Aldrin

DRAMA
>.a composition in prose or verse presenting in dialogue or pantomime a story involving conflict or contrast of character, especially one intended to be acted on the stage; a play.
>.the branch of literature having such compositions as its subject; dramatic art or representation.
>.the art dealing with the writing and production of plays.
>.any situation or series of events having vivid, emotional, conflicting, or striking interest or results: the drama of a murder trial
. 1. a work to be performed by actors on stage, radio, or television; play
2. the genre of literature represented by works intended for the stage
3. the art of the writing and production of plays
4. a situation or sequence of events that is highly emotional, tragic, or turbulent
Drama is the specific mode of fiction represented in performance.[1] The term comes from a Greek word meaning "action" (Classical Greek: δρᾶμα, drama), which is derived from the verb meaning "to do" or "to act" (Classical Greek: δράω, draō). The enactment of drama in theatre, performed by actors on a stage before an audience, presupposes collaborative modes of production and a collective form of reception. The structure of dramatic texts, unlike other forms of literature, is directly influenced by this collaborative production and collective reception.[2] The early modern tragedy Hamlet (1601) by Shakespeare and the classical Athenian tragedy Oedipus the King (c. 429 BCE) by Sophocles are among the masterpieces of the art of The use of "drama" in the narrow sense to designate a specific type of play dates from the 19th century. Drama in this sense refers to a play that is neither a comedy nor a tragedy—for example, Zola's Thérèse Raquin (1873) or Chekhov's Ivanov (1887). It is this narrow sense that the film and television industry and film studies adopted to describe "drama" as a genre within their respective media.[6] "Radio drama" has been used in both senses—originally transmitted in a live performance, it has also been used to describe the more high-brow and serious end of the dramatic output of radio.[7]

Drama is often combined with music and dance: the drama in opera is generally sung throughout; musicals generally include both spoken dialogue and songs; and some forms of drama have incidental music or musical accompaniment underscoring the dialogue (melodrama and Japanese Nō, for example).[8] In certain periods of history (the ancient Roman and modern Romantic) some dramas have been written to be read rather than performed.[9] In improvisation, the drama does not pre-exist the moment of performance; performers devise a dramatic script spontaneously before an audiencedrama.

Tragedy - emotional (usually) crisis, conflict, something bad happens. Comedy - humour (any type of humour - dark, slapstick, etc) Musical - musicals/singing,

TYPES OF PLAY
Farce is a comedy that aims at entertaining the audience through situations that are highly exaggerated, extravagant, and thus improbable.[1] Farces are often highly incomprehensible plot-wise (due to the large number of plot twists and random events that often occur), but viewers are encouraged not to try to follow the plot in order to avoid becoming confused and overwhelmed. Farce is also characterized by physical humor, the use of deliberate absurdity or nonsense, and broadly stylized performances. Farces have been written for the stage and film. Furthermore, a farce is also often set in one particular location, where all events occur.
Melodrama refers to a dramatic work that exaggerates plot and characters in order to appeal to the emotions. It may also refer to the genre which includes such works, or to language, behavior, or events which resemble them. It is usually based around having the same character traits, for example a hero (sometimes fearless), heroine (the romantic interest of the hero, usually the one that the hero saves), villain (usually likes the heroine too) and villain's sidekick (typically gets in the way of or annoys the villain). It is also used in scholarly and historical musical contexts to refer to dramas of the 18th and 19th centuries in which orchestral music or song was used to accompany the action. The term originated from the early 19th-century French word mélodrame, which is derived from Greek melos, music, and French drame, drama (from Late Latin drāma, which in turn derives from Greek drān, to do, perform).

musical drama - opera in which the musical and dramatic elements are equally importantmusical drama - opera in which the musical and dramatic elements are equally important; the music is appropriate to the action opera - a drama set to music; consists of singing with orchestral accompaniment and an orchestral overture and interludes
ELEMENTS OF PLAY
Scenery is the effects that a person gives to a plaY for example costumes, background, lighting, sounds, and props. They are used as a setting for a theater production. They are accessories on a stage that represent the location of a scene.
When in a play, if a scene takes place in a forest, you cannot bring an actual forest to a stage or perform the play in an actual forest, so a backdrop (which is a painting) of the forest will be the scenery for that scene in the play.
SUBCATEGORIES OF LYRIC POETRY
>> elegy (from the Greek word for "lament") is a mournful, melancholic or plaintive poem, especially a funeral song or a lament for the dead. a song or poem expressing sorrow or lamentation especially for one who is dead. b : something (as a speech) resembling such a song or poem.
>>song is a composition for voice or voices, performed by singing, but can be used when referring to an instrumental. A choral or vocal song may be accompanied by musical instruments, or it may be unaccompanied, as in the case of a cappella songs. The lyrics (words) of songs are typically of a poetic, rhyming nature, though they may be religious verses or free prose.
>>A sonnet is a poetic form which originated in Italy; the Sicilian poet Giacomo da Lentini is credited with its invention.[1] The term sonnet derives from the Italian word sonetto, meaning "little song", and by the thirteenth century it signified a poem of fourteen lines that follows a strict rhyme scheme and specific structure. Conventions associated with the sonnet have evolved over its history. Writers of sonnets are sometimes called "sonneteers", although the term can be used derisively. One of the best-known sonnet writers is William Shakespeare, who wrote 154 of them (not including those that appear in his plays). A Shakespearean, or English, sonnet consists of fourteen lines written in iambic pentameter, a pattern in which an unstressed syllable is followed by a stressed syllable five times. The rhyme scheme in a Shakespearean sonnet is a-b-a-b, c-d-c-d, e-f-e-f, g-g; the last two lines are a rhyming couplet.Traditionally, English poets employ iambic pentameter when writing sonnets, but not all English sonnets have the same metrical structure. The first sonnet in Sir Philip Sidney's sequence Astrophel and Stella, for example, has 12 syllables; these lines are iambic hexameters, albeit with an inverted first foot in several lines. In the Romance languages, the hendecasyllable and Alexandrine are the most widely used metres.
>> Ode a lyric poem usually marked by exaltation of feeling and style, varying length of line, and complexity of stanza forms. Ode (from the land ancient Greek ὠδή) is a type of lyrical stanza. A classic ode is structured in three major parts: the strophe, the antistrophe, and the epode. Different forms such as the homostrophic ode and the irregular ode also exist. It is an elaborately structured poem praising or glorifying an event or individual, describing nature intellectually as well as emotionally.
Greek odes were originally poetic pieces accompanied by symphonic orchestras. As time passed on, they gradually became known as personal lyrical compositions whether sung (with or without musical instruments) or merely recited (always with accompaniment). The primary instruments used were the aulos and the lyre (the latter of which was the most revered instrument to the Ancient Greeks). The written ode, as it was practiced by the Romans, returned to the/ L E2 lyrical form of the Lesbian lyricists.
There are three typical forms of odes: the Pindaric, Horatian, and irregular. Pindaric odes follow the form and style of Pindar. Horatian odes follow conventions of Horace; the odes of Horace deliberately imitated the Greek lyricists such as Alcaeus and Anacreon. Odes by Catullus, as well as other poetry of Catullus, was particularly inspired by Sappho. Irregular odes are rhyming, but they do not employ the three-part form of the Pindaric ode nor the two- or four-line stanza of the Horatian ode.

