The elements of drama began with Greek philosopher Aristotle, who stated in The Poetics, written circa 335 BCE, that each dramatic performance must contain the six key elements of plot, character, thought, otherwise known as theme, diction, today referred to as language, melody, or music-dance, song, or rhythm, plus spectacle. This is history’s first surviving example of dramatic theory.

In contemporary drama education, there is no prescribed or definitive list of the elements of drama. Below is a list of 37 of the most common elements of drama with descriptors gained from 35 years of teaching practice in drama education. I have also included a free downloadable infographic for students to keep on file or teachers to print and place on the classroom wall.

37 Elements of Drama

1. Action

Dramatic action refers to the purposeful actions taken by characters that drive the narrative forward and reveal their intentions, emotions, and conflicts. It is not limited to physical movement but also includes decisions, emotional reactions, and dialogue that reflect the characters’ goals and desires. Dramatic action is essential to the plot, as it creates momentum and keeps the story progressing toward a climax and resolution.

For example, in a scene where a character is attempting to confront a rival, the dramatic action would include not only the confrontation itself but also the underlying emotional struggle and motivations that lead to the confrontation. Dramatic action is always driven by objectives—characters pursue specific goals, whether material, emotional, or psychological, and these objectives often come into conflict with the objectives of others, creating tension and conflict.

In some cases, dramatic action can be subtle and internal, such as a character making a difficult moral decision. In others, it can be more overt, involving physical conflict or direct opposition between characters. Whether quiet or intense, dramatic action is central to the progression of the plot, as it continually shapes and reshapes the relationships, conflicts, and stakes that define the drama.

2. Atmosphere

Atmosphere refers to the overall feeling or pervasive emotional environment that surrounds the entire performance or a significant portion of it. It is more enduring than mood, often linked to the broader themes, setting, and tone of the production as a whole. The atmosphere is created through cumulative sensory and emotional cues, such as the design elements (lighting, set, sound, costume) as well as the pacing and style of the performance.

For example, a play set in a gothic, eerie mansion with dim lighting and ominous sound effects will likely create an atmosphere of mystery and suspense, which lingers throughout the play, even as the mood may shift from scene to scene. Atmosphere helps to immerse the audience in the world of the play and gives the drama its distinctive emotional quality.

3. Audience

Of all the essential elements of drama, the audience must exist for it to be considered a performance – a play without an audience should be considered a rehearsal. The audience’s presence and reactions are vital, as they influence the energy, pacing, and overall experience of the play. The relationship between the performers and the audience can vary depending on the theatre style; in some forms, like Epic Theatre, the audience is encouraged to actively think and respond, while in others, such as Realism, they observe passively.

The audience’s cultural background, experiences, and expectations shape their interpretation of the play, making them key participants in creating meaning. Their responses, whether laughter, applause, or silence, directly impact the performance, creating a dynamic and interactive theatrical experience.

4. Character

Character is the specific, detailed representation of an individual within the story. A character is a fully realised figure with unique traits, motivations, emotions, and a personal history that influences their behaviour and actions. Characters are given distinctive identities, personalities, and relationships within the plot, and actors bring these elements to life through specific choices in physicality, voice, and emotional expression. Creating a character involves deeply understanding the character’s psychology, relationships, and development throughout the play. Characters tend to evolve and change over the course of the drama, reacting to events and interactions in ways that reflect their unique inner worlds.

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5. Climax

Climax refers to the highest point of tension or conflict in a dramatic work, where the central crisis or turning point occurs. It is the moment toward which the plot has been built, and it often involves a crucial decision, revelation, or confrontation that determines the outcome of the play. The climax typically marks the shift from rising action to falling action as the central conflict peaks.

At the climax, the protagonist’s journey or struggle comes to a head, and the stakes are at their highest. This pivotal moment often leads to a resolution, where the consequences of the characters’ actions are fully realised. In most plays, the climax is the most emotionally charged or suspenseful scene, providing a decisive turning point in the narrative.

6. Conflict

Conflict refers to the struggle or clash between opposing forces, ideas, or characters in a dramatic work. It is the driving force behind the plot and is essential for creating tension and interest in the narrative. Conflict can arise from various sources, such as internal dilemmas within a character, interpersonal disputes between characters, or larger societal or environmental forces.

