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AS and A Level

Approaching the Drama Text

How to Read a Drama and Make Effective Annotations

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Welcome to this Carlam Cymru revision unit.
My name is Mrs Kathy Davies, and I will be presenting this revision unit today.
Obviously, this is a recorded session so please pause and attempt the questions or try out the skills as we go through the session.
I will be taking you through the different dramatic devices and terminology that you could use.
I will be talking you through paper and giving you tips on how to approach them in an exam situation.

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Step 1: Read Actively

Approach the text as a performance rather than just words on a page.

Imagine how actors would deliver lines and how staging would influence meaning.

Read aloud where possible to understand tone, rhythm, and emphasis.

Step 2: Identify Key Themes

Highlight or underline recurring themes (e.g., power, fate, deception).

Write brief margin notes explaining how themes develop throughout the play.

Consider how themes are introduced in early scenes and evolve over time.

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Step 3: Understand Character Development

Track a character’s journey by marking key moments of change, conflict, or revelation.

Note relationships between characters and how they shift throughout the play.

Consider motivations and psychological depth—what drives their actions?

Step 4: Analyse Dramatic Devices

Look for soliloquies, asides, dramatic irony, symbolism, and other key techniques.

Annotate how each device contributes to the play’s meaning and audience impact.

Think about how these devices create suspense, emotion, or insight.

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Step 5: Note Language and Imagery

Pay attention to metaphors, similes, and poetic devices that shape meaning.

Underline striking phrases and write comments about their effect.

Observe how language differs between characters (e.g. formal vs. colloquial speech).

Step 6: Consider Stage Directions

Highlight significant stage directions that give insight into tone, movement, or subtext.

Reflect on how physical actions, lighting, and sound impact a scene’s atmosphere.

Imagine how different directors might interpret stage directions in performance.

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Step 7: Engage with Historical and Social Context

Make notes on how the play reflects its time-period, societal norms, or political issues.

Consider how different audiences (past and present) might react to key moments.

Research the playwright’s background to understand their intentions and influences.

Step 8: Question Authorial Intent

Ask yourself why the playwright made certain choices in plot, character, or dialogue.

Consider the message, emotion, or critique they are conveying.

Consider the play’s tone—is it tragic, satirical, political, or psychological?

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9. Identify Patterns and Motifs

Look for recurring symbols or actions (e.g., blood in Macbeth, light in A Streetcar Named Desire).

Consider how these motifs reinforce themes or character arcs.

Note shifts in imagery and what they suggest about character or plot changes.

Step 10: Make Connections

Relate the play to other texts, themes in literature, or modern issues.

Compare it to other works by the same playwright or similar genres.

Think about personal or contemporary relevance—how do its messages still apply today?

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Key Terminology and links to A Streetcar Named Desire

Soliloquy	A speech delivered by a character alone on stage, revealing inner thoughts.	Blanche’s monologue about losing Belle Reve reveals her desperation and fading grasp on reality.

Aside	A brief remark made by a character to the audience or to another character, unheard by others on stage.	Williams does not use traditional asides, but Blanche’s dialogue often indirectly addresses the audience, especially when she speaks in poetic language.

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Key Terminology and links to A Streetcar Named Desire

Dramatic Irony	When the audience knows something that the characters do not, creating suspense or humour.	The audience knows that Blanche is mentally unraveling, but Stella clings to hope that she will recover.
Symbolism	The use of symbols to represent larger ideas or themes.	The paper lantern Blanche places over the lightbulb symbolises her attempts to mask reality.
Foreshadowing	Hints or clues about events that will happen later in the play.	Blanche’s fear of bright light foreshadows her final mental breakdown.

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Key Terminology and links to A Streetcar Named Desire

Exposition	Background information given at the start of the play to set the scene.	The opening dialogue reveals Blanche and Stella’s contrasting lifestyles and introduces the setting of New Orleans.
Climax	The most intense or important moment of the play, often the turning point.	Stanley’s assault on Blanche marks the climax, shattering her fragile psyche.
Denouement	The resolution or conclusion of the plot.	Blanche is taken to the mental institution, while Stella chooses to stay with Stanley despite her doubts.

