One-Act Play Types & Characteristics

One-Act Play: \- a dramatic work that consists of a single, self-contained act or episode. \- are characterized by their brevity, simplicity, and focus on a specific theme, conflict, or idea. Act: \- is a distinct main section of a play. Play: \- is typically structured into acts, and each act...

One-Act Play: \- a dramatic work that consists of a single, self-contained act or episode. \- are characterized by their brevity, simplicity, and focus on a specific theme, conflict, or idea. Act: \- is a distinct main section of a play. Play: \- is typically structured into acts, and each act is further divided into scenes. Characteristics of a One-Act Play: 1.) Brevity: \- One-act plays are concise and typically shorter in duration than full-length plays. \- They often aim to convey a complete story or idea within a limited timeframe, typically ranging from 15 minutes to an hour. 2.) Single Setting: \- Due to the shorter duration, one-act plays often take place in a single setting. \- This limitation helps maintain focus and allows for quick and seamless storytelling. 3.) Limited Characters: \- Characters in a One-Act play are limited in number. \- Since a one-act play deals with one single situation, characters has to be within that limit. \- Usually, it has a smaller cast of characters compared to full-length plays. \- Too many characters, would result in overcrowding and lessen the effect of the drama. 4.) Single Plot or Theme: \- The narrative of a one-act play generally revolves around a single central plot or theme. \- There is less room for complex subplots, and the focus is on a straightforward exploration of the central idea. 5.) Dialogue: \- It is of the greatest importance in the One-Act Play. \- It is the principal medium by which the play moves and characters reveal themselves. \- Dialogues should be clear and crisp in a one-act play where the shortness of time does not allow lengthy speeches. 6.) Structure: \- The structure of a one-act play is basically linear with a beginning, a middle, and an end. \- Within this basic structure of a beginning, a middle, and an end, the play should contain an exposition, conflict, climax, and denouement. One-Act Plays in Anglo-American Literature: Early Origins: 1.) Medieval Mystery Plays: \- Anglo-Saxon Period \- The roots of one-act plays can be traced back to medieval mystery plays and morality plays. \- These were short dramatic performances often presented in cycles, each depicting a biblical story or moral lesson. 2.) Elizabethan and Jacobean Era: \- late 16th to early 17th centuries. \- During this period, interludes and court masques included shorter dramatic segments, setting the stage for one-act plays. 3.) Victorian Era: \- The 19th century saw the rise of parlor/drawing-room plays designed for intimate, domestic settings. 4.) Early 20th Century: \- Experimentation with expressionism and absurdism contributed to the popularity of one-act plays. 5.) Modern and Contemporary Era: \- One-act plays continued to evolve, finding a place in festivals, competitions, and educational settings. \- Digital platforms expanded their reach with online productions. One-Act Plays: 1.) Trifles: \- by Susan Glaspell \- An early feminist classic that explores gender roles and perspectives, set in the context of a murder investigation. 2.) The Zoo Story: \- by Edward Albee \- A powerful play that delves into themes of isolation and communication through an encounter between two men in Central Park. 3.) The Long Christmas Dinner: \- by Thornton Wilder \- A unique exploration of time and generations, depicting the lives of a family over several decades in a single dinner. 4.) Sorry, Wrong Number: \- by Lucille Fletcher \- A suspenseful thriller in which a bedridden woman accidentally overhears a conversation that leads her to believe a crime is being planned. \"The Cask of Amontillado\" is a short story by Edgar Allan Poe, first published in 1846. The story is set in an unnamed Italian city during the carnival season, and it is narrated by a man named Montresor. Montresor begins by stating that he has been insulted by a man named Fortunato, and he seeks revenge. Montresor encounters Fortunato at a carnival celebration, and he lures him into the catacombs of his palazzo with the promise of tasting a rare and valuable wine called Amontillado. Fortunato, who prides himself on his connoisseurship of wine, is eager to accompany Montresor to taste the Amontillado. As they venture deeper into the catacombs, the atmosphere becomes increasingly eerie and unsettling. Montresor continually engages Fortunato in conversation, all the while leading him to his hidden agenda. Fortunato, however, remains oblivious to Montresor\'s true intentions. Once they reach the innermost part of the catacombs, Montresor shackles Fortunato to the wall and begins to wall him in using bricks and mortar. Fortunato, initially thinking it\'s a joke, soon realizes the gravity of the situation. He pleads with Montresor, but his appeals are met with cold determination. Montresor completes the wall, leaving Fortunato entombed alive. The story concludes with Montresor expressing his satisfaction at having carried out his revenge without fear of retribution. The reason for Montresor\'s deep-seated hatred and desire for revenge is never explicitly stated, leaving the reader to contemplate the true nature of the characters and the events that transpired in the catacombs. \"The Cask of Amontillado\" is renowned for its psychological tension, exploration of revenge, and the eerie atmosphere Poe creates in the catacombs. It is considered one of Poe\'s masterpieces in the genre of Gothic fiction.