There are different types of conflict, including internal (character vs. self), where a character grapples with personal emotions or decisions, and external (character vs. character, society, nature, etc.), where characters face opposition from outside forces. Conflict shapes the characters’ objectives and actions, propelling the plot forward as they attempt to resolve their struggles, often leading to the play’s climax and eventual resolution.

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7. Contrast

Contrast in drama refers to the deliberate use of differences to highlight distinctions between characters, settings, emotions, or actions. This can be seen in shifts from light to dark, calm to chaos, or silence to sound. Contrast is a powerful tool for creating interest, enhancing dramatic tension, and emphasising key themes or moments in the performance.

For example, a joyful scene followed by a tragic one can intensify the emotional impact of both. By juxtaposing opposing elements, contrast helps to highlight the complexity of characters and situations, making the drama more engaging for the audience.

8. Convention

Convention refers to the established techniques, rules, or practices that are accepted as part of the dramatic experience by both performers and the audience. These conventions can include specific staging techniques, soliloquies, breaking the fourth wall, or stylised forms of movement and dialogue. Conventions vary across different theatrical styles and genres; for instance, the conventions of Realism aim to replicate real life on stage, while Epic Theatre conventions might include direct address to the audience to disrupt immersion. Conventions help shape how a performance is understood and interpreted by the audience.

9. Dramatic Moment

A dramatic moment is a specific instance within a play where tension, emotion, or action reaches a heightened intensity. These moments are often key turning points in the narrative or emotional peaks that captivate the audience’s attention. Dramatic moments can be created through sharp dialogue, powerful acting, or significant plot developments, such as revelations or confrontations. They are usually built up through the rising action and are critical in maintaining the play’s momentum and emotional impact.

10. Energy

Energy in drama refers to the intensity, vitality, and dynamics of a performance, both in terms of how actors deliver their roles and how the play unfolds overall. It encompasses the physical, emotional, and psychological commitment that performers bring to their characters, as well as the pace and rhythm of the scene or production. High energy may involve fast-paced action, strong emotions, or intense physicality, while low energy can create suspense or reflection. Energy is crucial in engaging the audience and maintaining their interest, helping to bring the performance to life.

11. Emphasis

Emphasis involves giving greater importance to specific moments, ideas, or themes within the performance to enhance their significance. It often deals with how meaning is conveyed to the audience and is typically achieved through deliberate choices in dialogue, movement, or visual symbols.

Emphasis can be created by repeating key lines, using heightened physical or vocal expression, or creating contrasts, such as sudden changes in pace or volume. For instance, a quiet, slow scene followed by a sudden burst of energy can emphasise a turning point in the plot. By emphasising certain elements, the dramatist or director ensures that the audience removes the intended themes or messages of the performance.

12. Focus

Focus involves directing the audience’s attention to a specific performance aspect. This could be a character, an action, or stage area. Focus helps clarify a scene’s central point by guiding the audience’s attention toward the most important moment. Techniques to create focus include using lighting, positioning of actors (such as isolating one character from a group), levels of movement, or the delivery of lines in a distinct way.

For example, in a moment of emotional intensity, the focus might be placed solely on one actor who is experiencing a dramatic shift, with the rest of the ensemble adopting stillness to enhance this. Focus controls the audience’s line of sight and influences their perception of the unfolding drama.

13. Language

Language in drama refers to the verbal and non-verbal communication used by characters, often through dialogue, monologue, or even silence. It encompasses the style of speech, choice of words, tone, rhythm, and any other vocal qualities used to convey a character’s thoughts, emotions, or social status.

Language also includes how things are said, such as dialect, slang, or formal speech, which can reveal much about the characters and the world they inhabit. Beyond spoken words, language in drama may also involve non-verbal elements such as gestures, facial expressions, and body language, all of which contribute to how meaning is communicated.

14. Dramatic Metaphor

Metaphor in drama involves a second reference in order to enhance the meaning of the first. For example, “The man is a goose”. The description of the qualities of the first reference of the man is enhanced by knowledge of the second reference, the fact that a goose is considered a silly waterfowl by its looks, big feet, and awkward behaviour.

A literary example of metaphor can be found in Arthur Miller’s play The Crucible. Set in the Salem witch trials of 1692-93, it is actually about the spread of Communism in 1950s America, which was the time and place of the play’s composition.