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Key Terminology and links to Dr Faustus

Soliloquy	A speech delivered by a character alone on stage, revealing inner thoughts.	Faustus’s opening soliloquy reveals his ambition and dissatisfaction with traditional forms of knowledge.
Aside	A brief remark made by a character to the audience or to another character, unheard by others on stage.	Mephistopheles’ asides sometimes hint at his true intentions, which contrast with his words to Faustus.
Dramatic Irony	When the audience knows something that the characters do not, creating suspense or humour.	The audience understands that Faustus is doomed from the moment he makes his pact, even when he believes he has control.

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Key Terminology and links to Dr Faustus

Symbolism	The use of symbols to represent larger ideas or themes.	The Good and Evil Angels symbolise Faustus’s internal conflict between redemption and damnation.
Foreshadowing	Hints or clues about events that will happen later in the play.	Faustus’s early dismissals of divine mercy foreshadow his final inability to repent before his damnation.
Tragic Flaw (Hamartia)	A character’s fatal weakness that leads to their downfall.	Faustus’s excessive ambition and arrogance prevent him from seeking redemption.

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Key Terminology and links to Dr Faustus

Catharsis	The emotional release the audience experiences at the end of a tragedy.	The final scene, where Faustus begs for more time before being dragged to hell, evokes a sense of terror and pity.
Stage Directions	Instructions in the script regarding movement, tone, lighting, or setting.	The appearance of devils and supernatural elements create a sense of horror and spectacle in the play.
Exposition	Background information given at the start of the play to set the scene.	The Chorus introduces Faustus’s background and foreshadows his tragic fate.

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Key Terminology and links to Dr Faustus

Climax	The most intense or important moment of the play, often the turning point.	Faustus’s final hour, where he realises the true cost of his deal, is the climax of the play.
Denouement	The resolution or conclusion of the plot.	Faustus is taken to hell, and the scholars lament his fate, serving as a moral lesson for the audience.

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Example Annotated Extract-

A Streetcar Named Desire

Extract: Scene 3 (The Poker Night – Stanley and Blanche’s First Conflict)

[There is a sound of poker chips being thrown on the table. Men laugh loudly. The atmosphere is tense but charged with energy.]

STANLEY: "Nobody's going to get up, so don't be worried."

BLANCHE: "Please don't get up."

[He lights a cigarette and exhales slowly, watching Blanche.]

BLANCHE: "That’s not fun, Stanley."

STANLEY: "What do you mean?"

BLANCHE: "You're simple, straightforward, and honest, a little bit on the primitive side, I should think. To interest you, a woman would have to… [She pauses delicately.] Lay her cards on the table."

STANLEY: "Or maybe just wear them on her sleeve."

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Extract: Scene 3 (The Poker Night – Stanley and Blanche’s First Conflict)

[There is a sound of poker chips being thrown on the table. Men laugh loudly. The atmosphere is tense but charged with energy.]

[He lights a cigarette and exhales slowly, watching Blanche.]

Stage Directions: The sound of poker chips and laughter sets a rowdy, male-dominated atmosphere, foreshadowing Blanche’s discomfort. Stanley lighting a cigarette signifies his control and nonchalance.

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STANLEY: "Nobody's going to get up, so don't be worried."

BLANCHE: "Please don't get up."

[He lights a cigarette and exhales slowly, watching Blanche.]

BLANCHE: "That’s not fun, Stanley."

STANLEY: "What do you mean?"

BLANCHE: "You're simple, straightforward, and honest, a little bit on the primitive side, I should think. To interest you, a woman would have to… [She pauses delicately.] Lay her cards on the table."

STANLEY: "Or maybe just wear them on her sleeve."

Symbolism: The poker game represents life’s risks and power struggles, mirroring the battle between Blanche and Stanley. The “cards on the table” metaphor speaks to themes of truth and illusion.

Themes: Gender roles and class conflict emerge, as Blanche’s refined, Southern ideals clash with Stanley’s raw energy and practical worldview.

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STANLEY: "Nobody's going to get up, so don't be worried."

BLANCHE: "Please don't get up."

[He lights a cigarette and exhales slowly, watching Blanche.]

BLANCHE: "That’s not fun, Stanley."

