of the titles of this article is ambiguous. For further meanings see drama (term clarifying).
Die Musen des Dramas huldigen Goethe (Kreidezeichnung: Angelika Kauffmann)
The Musen of the drama huldigen Goethe (chalk design: Angelika Kauffmann)

the drama as literary form was for the first time formally developed in the antique Greece (Aischylos, Sophokles, Euripides), whereby Aristoteles divided into its Poetik the drama in tragedy and the comedy.

In Europe only an advancement of the classical drama followed since the Middle Ages. Since that time designations are such as play, comedy, Tragikomödie, Civil tragedy, a piece of character with overlapping meaning in use.

Older dramas are usually in verses calm; in more recent time free Prosa outweighs. In music dargeboten drama TIC affects representational forms such as opera, Operette and musical.

The main identifier of the dramathe representation of the action is by dialogues. Dramas are written by actors in the theatre to be specified. Often they contain of instructions for the actors and the director therefore beside the dialogue texts also. The read drama is a specialForm of the drama, which not primarily, but be read like a novel is to be specified.

Contentwise dramas are divided in three main kinds: the tragedy, the comedy and the Tragikomödie.

The action of a drama is frequent in documentand these again arranged into scenes or appearances. The classical drama is divided into five document. The form of the one-act play is particularly with modern pieces likes. The conclusion scene of the individual document is called final.

Table of contents

the five document of the classical drama

the tasks of the five document of the classical drama by Horaz in his “acres poetica” were specified. Many dramas of the antique ones and17. and 18. Century adhere to this organization; modern dramas deviate frequently from it. The classical erzählerischen functions of the five document are as follows:

  1. Exposition (introduction)
    the acting persons are introduced, the dramatic conflict announces themselves.
  2. Complication (increase)
    rising action - with exciting moment
    the situation is intensified.
  3. Peripetie (reversal of the luck circumstances of the hero)
    the action reaches its high point.
  4. Retardation (slowing down)
    falling action - with retardierenden (dilatory, delaying, slowing down) moments
    the action slows down, over ina phase of the highest tension on the forthcoming disaster in addition-work.
  5. Disaster or Lysis/Dénouement
    A) it comes to the disaster
    z. B. Hamlet → its death, mass dying
    b) all conflicts solved
    z. B. Nathan of the way → all are related andlucky, mass embrace

see also

also mentioned “Aristoteli drama theory”


  • Bernhard Asmuth: Introduction to the drama analysis. 6. Edition. Stuttgart 2004
  • Hans Dieter Gelfert: As one interpretsDrama?. Ditzingen 2002
  • George Hensel: Play plan. The play leader from the antique one to the present. Frankfurt 1986
  • Manfred Pfister: The drama. 11. Edition. Munich 2001
  • Peter Szondi: Theory of the modern drama (1880-1950). In: Ders.: Writings I. Frankfurt A.M. ³ 1989, S. 9-148.
  • Grohotolsky, Ernst: Aesthetics of the negation - tendencies of the German present drama. Attempt over the topicality of the “aesthetic theory” Theodor W. Adornos. Königstein/Ts. 1984.
  • Deiters, Franz Josef: Drama at the moment its fall. To the Allegorisierung of the drama in the modern trend. Attempts to a constitution theory.Berlin: Erich Schmidt publishing house, 1999.
  • Tap, stroke ore: The drama in the abstract society. To the theory and structure of the modern English drama. Tübingen: Max Niemeyer publishing house, 1988.

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Wiktionary: Drama - word origin, synonyms and translations

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