Bertolt Brecht employed a similar dramatic metaphor in his work The Resistible Rise of Arturo Ui, a play set in 1930s gangster-ridden Chicago, but actually about Hitler’s Germany. George Orwell’s Animal Farm was not about animals at all, but Russia and the Soviet Union under Communist Party rule.

Dramatic metaphors, however, should not be confused with the use of symbols. When an object is used as a symbol, it is replaced by the symbolic meaning – for example, the red rose is now replaced by the feeling of love. However, with dramatic metaphor, the second reference enhances this meaning without replacing it.

15. Mood

Mood refers to the emotional tone or feeling experienced by the characters and conveyed to the audience within a specific moment or scene. It is often temporary and can shift rapidly depending on the events or interactions happening on stage. The mood is created through dialogue, acting choices, lighting, sound, and sometimes music, all working together to evoke particular emotions such as joy, tension, fear, sadness, or excitement.

For example, a scene where characters engage in a heated argument might evoke a mood of anger or hostility. At the same time, a quiet, reflective moment might create a mood of melancholy or contemplation. The mood is closely tied to the emotional response of the characters and the audience and can fluctuate throughout the play.

16. Movement

Movement in drama refers to the physical actions, gestures, and spatial positioning of actors on stage. It is a vital element for expressing character intentions, emotions, and relationships without the need for words. Movement can be stylised or naturalistic, and it helps convey the subtext of a scene, establish mood, and define the physical world of the play. For example, fast and sharp movements might indicate tension or aggression, while slow, deliberate movements could suggest contemplation or sadness. Movement contributes significantly to the visual storytelling of a performance.

17. Music

Music refers specifically to the use of structured, melodic sounds, whether live or pre-recorded, and typically involves rhythm, melody, harmony, and instrumentation. Music in drama can function to underscore a scene’s emotional resonance, provide thematic motifs, or establish atmosphere. It is often more formalised than sound, with a distinct musical score composed or selected to align with the director’s vision.

For example, a melancholic musical theme might accompany a tragic scene, or an upbeat, lively tune might precede a moment of celebration. Music can also be used diegetically, where it is part of the world of the play and heard by the characters, or non-diegetically, serving as background that the audience hears but the characters do not.

18. Place

Place refers to the specific, concrete location where a particular scene or moment in the play occurs. It is the immediate physical environment where the action unfolds, such as a kitchen, a forest, or a street corner. Place is often a part of the setting, but it zooms in on the actual physical space represented on stage in any given scene.

For example, while the setting of a play might be New York City in the 1950s, a particular scene might take place in a small café, which is the place of that moment. Place focuses more on the tangible, detailed location that influences how the actors interact with their environment, props, and one another.

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19. Plot

Plot refers to the specific arrangement of events presented in the play. The plot is how the story is structured and delivered to the audience, often involving decisions about what is shown on stage, in what order, and with what emphasis. While the story might be a continuous series of events, the plot selects, organises, and manipulates these events for dramatic effect.

This might include the use of devices such as flashbacks, foreshadowing, or subplots to build tension, develop characters, or explore themes. The plot is the how of the drama — the narrative strategy and structure that gives meaning to the story by controlling the audience’s experience of it.

20. Posture

Posture refers to the way an actor holds their body while in character. It communicates a great deal about a character’s personality, emotional state, or social status. Upright and rigid posture might suggest confidence, authority, or tension, while slouched or closed body language can indicate insecurity, exhaustion, or submission. Posture is often used to reflect the relationships between characters, with status differences revealed through how they hold themselves in relation to others.

21. Relationships

Relationships in drama refer to the connections and dynamics between characters, shaped by their interactions, feelings, and histories. These relationships are central to the development of the plot and often form the basis for conflict or cooperation within a play. Relationships can be familial, romantic, antagonistic, or based on power dynamics, and they evolve as the characters change or grow. How actors portray these relationships through dialogue, movement, and space is key to conveying the drama’s emotional depth and complexity.

22. Rhythm

Rhythm in drama refers to the pacing and flow of a performance, including the speed and timing of movements, dialogue, and scenes. It is the pattern of energy and action that unfolds throughout the play, creating a sense of momentum and emotional variation. Rhythm can be fast and intense in moments of action or conflict, or slow and deliberate in reflective or emotional scenes. It helps to build tension, highlight key moments, and maintain the audience’s engagement. Changes in rhythm are often used to signal shifts in mood or tone within a play.