STANLEY: "What do you mean?"

BLANCHE: "You're simple, straightforward, and honest, a little bit on the primitive side, I should think. To interest you, a woman would have to… [She pauses delicately.] Lay her cards on the table."

STANLEY: "Or maybe just wear them on her sleeve."

Character Interaction: Blanche's attempt to introduce charm and flirtation contrasts with Stanley’s blunt masculinity. Her sarcasm hints at her insecurity, while Stanley’s response is direct and assertive, reinforcing his dominance.

Foreshadowing: Blanche’s comparison of herself to a card player hints at the idea of deception, prefiguring her later downfall as her lies unravel.

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Example Annotated Extract-

Doctor Faustus

Extract: Act 2, Scene 1 (Faustus’s Internal Struggle)

FAUSTUS:�"Now, Faustus, must thou needs be damned,�And canst thou not be saved?�What boots it then to think of God or heaven?�Away with such vain fancies, and despair;�Despair in God and trust in Beelzebub.�Now go not backward; no, Faustus, be resolute.�Why waver’st thou? O, something soundeth in mine ears:�‘Abjure this magic, turn to God again!’�Ay, and Faustus will turn to God again.�To God? He loves thee not.�The god thou servest is thine own appetite,�Wherein is fixed the love of Beelzebub."

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Extract: Act 2, Scene 1 (Faustus’s Internal Struggle)

FAUSTUS:�"Now, Faustus, must thou needs be damned,�And canst thou not be saved?�What boots it then to think of God or heaven?�Away with such vain fancies, and despair;�Despair in God and trust in Beelzebub.�Now go not backward; no, Faustus, be resolute.�Why waver’st thou? O, something soundeth in mine ears:�‘Abjure this magic, turn to God again!’�Ay, and Faustus will turn to God again.�To God? He loves thee not.�The god thou servest is thine own appetite,�Wherein is fixed the love of Beelzebub."

Character Conflict: Faustus is torn between salvation and damnation, representing the Renaissance struggle between faith and human ambition. His self-doubt and internal debate highlight his tragic flaw: hubris.

Themes: The passage explores sin, redemption, and predestination, raising questions about free will and divine justice.

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Extract: Act 2, Scene 1 (Faustus’s Internal Struggle)

FAUSTUS:�"Now, Faustus, must thou needs be damned,�And canst thou not be saved?�What boots it then to think of God or heaven?�Away with such vain fancies, and despair;�Despair in God and trust in Beelzebub.�Now go not backward; no, Faustus, be resolute.�Why waver’st thou? O, something soundeth in mine ears:�‘Abjure this magic, turn to God again!’�Ay, and Faustus will turn to God again.�To God? He loves thee not.�The god thou servest is thine own appetite,�Wherein is fixed the love of Beelzebub."

Dramatic Devices:

Soliloquy: Faustus speaks his inner thoughts aloud, revealing his turmoil.
Repetition: “Faustus” is repeated, reinforcing his personal conflict.
Rhetorical Questions: Highlights his confusion and self-doubt.

Symbolism:

“Beelzebub” symbolizes damnation and the consequences of unchecked ambition.
“God” and “Heaven” contrast with Faustus’s despair, emphasizing his loss of faith.

Foreshadowing: His rejection of God and trust in Beelzebub hint at his eventual downfall, reinforcing the play’s tragic structure.

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A reminder-�The Key Ideas- what to focus on

How do playwrights use setting?
How do playwrights use dramatic irony?
How do playwrights use stagecraft?
What makes a play powerful and dramatic?
How are the characters portrayed?

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What is setting?

Setting is where and when a story or scene takes place.
The where can be a real place like the city of New York, or it can be an imagined location.
Similarly, the when can be a real time period (past or present) or imagined (the future).
Other aspects that determine a setting include landscape, architecture, time of day, social context, and weather.

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Setting

Setting is sometimes also called "the scene" or "sense of place.“

Far from being just a "backdrop" for the story, the setting of a piece of literature often shapes the story's main events and motivates the characters to act as they do.

Many works of literature have multiple settings—whether that means moving between the interior and exterior of the same house, different countries, or different centuries. It is important to note how plot developments and character developments correspond to changes in the setting.

