The following are the most important elements of drama:

01. Stage
It is the most important element and without it the drama is never performed. It is the name of place where on the drama is acted. it is shaped like bow with various doors for entrance and exit. The characters come from one door, perform their roles and exit from other doors. if we think it broadly we find two stages, one is for characters and other is for audience but The audience stage is different. The audience watches drama and extols the actors. The acting is watched from both sides. one has full action;where as the other has full reaction expressed in words, gestures and feelings rolling the different ideas in audience minds.

02. Plot
It is the pact of events. The writer makes idea into his mind with out lines from whom he makes the story. So plot is the series of events or actions those are collected and the story is made. The dramatist divides plot or events into three different parts____ exposition, middle or body and denouement.

i. Introduction or Exposition: It is found or placed in the first act or beginning of the drama. There in all the characters and the main issue on that the drama is written are introduced to the audience. The audience easily understands the relations and the movement of drama. It is a great help for him to render positive and negative feelings to the actors according to categories. The main problem is acquainted and developed entering to the body of the drama.

ii. Middle or Body: In this realm conflicts, rising action and falling actions take place. It is the body of the drama, hero and villain come face to face and speed their thoughts or tricks whether they are positive or not. In it the audience gets familiarity to internal and external conflict of main characters. The internal conflict is between the hero and his conscience, where as the external conflict is between the hero and the villain. Both fight or try to knock down each other. Their tussle reaches the peak and now it has to fall down to the end. It means all conflicts and problems come on the stage for solution, but in body they are not solved.

iii. Denouement: It is the stage of catharsis or solution of problems. As Shakespeare supports the statement that virtue is rewarded and vice is punished. On this stage is the falling down of all actions. Here conflicts are resolved and after that the characters as well as the audience tension is released. They all go to the previous level.

03. Character
Story is carried on by characters. The dramatist takes characters of all class— hero, heroin, villain attendants etc. But the major focus remains on the main characters as hero, heroin, villain etc. A good series of characters is found, earning feelings from the audience by acting. The struggle of actors or all characters add help or work to the hero. The hero has to perform hazardous or adventurous actions and for him the other minor or major characters make his aim achievable. By this means, the hero succeeds to eradicate evils from the society.

All the characters work with great sincerity. Indeed they are to great extent faithful to their professions. For example:. Hero is faithful to heroin deeds, villain is sincere to villainous deeds, attendants, servants to their professions. It is sincerity, devotion, or faithfulness that pushes their work as a real work. In this way, reality by characters is prevailed in the drama. So, drama is called the reflection of society

04. Dialogue
The story is written in dialogue form, which are uttered by the characters. The dramatist makes dialogues simple and short, as that the characters utter them easily but in one breath. The dramatist puts the spirit of attraction. These dialogues have feelings which are felt by the audience that’s why the happiness of characters is supposed the happiness of audience as well as sorrows. Sometimes the audience laughs and some times weeps by bringing out the tears.

05. Soliloquy
It is an unconscious and spontaneous force of speaking to oneself. It occurs when a person is under the dreadful dominance of dejection or is found in dilemma, or his mind is unbalanced searching catharsis. In such battle, different ideas come out spontaneously and uncontrollably. Such speaking makes him unaware of the surroundings, he thinks that he is speaking to himself and every thing is secret to him, but it is not like that. He thinks inverse of the fact, for he is disclosing it to all. Thus soliloquy is a psychological study of man and it helps to get acquaintance with the inner working of one. The dramatists employ it with a purpose of divulging character’s innermost thoughts or the plan of future in advance to the audience. It is just to expose mental tendency of the character or the boundary of judgment that creates curiosity among the readers or audience.

06. Audience:
Drama is not written for decorating the shelf, but it is written for readers or performed before the audience. The audience is inseparable from drama. Indeed it is the audience that watches and extols characters and makes fans. It is the audience that gets similarity to feelings and emotions. It is the audience that gets awareness about evil deeds and fights for making the society free.

