CharactersExplicit characterisation

Presenting a character directlyAuthorial: in stage directions, telling namesCharacter’s own description of him-/herselfComments by other characters (before, during, after

entry; “gossip”)Implicit characterisation

Presenting a character via similarities and contrasts to other characters

Through the character’s way of speaking and acting

Semiotics of Theatre

Actor Stage

Verbal/Non Verbal Visual/Audial

Durative = Do not Change ND = Change

Information and Verbal Communication

‘Dramatic introduction’ (phatic)(clip- Endgame)

‘Exposition’ (referential- drama text, context) (clip – The Tempest)

Can occur concurrently

Isolated/Initial (separate from the action proper)(example Brecht Caucasian Chalk Circle)

Integrated (part of the action proper)(clip Richard III)

Analytical Drama – genre – Analysis of exposition is present throughout

Dialogue Functions and Fetaures

• Individual utteranceRelationship to previous

Preceding remarks • Medium for Conflict

Clarification of OpinionsExposition of the theme

• Wit

Monologue and Soliloquy

Soliloquy – Character speaks to himself/herself in his or her lonely presenceClip

Monologue – Characters speaks to himself/herself addressing others/ in the presence of othersClip

• Directed to speakers or audiences; not other chractars• Obvious of artificiality, realistic dramas avoid them• They can also serve as ‘exposition’ and ‘introduction’ of the

drama.

Monologue and Dialogue

• Molonogical Dialogue One characters tries to dominate

Disagreement expressed through long speech

• Dialogical Monologue Having a dialogue with absent character

(Salieri addressing God)

Functions of Soliloquy

• Introduction• Exposition• Historical Information• Self-charactarization• Plans, Intentions• (Arouse) Expectations

Aside

Monological Aside - Richard III (one person)

Dialogical Aside - The Tempest (a group)

Aside ad spectators- addressing audience

Discrepant Awareness and Irony

Congruent and Discrepant Awareness

Characters and Action• Character (Fictive role played by the real human)

• Action (Example Hamlet and Richard III)

Abilities Needs Motivation Intention (Key)

• Tragedy (External factors)• Comedy (Misfiring opponents plans)

Examples: Units of Action

– Introduction (Hamlet‘s sentinal and Ghost)– Development of the conflict (Hamelt‘s stange

behavior, The Murder of Gonzago, uncle‘s guilt)– Tragic Descent (Hamlet to England)– Moment of delay (Hamelt kills Polonius)– Catastrophe (all dead)

CharactersDramatis Personae

Correspondences and contrast Pairing: husband-wife, father-son, lover-beloved, master-

servant Character and confidant/e Protagonist and antagonist

• Comedy; corresponding motive• Tragedy; contrasting motive

Function: one character serves as another’s foil in terms of similarities and differences

Style and Staging

– Neoclassical (adhere to rules, independent of audience emotions)

– Naturalistc (solicit audiences empathy)

• Theories of Characters– Realistic or Mimetic : True to life or imitate the

latter– Strutuctalists :Characters as psychological entities

or “actants” that help plot work (functional role)

Configuration and perspective

– Perspective: Its own reality mediated through– a) level of knowledge; b) psychological

deposition; c) ideological disposition

Closed and Open

Dramatic figures: construction

• Static or dynamic character• Individual and Type• Flat or round character• Transparent or opaque character

Techniques

Figural and Authorial – Explicit characterization

• Presenting a character directly• Authorial: in stage directions, telling names• Character’s own description of him-/herself• Comments by other characters (before, during, after entry;

“gossip”)– Implicit characterization

• Presenting a character via similarities and contrasts to other characters

• Through the character’s way of speaking and acting• (Every explicit characterization is also implicit)