the name of the genre comes from the Greek word to refer to the action of acting).

It represents the existence of a conflict that is resolved throughout various scenes. It usually has a serious and realistic tonality and presents great reflections regarding various topics, 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, the characters being doomed to an extreme destiny or outcome and usually linked to death.

Often the characters are well-known and respected characters or heroes, and in them the expression of powerful stands out emotions difficult to control and usually a desperate act to avoid a misfortune of which they cannot 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 humorous tone and pretending to make the viewer laugh and enjoy. 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 dramatic text

In order to clarify what a dramatic text is, below we leave you with a fragment of William Shakespeare's play, Hamlet. Specifically, it is a fragment of the fourth scene of the third act: the moment when Hamlet performs his well-known soliloquy.

“ Hamlet (soliloquy) To be or not to be, that is the question. What is more worthy action of the mind, to suffer the penetrating 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, the afflictions are over and the pains without number, patrimony of our weak nature ...

This is a term that we should eagerly request. To die is to sleep... and maybe dream. Yes, and see here the great obstacle, because considering what dreams may occur in the silence of the tomb, when we have abandoned this mortal spoil, is a very powerful reason to stop.

This is the consideration that makes our unhappiness so long. Who, if this were not the case, would endure the slowness of the courts, the insolence of the employees, the outrages that the merit of the most unworthy men, the anguish of an underpaid love, the insults and losses of age, the violence of tyrants, the contempt of proud?

When the one who suffers this, he could procure the stillness of him with only a dagger. Who could tolerate so much oppression, sweating, groaning under the weight of an annoying life if it weren't for the fear that there is something else Beyond Death (that unknown country from whose limits no walker turns) embarrasses us with doubts and makes us suffer the evils that enclose; rather than go looking for others that we are not sure of?

This foresight makes us all cowards, so the natural tincture of courage is weakened by the pale varnishes of prudence, the most important companies for this sole consideration change their way, are not executed and are reduced to vain designs. But... The beautiful Ophelia! Funny girl, I hope that my defects will not be forgotten in your prayers.

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

Hamlet Thank you. Well.

Ophelia I have in my possession some of your expressions, which I wish to restore to you a long time ago, and I ask you to take them now.

Hamlet No, I never gave you anything.

Ophelia You know well, sir, that I am telling you the truth. And with them you gave me words, composed of such soft breath that they increased their value to an extreme, but already dissipated that perfume, receive them, that a generous soul considers the most opulent gifts to be vile, if the affection of the one who he gave them. See them here.

Hamlet Oh! Oh! Are you honest?

Ophelia Mister…

Hamlet You are beautiful?

Ophelia What do you mean by that?

Hamlet That if you are honest and beautiful, you must not allow your honesty to deal with your beauty.

Ophelia Can beauty have a better companion than honesty?

Hamlet Without a doubt no. The power of beauty will turn honesty into a procurer before honesty can give beauty its likeness. In other times this was considered a paradox; but in the present age it is a proven thing... I loved you before, Ophelia.

Ophelia So you gave me to understand.

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

Ophelia I was very deceived.

Hamlet Look, go to a convent, why should you expose yourself to being the mother of sinful children? I am moderately good; But in considering some things that I may accuse myself of, 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, fantasy to shape them, no time to carry them out. To what end should the wretched like me exist dragged between heaven and earth? We are all baddies; don't believe any of us, go, go to a convent... Where is your father? (...)

Bibliographic references:

• Aston, E. & George Savona. (1991). Theater 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.