Drama, Western - plays produced in the Western world. This article discusses the development of Western drama in general; for further information see the various national literature articles.
Greek Drama The Western dramatic tradition has its origins in ancient Greece. The precise evolution of its main divisions—
tragedy,
comedy, and
satire—is not definitely known. According to Aristotle, Greek drama, or, more explicitly, Greek tragedy, originated in the
dithyramb. This was a choral hymn to the god Dionysus and involved exchanges between a lead singer and the chorus. It is thought that the dithyramb was sung at the Dionysia, an annual festival honoring Dionysus. Tradition has it that at the Dionysia of 534 b.c., during the reign of Pisistratus, the lead singer of the dithyramb, a man named
Thespis, added to the chorus an actor with whom he carried on a dialogue, thus initiating the possibility of dramatic action. Thespis is credited with the invention of tragedy. Eventually,
Aeschylus introduced a second actor to the drama and
Sophocles a third, Sophocles' format being continued by
Euripides, the last of the great classical Greek dramatists. Generally, the earlier Greek tragedies place more emphasis on the chorus than the later ones. In the majestic plays of Aeschylus, the chorus serves to underscore the personalities and situations of the characters and to provide ethical comment on the action. Much of Aeschylus' most beautiful poetry is contained in the choruses of his plays. The increase in the number of actors resulted in less concern with communal problems and beliefs and more with dramatic conflict between individuals. Accompanying this emphasis on individuals' interaction, from the time of Aeschylus to that of Euripides, there was a marked tendency toward realism. Euripides' characters are ordinary, not godlike, and the gods themselves are introduced more as devices of plot manipulation (as in the use of the deus ex machina in Medea, 431 b.c.) than as strongly felt representations of transcendent power. Utilizing three actors, Sophocles developed dramatic action beyond anything Aeschylus had achieved with only two and also introduced more natural speech. However, he did not lose a sense of the godlike in man and man's affairs, as Euripides often did. Thus, it is Sophocles who best represents the classical balance between the human and divine, the realistic and the symbolic. Greek comedy is divided by scholars into Old Comedy (5th cent. b.c.), Middle Comedy (c.404–c.321 b.c.), and New Comedy (c.320–c.264 b.c.). The sole literary remains of Old Comedy are the plays of
Aristophanes, characterized by obscenity, political satire, fantasy, and strong moral overtones. While there are no extant examples of Middle Comedy, it is conjectured that the satire, obscenity, and fantasy of the earlier plays were much mitigated during this transitional period. Most extant examples of New Comedy are from the works of
Menander; these comedies are realistic and elegantly written, often revolving around a love-interest. Roman Drama The Roman theater never approached the heights of the Greek, and the Romans themselves had little interest in serious dramatic endeavors, being drawn toward sensationalism and spectacle. The earliest Roman dramatic attempts were simply translations from the Greek. Gnaeus Naevius (c.270–c.199 b.c.) and his successors imitated Greek models in tragedies that never transcended the level of violent melodrama. Even the nine tragedies of the philosopher and statesman
Seneca are gloomy and lurid, emphasizing the sensational aspects of Greek myth; they are noted primarily for their inflated rhetoric. Seneca became an important influence on Renaissance tragedy, but it is unlikely that his plays were intended for more than private readings. Although Roman tragedy produced little of worth, a better judgment may be passed on the comedies of
Plautus and
Terence. Plautus incorporated native Roman elements into the plots and themes of Menander, producing plays characterized by farce, intrigue, romance, and sentiment. Terence was a more polished stylist who wrote for and about the upper classes and dispensed with the element of farce. The Roman preference for spectacle and the Christian suppression of drama led to a virtual cessation of dramatic production during the decline of the Roman Empire. Pantomimes accompanied by a chorus developed out of tragedy, and comic mimes were popular until the 4th cent. a.d. (see
pantomime). It is this mime tradition, carried on by traveling performers, that provided the theatrical continuity between the ancient world and the medieval. The Roman mime tradition has been suggested as the origin of the
