Summary of "Theatrical Genres - 1"

Summary of “Theatrical Genres - 1”

This lecture, part of a theater studies course, explores the concept of theatrical genres, their classification, and their significance in understanding theater as an art form. The speaker discusses how genres in theater can be approached from both literary (textual) and performative (action) perspectives, drawing on classical traditions from Indian and Greek theater to illustrate these ideas.

Main Ideas and Concepts

Introduction to Theatrical Genres

Theater, like literature and other arts, contains multiple genres that enrich its diversity.
Genres help categorize plays and performances based on thematic content, narrative structure, and intended emotional response.
Genres set expectations for writers, performers, and audiences.

Two Methods to Categorize Theater Genres

Textual Perspective: Based on the script or literary text (e.g., tragedy, comedy).
Performative Perspective: Based on how the play is enacted or performed. - The best understanding comes from combining both methods rather than isolating them.

Classical Foundations

Aristotle’s Poetics (Greek Tradition): Focuses on tragedy and comedy as foundational genres.
Bharata Muni’s Nāṭyaśāstra (Indian Tradition): Provides a framework for performance and categorizes emotions (Navarasas) fundamental to dramatic expression.

Navarasas (Nine Fundamental Emotions in Indian Classical Theater)

Śṛṅgāra (Romance/Love)
Hāsya (Laughter/Comedy)
Raudra (Fury/Anger)
Karuṇā (Compassion/Mercy)
Bībhatsa (Disgust)
Bhayānaka (Horror/Terror)
Vīra (Heroism)
Adbhuta (Wonder/Amazement)
Śānta (Peace/Tranquility)

These emotions are combined in various ways to create different theatrical moods and genres.

Detailed Genre Descriptions

1. Tragedy

Portrays the downfall or suffering of a protagonist, usually due to a fatal flaw or external circumstances.
The protagonist is typically a person of high stature or potential whose loss evokes fear and pity (catharsis) in the audience.
Not merely about death, but about the loss of potential and the resulting emotional impact.
Examples:
- Oedipus Rex by Sophocles
- Hamlet (fatal flaw: procrastination)
- Macbeth (fatal flaw: over-ambition)
- Othello (fatal flaw: gullibility/suspicion)
Tragedy sustains a sense of loss throughout the performance to emotionally engage the audience.

2. Comedy

Characterized by humor, light-hearted tone, and often a happy resolution.
Explores human absurdities and social conventions.
Comedy is complex, involving timing, dialogue, character, and physicality.
Combines various Navarasas to create a humorous atmosphere.
Sub-genres include:
- Farce
- Romantic comedy
- Satire
- Slapstick
Examples:
- A Midsummer Night’s Dream by Shakespeare
- Harishchandra (Sanskrit play by Bhasa)
- Kashmir Ki (Indian farce)
Comedy can provide social commentary and moral lessons.

3. Tragicomedy

Blends elements of tragedy and comedy.
Balances serious themes with comic relief.
Example:
- The Tempest by Shakespeare, which combines betrayal and exile with lighter, humorous characters and situations.

4. Comedy of Humor and Comedy of Manners

Comedy of Humor: Focuses on exaggerated personality traits attributed to bodily humors (ancient theory of bodily fluids affecting temperament).
Comedy of Manners: Satirizes social norms, manners, and interactions.
These sub-genres often overlap in performance.
Examples:
- The Misanthrope by Molière (Comedy of Manners)
- The Alchemist by Ben Jonson (Comedy of Humor)

5. Romance

Revolves around themes of love, adventure, and magic.
Often features wonder and enchantment.
Example:
- A Midsummer Night’s Dream (also cited as a romance)

6. History Plays

Depict historical events, figures, or legends.
Explore themes of power, ambition, and leadership.
Example:
- Henry IV, Part 1 by Shakespeare

Additional Notes

The lecture emphasizes that the choice of subject matter alone does not determine genre; treatment and performance style are crucial.
The Navarasas serve as a useful tool to understand the emotional palette used in different theatrical genres.
Theater genres are dynamic and evolve with cultural shifts and audience expectations.
Future lectures will cover more genres.

Methodology / Instructional Points

When studying or categorizing theater genres:
- Consider both textual content and performative action.
- Understand the emotional responses intended for the audience.
- Use classical theoretical frameworks (Aristotle’s Poetics, Nāṭyaśāstra) as guides.
- Recognize that genres can blend and overlap (e.g., tragicomedy).
- Apply knowledge of Navarasas to analyze emotional expressions in performance.
In performance:
- Maintain the emotional tone consistent with the genre (e.g., sustained loss in tragedy, timing in comedy).
- Combine multiple emotional elements for richer theatrical experience.

Speakers / Sources Featured

Main Speaker: The lecturer (unnamed) conducting the theater studies course on MOOC.
Referenced Theorists and Texts:
- Aristotle (Greek philosopher and author of Poetics)
- Bharata Muni (Indian sage and author of Nāṭyaśāstra)
Referenced Playwrights and Works:
- Sophocles (Oedipus Rex)
- William Shakespeare (Hamlet, Macbeth, Othello, The Tempest, A Midsummer Night’s Dream, Henry IV, Part 1)
- Bhasa (Harishchandra)
- Molière (The Misanthrope)
- Ben Jonson (The Alchemist)
- Aristophanes (early Greek comedy playwright)

This summary captures the core teachings on theatrical genres, classical foundations, emotional theories, and examples that illustrate the diversity and complexity of theatrical classification.