Free Essay

Implication of Outsider Drama

In: Social Issues

Submitted By fazellah
Words 666
Pages 3

1. Background of Study

According to the Wendy Karen Mages (2008), drama is something that inherently possesses the characteristics and play in the television station.

While for the drama practitioners, according to the Fox (1987), Heathcote (1984) McCaslin (1996) and O'Neill & Lambert(1982) its contend that drama promotes development and note that drama is particularly beneficial for fostering language development.

Davis and Behm (1987) explain that the spectrum of activities involving children and the drama/theatre is established on the classic definitions of drama (a thing done) and theatre (to gaze on). The natural dramatic propensities of children, located at the far left on the continuum, are seen to be the bases of, and to infuse, all the forms of drama and theatre. Jyoti thottam says that, a typical telenovela which is an example of drama is that runs daily for months could require more than 100 episodes, in contrast to two dozen weekly episodes for a season of a prime-time network drama.



Television Drama

Television dramas will force networks and viewers to change their habits. Love, betrayal and cleavage all have starring roles in the plot of a typical of television drama which make people love to watch it. Jyoti Thottam(2006).
Telenevola An Example Of Drama A typical telenovela that runs daily for months could require more than 100 episodes, in contrast to two dozen weekly episodes for a season of a prime-time network drama. Jyoti Thottam(2006). With so many episodes to produce, telenovela are shot on the cheap. They use video, not film, and an entire run might take place on just a handful of sets. Jyoti Thottam(2006).
Malaysian Drama The term Malaysian drama could simply mean drama written by Malaysians in any language. (Nur Niha Zuhra) (1999). Since its inception during the 1930s, modern Malay drama has evolved through three major phases which is drama, modern drama, and also experimental theatre. (Nanney, Nancy Kathleen) (1983) Each phase was affected by important political, social, economic, cultural, and educational factors present in Malaysia and manifests distinctive characteristics of theme, character, dramatic structure, and performance style. (Nanney, Nancy Kathleen) (1983) Drama playwrights reacted against the embellishments, interludes, and improvisational techniques of bangsawan, which is a commercial theatre form popular during the first half of this century. Drama themes deal mainly with historical subject matter and contemporary life and contributed to the cause of Malay nationalism during the 1950s. Characters are mortal beings, often of a stereotypic or symbolic nature. Stylistically, drama playwrights were inspired by Shakespeare and the Greek tragedies ad modified certain conventions of bangsawan and traditional theatre. At the same time, drama plays reflect an overall trend toward realism. (Nanney, Nancy Kathleen) (1983) While for the modern drama, the playwrights pursued a stricter course of realistic drama than found in drama. Their works address the problematic consequences of progress during the 1960s post-Independence era of nation-building. Characters are drawn from everyday life and speak colloquial Malay language. The dramatic form is modeled on Indonesian and Western realistic plays. Early modern drama tends to be critical but optimistic; these works set the standard for the period. Later in the period, certain atypical plays are more open-ended, pluralistic, and less optimistic. (Nanney, Nancy Kathleen) (1983) Lastly, for the experimental theatre, it was a reaction against realism and the idea that theatre should be an illusion of real life. Themes address not only social issues, but existential and universal concerns and the nature of drama itself. Characters are drawn from local history and legends, along with contemporary life. They are not bound to the demands of realistic portrayal. Dreams, illusions, fantasy, visions, and death feature prominently in many 1970s plays. Staging is abstract, and playwrights often experiment with traditional theatre forms. Experimental theatre reflects the 1970s era of increased governmental policy-making in the social, cultural, and economic spheres of Malaysian life. (Nanney, Nancy Kathleen) (1983).

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