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The opposite is a prologue—a piece of writing at the beginning of a work of literature or drama, usually used to open the story and capture interest. [2] Some genres, for example television programs and video games, call the epilogue an "outro" patterned on the use of "intro" for "introduction".
The tragedy usually begins with a prologue, (from pro and logos, "preliminary speech") in which one or more characters introduce the drama and explain the background of the ensuing story. The prologue is followed by the parodos (entry of the characters/group) (πάροδος), after which the story unfolds through three or more episodes ...
The Ancient Greek word πρόλογος includes the modern meaning of prologue, but was of wider significance, more like the meaning of preface. The importance, therefore, of the prologue in Greek drama was very great; it sometimes almost took the place of a romance, to which, or to an episode in which, the play itself succeeded.
A drama is then divided into five parts, or acts, which some refer to as a dramatic arc: introduction, rise, climax, return or fall, and catastrophe. Freytag extends the five parts with three moments or crises: the exciting force, the tragic force, and the force of the final suspense.
In Poetics, Aristotle discusses many key concepts of Greek drama, including the moment of tragic recognition (anagnorisis) and the purgation of audience feelings of pity and fear . Perhaps the most significant successor to Aristotelian dramaturgy is the Epic theatre developed by the twentieth century German playwright Bertolt Brecht .
Metatheatre, and the closely related term metadrama, describes the aspects of a play that draw attention to its nature as drama or theatre, or to the circumstances of its performance. "Breaking the Fourth Wall" is an example of a metatheatrical device.
In classical drama, the epitasis (Ancient Greek: ἐπίτασις) is the main action of a play, in which the trials and tribulations of the main character increase and build toward a climax and dénouement. It is the third and central part when a play is analyzed into five separate parts: prologue, protasis, epitasis, catastasis and catastrophe.
The Gods Are Not To Blame is a 1968 play and a 1971 novel by Ola Rotimi. [1] An adaptation of the Greek classical play Oedipus Rex, the story centres on Odewale, who is lured into a false sense of security, only to somehow get caught up in a somewhat consanguineous trail of events by the gods of the land.