commedia dell'arte of the Italian Renaissance, but this conjecture has never been proved. Medieval Drama While the Christian church did much to suppress the performance of plays, paradoxically it is in the church that medieval drama began. The first record of this beginning is the trope in the Easter service known as the Quem quaeritis [whom you seek]. Tropes, originally musical elaborations of the church service, gradually evolved into drama; eventually the Latin lines telling of the Resurrection were spoken, rather than sung, by priests who represented the angels and the two Marys at the tomb of Jesus. Thus, simple interpolations developed into grandiose cycles of mystery plays, depicting biblical episodes from the Creation to Judgment Day. The most famous of these plays is the
Second Shepherd's Play. Another important type that developed from church liturgy was the miracle play, based on the lives of saints rather than on scripture. The miracle play reached its peak in France and the mystery play in England. Both types gradually became secularized, passing into the hands of trade guilds or professional actors. The Second Shepherd's Play, for all its religious seriousness, is most noteworthy for its elements of realism and farce, while the miracle plays in France often emphasized comedy and adventure (see
miracle play). The
morality play, a third type of religious drama, appeared early in the 15th cent. Morality plays were religious allegories, the most famous being
Everyman. Another type of drama popular in medieval times was the
interlude, which can be generally defined as a dramatic work with characteristics of the morality play that is primarily intended for entertainment. Renaissance Drama By the advent of the Renaissance in the 15th and 16th cent., most European countries had established native traditions of religious drama and farce that contended with the impact of the newly discovered Greek and Roman plays. Little had been known of classical drama during the Middle Ages, and evidently the only classical imitations during that period were the Christian imitations of Terence by the Saxon nun Hrotswitha in the 10th cent. Italy The translation and imitation of the classics occurred first in Italy, with Terence, Plautus, and Seneca as the models. The Italians strictly applied their interpretation of
Aristotle's rules for the drama, and this rigidity was primarily responsible for the failure of Italian Renaissance drama. Some liveliness appeared in the comic sphere, particularly in the works of
Ariosto and in
Machiavelli's satiric masterpiece, La Mandragola (1524). The
pastoral drama—set in the country and depicting the romantic affairs of rustic people, usually shepherds and shepherdesses—was more successful than either comedy or tragedy. Notable Italian practitioners of the genre were Giovanni Battista Guarini (1537–1612) and Torquato
Tasso. The true direction of the Italian stage was toward the spectacular and the musical. A popular Italian Renaissance form was the
intermezzo, which presented music and lively entertainment between the acts of classical imitations. The native taste for music and theatricality led to the emergence of the
opera in the 16th cent. and the triumph of this form on the Italian stage in the 17th cent. Similarly, the commedia dell'arte, emphasizing comedy and improvisation and featuring character types familiar to a contemporary audience, was more popular than academic imitations of classical comedy. France Renaissance drama appeared somewhat later in France than in Italy. Estienne
Jodelle's Senecan tragedy Cleopatre captive (1553) marks the beginning of classical imitation in France. The French drama initially suffered from the same rigidity as the Italian, basing itself on Roman models and Italian imitations. However, in the late 16th cent. in France there was a romantic reaction to classical dullness, led by Alexandre
Hardy, France's first professional playwright. This romantic trend was stopped in the 17th cent. by Cardinal Richelieu, who insisted on a return to classic forms. Richelieu's judgment, however, bore fruit in the triumphs of the French neoclassical tragedies of Jean Racine and the comedies of
Molière. The great tragedies of Pierre
Corneille, although classical in their grandeur and in their concern with noble characters, are decidedly of the Renaissance in their exaltation of man's ability, by force of will, to transcend adverse circumstances. Spain Renaissance drama in Spain and England was more successful than in France and Italy because the two former nations were able to transform classical models with infusions of native characteristics. In Spain the two leading Renaissance playwrights were
Lope de Vega and Pedro
Calderón de la Barca. Earlier,
Lope de Rueda had set the tone for future Spanish drama with plays that are romantic, lyrical, and generally in the mixed tragicomic form. Lope de Vega wrote an enormous number of plays of many types, emphasizing plot, character, and romantic action. Best known for his La vida es sueño [life is a dream], a play that questions the nature of reality, Calderón was a | 
