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years of the republic and by means of the Roman Empire (27 BCE-476 CE), theatre spread Europe, around the Mediterranean and reached England; Roman theatre was more varied, extensive and sophisticated than that of any culture before it.[18] While Greek drama continued to be performed throughout the Roman period, the year 240 BCE marks the beginning of regular Roman drama.[19] From the beginning of the empire, however, interest in full-length drama declined in favour of abroader variety of theatrical entertainments.[20] The first important works of Roman literature were the tragedies and comedies that Livius
Andronicus wrote from 240 BCE.[21] Five years later, Gnaeus Naevius also began to write drama.[21] No plays from either writer have survived. While both dramatists composed in both genres, Andronicus was most appreciated for his tragedies and Naevius for his comedies; their successors tended to specialise in one or the other, which led to a separation of the subsequent development of each type of drama.[21] By the beginning of the 2nd century BCE, drama was

Western drama originates in classical Greece. The theatrical culture of the city-state of Athens produced three genres of drama: tragedy, comedy, and the satyr play. Their origins remain obscure, though by the 5th century BCE they were institutionalised in competitions held as part of festivities celebrating the god Dionysus.[10] Historians know the names of many ancient Greek dramatists, not least Thespis, who is credited with the innovation of an actor ("hypokrites") who speaks (rather than sings) and impersonates a character (rather than speaking in his own person), while interacting with the chorus and its leader ("coryphaeus"), who were a traditional part of the performance of non-dramatic poetry (dithyrambic, lyric and epic).[11] Only a small fraction of the work of five dramatists, however, has survived to this day: we have a small number of complete texts by the tragedians Aeschylus, Sophocles and Euripides, and the comic writers Aristophanes and, from the late 4th century, Menander.[12] Aeschylus' historical tragedy The Persians is the oldest surviving drama, although when it won first prize at the City Dionysia competition in 472 BCE, he had been writing plays for more than 25 years.[13] The competition ("agon") for tragedies may have begun as early as 534 BCE; official records ("didaskaliai") begin from 501 BCE, when the satyr play was introduced.[14] Tragic dramatists were required to present a tetralogy of plays (though the individual works were not necessarily connected by story or theme), which usually consisted of three

film studies adopted to describe "drama" as a genre within their respective media.[5] "Radio drama" has been used in both senses--originally transmitted in a live performance, it has also been used to describe the more high-brow and serious end of the dramatic output of radio.[6]

Drama is often combined with music and dance: the drama in opera is sung throughout; musicals include spoken dialogue and songs; and some forms of drama have regular musical accompaniment (melodrama and Japanese Nō, for example).[7] In certain periods of history (the ancient Roman and modern Romantic) dramas have been written to be read rather than performed.[8] In improvisation, the drama does not pre-exist the moment of performance; performers devise a dramatic script spontaneously

Drama is the specific mode of fiction represented in performance.[1] The term comes from a Greek word meaning "action" (Classical Greek: δράμα, dráma), which is derived from "to do" (Classical Greek: δράω, dráō). The enactment of drama in theatre, performed by actors on a stage before an audience, presupposes collaborative modes of production and a collective form of reception. The structure of dramatic texts, unlike other forms of literature, is directly influenced by this collaborative production and collective reception.[2] The early modern tragedy Hamlet (1601) by Shakespeare and the classical Athenian tragedy Oedipus the King (c. 429 BCE) by Sophocles are among the supreme masterpieces of the art of drama.[3]

The two masks associated with drama represent the traditional generic division between comedy and tragedy. They are symbols of the ancient Greek Muses, Thalia and Melpomene. Thalia was the Muse of comedy (the laughing face), while Melpomene was the Muse of tragedy (the weeping face). Considered as a genre of poetry in general, the dramatic mode has been contrasted with the epic and the lyrical modes ever since Aristotle's Poetics (c. 335 BCE)—the earliest work of dramatic theory.[4]

The use of "drama" in the narrow sense to designate