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Setting

The physical location: The physical realities of where the story takes place, including geography, landscape, and other factors (urban or rural; domestic or wild; inside or out; on earth or in space).
Time: When does the story take place? In the past, the future, the present? What are the particular details of that time.
The social milieu: Setting is not just about the physical aspects. It's also about the social world. Is the setting wealthy or poor? Homogenous or diverse? Are things improving or getting worse?
Change: Setting can also be affected by how it changes, either over time (the changing seasons or the construction of a house or town or city), or suddenly (a terrible storm). The changes that do (or don't) affect a setting are as important as the setting itself.

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Dramatic Irony

Dramatic irony is one of the most effective items in a dramatist’s toolbox. It is commonly found in films, novels and plays, particularly in tragedies and comedies to create suspense or enhance the emotional appeal of a story.

Authors use the device to create unusual meanings in the speeches of the characters. A situation in which the audience knows about causes and conflicts before the main characters do is a useful plot device. Writers use dramatic irony as a tool to create and sustain the audience’s interest. It generates curiosity. It also creates tension in that the audience is encouraged to fear the moment when characters learn the truth that the viewer already knows and how he or she will deal with it.

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Stagecraft

Stagecraft is the technical aspect of theatrical, film and video production which include the elements such as scenic design, stage machinery, lighting, sound, costume design and makeup.

In simple terms it refers to the combination of all elements that gives rise to a performance. These facets essentially bring the performance to life with the on-stage dynamics creating a mood and scenic movement and visual dexterity evoking feelings of the audience.

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Stagecraft

Lighting involves the determination of the angle, size, suiting intensity shape and colour of light for the respective scene. Theatre lighting designers focus on the way lighting looks to the audience and there is often dramatic relevance to the choices made.

The first impression of a character is given by the costume worn by the actor.

Costume denotes the style of dress pertaining to a nation, a class, a particular period or personality. In theatrical costume design the types of costumes are categorized as historical, fantastical, dance and modern. Costume design process involves multiple steps with numerous aspects to consider in order to bring about a rich visual context.

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Stagecraft

Theatrical property commonly referred to as props include the furnishing, set dressing and all equipment to which don’t fall under scenery, electrics or costume. The props used by the actors are known as ‘hand props’ and those kept in their costumes are the ‘personal props’. Props infuse a sense of ambiance to the scene.
Sound encompasses the effects audible to the audience during a performance to communicate character, context or atmosphere. It is vital in setting the mood and immersing the spectatorship.

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Creating Drama:

Allusion

This is a reference to a person, place, event, usually without explicit identification. Allusions can be references to mythology, the bible, historical events, geography, legends, or other literary works. Authors often use allusion to establish a tone, create an implied association, contrast two objects or people, make an unusual juxtaposition of references, or bring the reader into a world of experience outside the limitations of the story itself. Biblical references are common in literary works of all periods. Some playwright’s plots are frequently based on legends and historical events, which are also merely referred to in other plays.

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Monologue

Some plays are strewn with monologues – a long, uninterrupted speech that is spoken in the presence of other characters. Unlike a soliloquy a monologue is heard by other characters.

Soliloquy

A speech in which a character, who is usually alone on the stage, expresses his or her thoughts aloud. It is a very useful device, as it allows the writer to convey a character’s most intimate thoughts and feelings directly to the audience. The convention is that the audience is allowed to hear the character’s thoughts. He or she is not talking, but thinking. Shakespeare for example uses soliloquies liberally, and some of his finest pieces of writing are in this form, for example, the ‘To be or not to be’ soliloquy in Hamlet.

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Symbolism

The symbol can bring about greater meaning than any literal suggestion and can usually be used to represent something different than what you will see at face value. Symbolism in terms of theatre can be done with colour, movement, characters, props and costumes.

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CHARACTERISATION

Characterisation is the process of producing a character through typifying its actions, words and thoughts. Character development is very important in a text. Each dramatic character has a function or a need. A character without function is not valued. Every character can be analysed in every scene for its function in terms of the plays parts. The character helps to further the plot, to express idea and contribute to spectacle. Thoughts, words and deeds of character help in understanding the character in a better way.