A rhyme scheme is the pattern of rhyming lines in a poem. It is usually referred to by using letters to indicate which lines rhyme. For example abab indicates a four-line stanza in which the first and third lines rhyme, as do the second and fourth. Here is an example of this rhyme scheme from To Anthea, Who May Command Him Any Thing by Robert Herrick:

Bid me to weep, and I will weep,A While I have eyes to see;B And having none, yet I will keep. A A heart to weep for thee.B
Sounds in orange are marked with the letter A
Sounds in purple are marked with the letter B
Sounds that almost rhyme are called "slant rhymes" or "near rhymes" (for instance, "fat" and "cant").
Rhyme is determined by sound, not spelling, so don’t get fooled. Which of these two pair of words rhyme?

puff / enough through / though
Petrarchan Sonnet

Original Italian sonnet form in which the sonnet's rhyme scheme divides the poem's 14 lines into two parts, an octet (first eight lines) and a sestet (last six lines). The rhyme scheme for the octet is typically abbaabba. There are a few possibilities for the sestet, including cdecde, cdcdcd, and cdcdee. Whichever form the sestet takes, there are only 5 rhymes in the sonnet. This form was used in the earliest English sonnets by Wyatt and others. Ideally, the sense of the lines falls into groups different from the rhyme groups; thus, nowhere do you encounter a pat couplet. The Italian form usually projects and develops a subject in the octave, then executes a turn at the beginning of the sestet, which means that the sestet must in some way release the tension built up in the octave. The rhyme scheme for the octave is typically a b b a a b b a. The sestet is more flexible. Petrarch typically used c d e c d e or c d c d c d for the sestet. Some other possibilities for the sestet include c d d c d d, c d d e c e, or c d d c c d (as in Wordsworth's "Nuns Fret Not at Their Convents Narrow Room" poem). This form was used in the earliest English sonnets by Wyatt and others. For background on the pre-English sonnet, see Robert Canary's web page, The Continental Origins of the Sonnet.[1] In a strict Petrarchan sonnet, the sestet does not end with a couplet (since this would tend to divide the sestet into a quartet and a couplet). However, in Italian sonnets in English, this rule is not always observed, and c d d c e e and c d c d e e are also used.

The octave and sestet have special functions in a Petrarchan sonnet. The octave's purpose is to introduce a problem, express a desire, reflect on reality, or otherwise present a situation that causes doubt or conflict within the speaker. It usually does this by introducing the problem within its first quatrain (unified four-line section) and developing it in the second. The beginning of the sestet is known as the volta, and it introduces a pronounced change in tone in the sonnet; the change in rhyme scheme marks the turn. The sestet's purpose as a whole is to make a comment on the problem or to apply a solution to it. The pair are separate but usually used to reinforce a unified argument - they are often compared to two strands of thought organically converging into one argument, rather than a mechanical deduction. Moreover, Petrarch's own sonnets almost never had a rhyming couplet at the end as this would suggest logical deduction instead of the intended rational.
Alternate rhyme: ABAB CDCD EFEF GHGH...;l correlation of the form.[2] Cinquain: "A,B,A,B,B Couplet: "A,A", but usually occurs as "A,A, B,B C,C D,D . Ottava rima: "A,B,A,B,A,B,C,C" Rubaiyat: "AABA"
Sonnet ABAB CDCD EFEF GG Petrarchan sonnet: "ABBA ABBA CDE CDE" or "ABBA ABBA CDC DCD" Shakespearean sonnet: "ABAB CDCD EFEF GG" Spenserian sonnet: "ABAB BCBC CDCD EE" Onegin stanzas: "aBaBccDDeFFeGG" with the lowercase letters representing feminine rhymes and the uppercase representing masculine rhymes, written in iambic tetrameter
Couplet: "A,A", but usually occurs as "A,A, B,B C,C D,D ..."