The script is one of the most important part in a play. It determines how the story will be carried like the story of a Cherokee warrior or a lover that you could find here. The effort to revive a drama script means the business that refers to forms because the form in the art of drama is life itself. The extent to which the weight of life (including the value of staging with one thousand and one element that supports it and the value that supports behind the staging) will be realized in the drama performance will be reflected in the form it achieves. In other words, the artistic value (intrinsic) of a drama performance can be measured from the extent to which the performance can realize its form.

Likewise in terms of characterization, the extent to which a player’s playing value in performance can be measured from the extent to which the performance in question can realize its shape. We can use the same criteria of content with drama as we use with novels and stories: characters, actions, and settings. With dramatic performance, however, we must add some additional elements. Putting up plays involves not only the actor, but also a set designer, costume designer, and director. The director controls the actions. Costume sets and designers contribute to creating visual representations of settings.

Since drama consists of spoken words, language plays a role in the drama as long as character languages offer their background instructions, feelings, and personality, and changes in feelings throughout the play. Like stories, we can study drama with two structural understandings. On the one hand, we have a linear unfolding plot from scene to scene, acting to act. Drama often includes contrasting subplots that reinforce or regulate the main plot from an additional perspective. On the other hand, we have the structure of the conflict itself and can identify the elements running across the text in patterns of behavior and events.

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Corlissa Bramowitz

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