Undoubtedly, drama provides entertainment and instruction, the both are for audience. The dramatist chooses theme and actors from that society and represents it before the audience. If the society is moving towards the evil deeds, the dramatist awares the audience of them by representing. So drama is a polished means of uplifting manners and beings of the audience, as the audience must make war against them and defeat them for ever. That’s why the audience is as important as the characters.

07. Subject Matter:
It is above discussed that men of letters, being the members of of society, depict its good as well as bad deeds. They are the true crusader and the cultured leaders, trying to lead the society to thorough fare. When ever they smell rat, inform the society. The dramatist picks out good deeds as well as bad deeds and performs before the audience with great spirit and compels to react. The bad deeds are performed in a bitter manner, where as the good deeds are performed in an attractive and pleasant manner;as that the audience must welcome it. So society is an endless abode of ideas or subject matter.

08. The Supernatural Element:
In olden days it was used in tragedies and comedies, but now a days it has got more popularity and has become a great source of entertainment in Asian as well as in European dramas. The dramatist introduces ghost, witch, wizard, storm, weird or other mighty objects. The spectators watch them with more interest. They are important and add heroism to hero. Supposing, if hero fails to seek out the truth, the dramatist introduces ghost or storm brings some sort of sign of his beloved or any other that re-continues his struggle and solves the crucial matter.

Simultaneously there are bad signs, too, introduced by the dramatist as that the hero may become adventurer by fighting against such strong or easily uncontrollable elements in order to save his society. The drama remains full of horror and encourages the audience not to surrender but fight and the Creator will award you success.

09. Costumes:
It is also accredited as an important element of drama;the drama is never performed without costumes as that of the concerned society. The characters are dressed matching the dialogues, events and surroundings. If there is a joker, he has to wear joker’s costumes;if the character is villain or performing other role, he has to wear that dress and other required tools. It lays great impression on audience, because they appear to be the symbol for the audience. The audience wears them, when such deeds are performed.

10. Language:
Language ought to be simple and musical, qualifying the habits of the characters. The dramatist wants to convey his central theme to the readers, so he makes dialogues according to the residents and their capacity of perceiving. The society only accepts simple and short sentences elaborated with simile, metaphor, satire, irony and alliteration. That’s why language is selected by keeping in view the mentality of the society

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Today, in order to be eligible for a given year’s Academy Award nominations, films must have been:

• Released in Los Angeles (foreign language film award prospects excepted) anytime from the strike of midnight of the first day of the year leading up to the strike of midnight on the first day of the next year. (Prior to the 5th Academy Awards ceremony in 1934, the eligibility period for films had spanned the twelve months leading up to July 31st of the previous calendar year. In order to transition into the current and more straightforward eligibility period of the full calendar year, eligibility for the 1933 ceremony was based on a 17-month period rather than a 12-month period, so that the period would end on December 31st, to begin the next one on January 1st.)

• Feature-length – at least forty minutes long (short film award prospects excepted)

• Filmed on either 35mm film, 70 mm film, 24 frames per second or 48 frames per second progressive scan digital cinema, with at least 128-720 native resolution

• Submitted by a producer before the deadline, using the Official Screen Credits online form to list production credits for all relevant Oscar categories – failure to satisfy this requirement renders films ineligible for nomination in any future year

• Completed with the inclusion of English subtitles for foreign language films, with only one film per year being submitted by a given country

After the deadline for submission of the Official Screen Credits online form, each form submission is checked and compiled into a Reminder List of Eligible Releases, which is distributed, along with ballots, in late December to all voting members, who for the most part vote to determine nominees in their own respective categories of expertise (acting, directing, writing, etc). Exceptions include nominations for Foreign, Documentary, and Animated Film categories, which are determined by special screening committees composed of members spanning all branches of the Academy. However, all voters may submit nominations for the Best Picture Category. After all nominations have been finalized, a second voting round takes place in which all voting members may vote across their own branches for most categories to determine the final winners. Since 1935, beginning with the 7th annual Academy Awards, the entirety of this nominating and voting process has been audited and certified by PricewaterhouseCoopers (previously known as Pricewaterhouse). Since 1941, with the introduction of the sealed envelope system, it is they who have been responsible for the confidentiality of the envelope’s contents.

