Your lines are just words until you deliver them, but unless your voice is well-trained, they’ll still fall flat or sound forced. It is just because the enthusiast copies, not simply what is of universal significance in the practice of some past period, but with equal closeness what is special to the time and indi- vidual to the dramatist, that his play fails. A blackout at the end of a scene is a technique used to heighten a drama. Irony, foreshadowing, paradox and the aside are some examples of dramatic devices. endobj It is undeniable that the novelist and the dramatist start with}common elements — the story, the characters, and the dialogue. 154 . The Riverside Breve CAMBRIDGE. Too many people do not recognize that dramatic technique — methods and devices for gaining in the theatre a drama- tist’s desired ends— is historically of three kinds: universal, special, and individual. The dramatist has no time to waste. Upon the utterance of this command, let the three turn to the choir and say, Alleluia! For many years now, the cry of the drama- tist has been, not “Let us adapt life to the stage,” but rather: “Let us adapt the stage, at any cost for it, at any cost of im- aginative effort or mechanical labor, to adequate and truth- ful representation of life.” The art of the playwright may be the art of fantasy or of realism, but for him who under- stands it rightly, not mistaking it for another art, and labor- ing till he grasps and understands its seeming mysteries, it can never be an art of falsification. A dramatic device is a convention used in drama as a substitution for reality that the audience accepts as real although they know them to be false. The latter is trusted to fill out, in as full detail as his means or his desires permit, the hints of stage directions as to setting and atmosphere. Dramatic techniques. We have good dialogue for a novel when Cleopatra says, “I'll seem the thing I am not; Antony will be himself.” The fact and the characterization are what count here. “An Aleut, who was armed with a bow, represented a hunter, another a bird. The technique of the plays of Corneille and Racine, even though they base their dramatic theory on classical practice, differs from the Greek and from Seneca. Above all, they must have shown ability so to represent people in emotion as to arouse emotional re- sponse in their readers, or their work would not be called dra- matic. In most novels, the reader is, so to speak, personally con- ducted, the author is our guide. 1 0 obj I view with some alarm the recent mushroom growth of such courses throughout the country. Now in the drama we cannot harbour this suggestion; what we hear has happened in the story, we see really occur; what we would doubt of in the story, in the drama the evidence of our own eyes settles incontrovertibly. Reproduce accurately on the stage the terrors of the book and some persons in the audience would probably go as mad as did people in the story. CLEARING THE Way . action, or characterization, or dialogue which most interests a public. First there are certain essentials which all good plays, from Aschylus to Lord Dunsany, share at least in part. The real dancing of the Greeks is a lost art, of which the modern ballet is a corruption, and the orator’s action a faint survival. DRAMATIC TECHNIQUES The sequence proceeds from sensory/concentration activities to movement/pantomime, dialogue, characterization and improvisation/story playing. Historically studied, the English drama shows that char- acterization appeared as an added interest when the inter- est of action was already well established. download 1 file . For the moment the better the imitation, the better he is satisfied; but shortly he discovers that somehow the managers or the public, if » % 2 DRAMATIC TECHNIQUE his play gets by the managers, seem to have very little taste for great dramatists at second hand. Another is the 'thunder and lightening' used to make Ariel's entrance during the harpy scene much more dramatic and powerful as the sound creates fear and shocks the audience. Tur EssEnTIALS oF Drama: AcTION AND Emotion . Resting on what he knows of the ele- ments common to all good drama, alert to the significance of the hints which the special practice of any period may give him, he thinks his way to new methods and devices for get- ting with his public his desired effects. Dramatic techniques are used by the playwright to enhance meaning and understanding amongst the audience. An uncomprehending and self-willed pro- ducer may easily so confuse the values of a well-written play as to ruin its chances. A person reads a book to himself or toa small group. He reads and sees past and present plays, probably in large numbers. His- tory shows indisputably that the drama in its beginnings, no matter where we look, depended most on action. the Lord is risen. It is not difficult for the story-teller to make us believe that, be- tween a time late one evening and early the next morning, Blanche de Maletroit lost completely her liking for one man and became more than ready to marry Denis de Beaulieu, who entered the house for the first time on-this same evening. Study of the technique of a special period, if the temper of his public closely resembles the inter- ests, prejudices, and ideals of the period he studies, may give him even larger results. 47 . These things are done, indeed, in representation of the angel siting within the tomb and of the women who came with spices to anoint the body of Jesus. Fell, and devices for getting his desired effects in the plays no! 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