 of English, Padmanath Guhaibhura School of Humanities, Krishnakanta Handik State Open University. In this video, we are going to deal with the unit titled Interpreting Drama from the course titled From Language to Literature that is included in your first semester under graduate program. In the previous videos on this unit, we have dealt with the definition of a play underlined its main constituents and focused on the theory of drama. The primary objective of this video is to acquaint you with the various modes of theatrical representations. The various modes of theatrical representations can be categorized roughly as follows. Realistic dramas that include domestic and social problem plays, poetic plays, brechtian plays, theater of the absurd or absurd drama, third theater. We shall discuss these in detail by referring to a few well known playwrights and their works. Number one, realistic dramas. The dramatic movement traversing a long path from the time of its birth to the present day has undergone changes in all matters concerning subject matter, structure, design and technique so as to suit the contemporary tone and taste of the modern age. The playwrights wanted to reveal the social human situations, their predicaments against the complexities and problems in the society. Henrik Ibsen, the renowned Norwegian dramatist, became the greatest force in bringing out the desired revival of the modern theater. Ibsen not only brought about an epoch making change in the subject matter and in treatment but also introduced new technique with detailed stage directions. His famous plays, a doll's house, ghost and enemy of the people, the wild duck are some of the masterpieces dealing with domestic problem, women's emancipation, individuals consigns against the background of social forces. The English theater developed in the manner of the prose plays of Ibsen and the movement was advanced by English dramatists like George Bernard Shaw, John Gales Worthy and many others. Number two, poetic plays. As a reaction to realistic prose plays, the movement of poetic drama came into existence in the early 20s of the 20th century in the hands of some young dramatists like William Butler Yitz, James Flecker etc. and finally in the hands of T.S. Elliot who was its greatest champion. Murder in the Cathedral, the family reunion, the confidential clerk are some of Elliot's worst plays that are most effective and successful. In the murder in the Cathedral, T.S. Elliot borrowed some classical methods like chorus, song and dance and placed them in the modern perspective and this proved highly effective. Number three, Brechtian plays. In the later part of the 20th century, social and political ideas began to inspire the creation of modern plays. Burton Brecht was the German poet and dramatist who was motivated by Marxian philosophy, struck a new note and began to influence the dramatic world by his plays which dealt with the presentation of socialistic subject matter in a new and easy technique combined with alienation effect which is now commonly known as epic theater. Fourthly, theater of the absurd. Somewhat in a parallel way on the basis of some ideas nourished from the philosophies of existentialism and surrealism and from the theories of Ja Paul Sarté, Albert Camus etc. a kind of drama emerged which lack formal logic in subject matter and is somewhat distanced from the conventional dramatic structure. This movement is known as the Theater of the Absurd. The playwrights mostly associated with the movement are Samuel Beckett, a French-Irish dramatist, Eugene Inesco, Jacques Jannet, Arthur Adamov etc. Waiting for Godot by Samuel Beckett, the chairs, Rhinoceros, the bold prime Donna by Eugene Inesco are some of the important and most famous absurd dramas in this line in the 20th century. The following are some of the key ideas to be kept in mind while dealing with an absurd drama. We must forsake the theater of regular developed and coherent situation. We must forget characterization in a logical theme and forget natural settings that bear the realistic relationship of the drama. We must also forget the use of language as a tool of logical communication and the cause and effect relationship found in traditional dramas. There are a number of puzzling devices used for the acting. Fifthly, Third, Theater. A kind of theater movement in between the city theater and the village theater that is the folk theater arose in the later part of the 20th century to create a link between the two. It is a kind of synthesis both in thematic and structural way. The term was however coined by Eugenio Barba to describe his own group. It was so-called by analogy with the Third World that is deprived, neglected and short of resources. Similarly, in production of those plays, expenses are kept low and plays are written accordingly to suit the technique. A polished dramatist, Jay Grotowski had considerable influence in the creation of such plays and formulation of a troupe. In India, Badal Sarkar was the first dramatist to espouse the cause of this theater. Some of his well-known plays include Pagla Gharah, Ebon Indrajit, Bhuma, etc. So in this video, we have discussed the various modes through which a play is represented from realistic drama to poetic plays, from Brechtian plays to Theater of the Absurd and Third Theater. It must be clear that drama is an ever-evolving literary practice and will continue to be expressed through newer modes with time. Here are a few references which you may consult for your better understanding. Thank you.