There are nearly 6000 voting members of the Academy of Motion Picture Arts and Sciences, with actors making up the largest group of voters, at about 22% of the total membership. To become a member, one must receive an invitation from the Board of Governors, on behalf of the Academy Branch Executive Committees, based on either a member’s submission in recognition of significant contributions to the film industry, or on a competitive nomination. There is a lot that goes into selecting the Oscar winners, although regular corporate crystal awards for the standard sized company are available as well.

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The Academy did not officially nickname the trophy as the Oscar until 1939, but the beginnings of the statuette’s nickname, Oscar, are dubious. Battling stories include:

• A biography of the actress Bette Davis which suggests that she named her 1936 Academy Award after her husband, Harmon Oscar Nelson.

• A 1934 Time magazine article by Sidney Skolsky referred to Katharine Hepburn’s trophy for Best Actress that year as an “Oscar”

• Walt Disney thanking the Academy for his “Oscar” in 1932.

• Margaret Herrick, then Executive Secretary for the Academy, allegedly musing in 1931 that the award resembled her cousin Oscar Pierce, after which a newspaper columnist who had been present during the observation noted the nickname in a byline afterward.

• Louis B. Mayer’s executive secretary, Eleanor Lilleberg, seeing the first statuette in 1928 and declaring that it looked like King Oscar, and referring to him by the name Oscar again later in the day.

Cedric Gibbons, MGM’s art director, had developed the design on a scroll in 1927, using Mexican director and actor Emilio Fernandez as a model for the figure of the knight, and then supervised its progress from there. George Stanley, a sculptor, molded a clay sculpture of the design; then Sachin Smith cast the sculpture in tin and copper, and plated it in gold. Initially, the statuettes were made of solid bronze plated with gold, but eventually britannia metal replaced bronze in the making. As a pewter-like alloy, the britannia metal makes it easier to accomplish a smooth finish for the trophy. Finally, each nearly finished trophy is plated in copper, nickel, silver, and then 24-karat gold. From 1943-1945, the final years of World War II, to support America’s war efforts during the metals shortage, the trophies were finished using painted plaster in place of gold. After the war ended, the Academy invited the winners of the plaster statuettes to trade their trophies in for the gold-plated ones. These amazing trophies take a bit more work than your average corporate crystal award.

Originally, C.W. Shumway & Sons Foundry in Batavia, Illinois cast the Oscar statuette mold each year; but since 1983, the awards have been made by R.S. Owens & Company in Chicago, Illinois. Each January, about fifty new statuettes are created for that year’s honorees, although the makers never know for sure how many will actually be distributed until the sealed envelopes are opened and that year’s winners are announced. Any awards that remain undistributed in a given year are locked away in the safety of the Academy’s vault until the following year’s ceremony.

During some early years, the delivery of the newly crafted Oscar statuettes from Chicago to Los Angeles was shaped into an event for Academy publicity. More commonly, however, they were delivered across the country by carrier – until the year 2000, when they shipment was stolen from the loading dock of the carrier a few weeks before they were to be presented. Although the stolen shipment was tracked down within a week, the Academy not only instituted the precautions of arranging delivery of the trophies by way of a special flight through United Airlines, but also keeps enough awards for a year’s ceremony stored away in its vault at all times.

Since 1950, Oscar winners and their heirs have been prohibited from selling Oscar statuettes without having first offered to sell them back to the Academy for one dollar, at which point the statuette is returned to the Academy’s treasury. In the absence of this stipulation, public auctions and private deals have resulted in the sale of Oscar statuettes for six-figure amounts. The Academy has won some legal battles to prohibit such sales on an individual basis, but still, some sale efforts have ended in success.