23. Role

Role refers to a performer’s function or part within a drama, often more abstract or archetypal. A role can be understood as a broad representation of a type or category of person, such as “the hero,” “the villain,” or “the mentor.” It defines the actor’s place within the narrative structure and the social or thematic function they are meant to fulfil within the performance. Roles often embody general human behaviours, relationships, or social positions, and can sometimes lack the depth or individuality of a fully fleshed-out character. In educational or improvisational settings, actors may explore different roles without delving into detailed backstories or psychological depth, focusing more on the role’s purpose in advancing the narrative or highlighting themes.

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24. Setting

Setting refers to the overall time and location in which the action of a play takes place. It encompasses not just the physical location but also the narrative’s historical period, social context, and cultural environment. The setting provides the background and framework for the characters and plot, shaping the social norms, values, and conflicts that drive the drama.

For example, a play set in Victorian England will be influenced by that era’s social hierarchy, fashion, and language. The setting can also involve non-physical elements like the time of day, weather, and overall atmosphere, all of which affect the mood and dynamics of the scene. In a more abstract or symbolic play, the setting might be less literal, serving as a metaphorical or thematic space rather than a realistic environment.

25. Situation

Situation refers to the specific circumstances or context in which characters find themselves within a scene or the play as a whole. This includes the setting, the characters’ relationships, and the conflicts or objectives they face. The situation provides the backdrop for the action and is essential for driving the narrative forward. For example, a situation might involve two characters stranded in a remote location, leading to challenges that reveal their personalities and motivations. The situation in a drama is key to understanding the stakes and tensions that propel the characters’ actions.

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26. Sound

Sound refers to any auditory element used in a performance, which can include natural sounds, mechanical noises, or electronically generated effects. These sounds might replicate real-world noises, such as footsteps, doors creaking, wind blowing, or city traffic, to create a sense of realism and establish the setting. Sound effects may also be abstract or symbolic, helping to enhance dramatic tension, signal a key event, or suggest an emotional undertone.

For instance, a sudden loud noise might signify danger or a shift in mood. In some cases, sound can also function to direct the audience’s focus, signalling transitions between scenes or drawing attention to offstage action. Sound effects are often carefully timed and coordinated with the onstage action to heighten the audience’s sensory experience.

27. Space

Space in drama refers to the physical area where the performance takes place and how it is used by actors and directors to convey meaning and relationships. This includes the literal stage space, the positioning of actors (proxemics), and the use of distance, levels, and movement within the performance area. The effective use of space can highlight power dynamics, emphasise isolation or intimacy, and influence the audience’s perception of the action. For example, a character standing apart from the others might suggest alienation, while characters sharing a confined space can create a sense of tension or closeness.

Last update on 2025-05-22 / Affiliate links / Images from Amazon Product Advertising API. As an Amazon Associate, I earn from qualifying purchases.

28. Spectacle

Historically, the spectacle was one of the obligatory elements of drama outlined by the Greek philosopher Aristotle in The Poetics. Aristotle referred to spectacle elements as costumes, scenery, actor gestures, and the sensory effects of the resonance of the performer’s voice, or sound.

In a contemporary context, spectacle refers to a dramatic performance’s visual elements, including set design, lighting, costumes, props, and any special effects. It is what the audience sees and experiences on a sensory level, contributing to the overall atmosphere and aesthetic of the production.

Spectacle can be used to create a strong visual impact, enhance the mood, and convey themes or symbolic meaning. For example, a grand, elaborate set design might suggest wealth or fantasy, while minimalistic staging can focus attention on the actors or the play’s themes. Spectacle plays a key role in making a performance engaging and memorable.

29. Story

The story refers to the broader sequence of events and actions that occur in the world of the play, encompassing everything that happens, both on and off stage, including backstory, subplots, and any events implied but not directly shown. The story is a comprehensive, chronological account of all significant events, from the earliest actions or situations that set the narrative in motion to the ultimate resolution of the characters’ journeys. It is essentially the what of the drama — the collection of all events, characters, and experiences, regardless of how they are revealed or arranged in the performance.

