When these situations are shown before an audience, it allows the viewers to think about how they would solve these problems. In Good Woman of Setzuan, by Bertolt Brecht, I became the three gods. On their search for a good person in this lowly town, I began to wonder if what they sought for was even obtainable. This is what I call "conflict immersion".
No matter how far-fetched or outlandish a situation may seem, we as humans can connect and put our feet in their shoes. Just by having an opinion on the matter, you become involved in the drama. When I read Waiting for Godot, by Samuel Beckett, I thought, "Would I ever wait this long for someone?" But as I continued to read, and understood that Godot was not an actual person, rather an idea, I thought back on my interpretations and understanding of the play and create new thoughts and ideas on what the waiting actually represented. .
As life must begin and end, so must drama. There are no proper beginnings and endings of a play. There may even be some that you do not agree with or find outright disturbing. However, it is a requirement that they are present. A play can spend time with character description or intricate setting details as seen in most of our plays, or it can begin in the middle of a murder scene as seen in Trifles, by Susan Glasspell. This also ties into the rule that all plays exist in time, so by nature they are required to begin and end. Reading the beginning of a drama is like opening a door. You are presented with information or a scenario, and until you walk into the room, you do not have a full understanding of what the play is about. The ending of a play is like leaving the room and shutting the door behind you. You could have enjoyed the contents of the room, possibly the room left you wanting more, or something else entirely. In some cases there may even be alternate endings like in A Doll's House, by Henrik Ibsen.