30. Structure

Dramatic structure refers to the framework or organisation of a play, dictating how the narrative unfolds. Traditionally, this includes the exposition (introduction of characters and setting), rising action (development of conflict), climax (the turning point or highest tension), falling action (events following the climax), and resolution (conclusion of the story). This structure helps to guide the progression of the plot and the development of characters and themes. Different dramatic forms may alter this structure, such as non-linear or episodic storytelling, but it remains essential in shaping the audience’s experience of the play.

31. Symbol

Symbol is one of the principal elements of drama. The use of symbols in dramatic performance can be one of the simplest and also most complicated of all techniques. Symbolism implies a greater meaning than the literal suggestion. Props are the easiest to work with because objects in everyday life often become symbols in society. Symbols can also be found in the use of colour. We often symbolise purple with royalty, red with anger or desire, black with evil and darkness, or white with purity and innocence.

Colour association can be worthwhile symbols with costumes, sets, and props. But the most sophisticated use of symbols occurs with the application of gesture and movement. A particular gesture performed by a character early in performance can be repeated in another context and have a very different meaning. Used only once, a gesture can also be a powerful symbol. All of these examples can be combined for an even complex effect.

32. Tension

Tension is sometimes referred to as dramatic tension and usually lies with the development of suspense. As the audience anticipates certain outcomes in the plot, the tension builds. Tension differs from conflict in that it is usually a transient occurrence that may take place multiple times in a single play. An obvious example of rising tension occurs in a mystery play or whodunit. In this instance, the audience is left in a constant state of suspense, trying to determine the real culprit. Therefore, the development of tension usually parallels the plot’s advancement, leading to a crisis or climax. Tension is closely linked with the element of timing.

Tension keeps the audience invested in the characters and plot as they anticipate the resolution of the drama’s key conflicts or challenges. It can be heightened through pacing, silence, pauses, or contrasting emotions. Tension is crucial for driving the narrative’s momentum and maintaining audience interest, often leading up to the play’s climax.

33. Text

The text refers to the written script of the play, which includes all the dialogue, stage directions, and any other written material that serves as the blueprint for the performance. The text is a fixed literary element and includes what is said and how and when things happen, as dictated by the playwright. The text provides the structure and framework of the performance, detailing character interactions, plot progression, and thematic elements. It is the foundation from which the performance is built, though how the text is interpreted can vary significantly in performance, depending on the director’s vision, the actors’ interpretation, and other creative decisions.

34. Theme

Theme refers to the central ideas, messages, or underlying subjects explored in a dramatic work. Themes often address universal concepts such as love, power, betrayal, or identity, and they provide deeper meaning to the actions and events in the play. The theme is not always explicitly stated but is revealed through the characters’ experiences, dialogue, and the progression of the plot. For example, a play about political corruption might explore themes of power, morality, and justice. Themes help to connect the audience emotionally and intellectually to the narrative, prompting reflection on broader societal or philosophical issues.

35. Time

Time in drama refers to both the chronological period in which the events of the play are set and the passage of time within the narrative. Time can be used in various ways: a play may unfold in real time, or it might compress or expand time to suit the dramatic action. Flashbacks, time jumps, and the manipulation of temporal flow are all techniques that can be used to create tension or explore character development. The setting in a specific historical time period also influences the social, political, and cultural context of the narrative.

36. Timing

Timing refers to the precision and control of action and dialogue delivery in a performance. It involves when an action or line is executed for maximum effect, influencing the pace and rhythm of the scene. Effective timing is crucial in creating comedy, suspense, or emotional impact. For instance, a pause before a key revelation can heighten tension, while the quick delivery of a punchline can enhance comedic timing. Actors and directors use timing to manipulate the audience’s reactions, whether to build anticipation, create rhythm in movement, or maintain the energy of the scene.

37. Voice

Voice in drama refers to the use of vocal expression by actors to convey character, emotion, and intention. This includes pitch, tone, volume, pace, and articulation, all of which contribute to how a character’s personality and emotions are communicated to the audience. A commanding, deep voice might indicate authority or confidence, while a softer, hesitant tone could suggest insecurity or fear. Voice also involves the actor’s ability to adapt to different accents, dialects, and vocal styles, shaping the authenticity and believability of the character. Effective use of voice enhances the clarity of dialogue and deepens the emotional connection between the audience and the performance.