CD - Dynamic Dialogue (Lesson)
Dynamic Dialogue
Introduction
In the past lessons, we have focused on how dramatic plot and dramatic characters are used as key elements to craft a play. The third element, dramatic dialogue is also necessary to create engaging pacing, and believable scenes. The key difference between traditional literature and dramatic dialogue is action. The language spoken by the characters must be based on achieving a goal. This is the core element of text that can be turned into action. In this lesson, we will look at how the character research established in character development can be used in conjunction with the mechanics of the plot to establish truly active dialogue.
We have already looked at research strategies that allow the playwright to document observed facts, and imaginative research about how characters speak. To get at the core of dramatic, or active dialogue, this lesson will focus on exploring why characters speak. To do this, we will deepen our understanding of the evolution of the following actor techniques:
- Stanislavski’s System
- Beats and Objectives
- Dialogue pitfalls
Dynamic Dialogue
Scripts are not passive. Plays have late points of attack and focus on conflict, which results in a transformative event or series of events that leave the characters permanently changed. In ancient Greece, the experience of the play was so focused on the upsetting nature of witnessing the characters negotiate the conflict, that the tragedies were said to create a catharsis of pity and fear in the audience.
While not all plays are tragedies, the use of conflict to justify action and leaving a character changed is a fundamental part of all story structure.
Even in lighthearted comedies, the scenes exist in a logical order based on the conflict and needs of the character. It stands to reason that the dialogue should also be based in the world of the play - and, in that conflict. In order to keep the dialogue engaging for the audience, it is important to keep the character’s focus on the immediate conflict.
If the words characters are speaking do not drive the plot and work toward accomplishing a character’s immediate goal, they should be reconsidered.
The playwright is writing for actors to speak the language on stage. One way of keeping dialogue effective is to consider the process of the actor's interpretation of the lines. To understand the nature of contemporary text interpretation, it is helpful to know about the goals of Theatrical Realism. Even if the play is not in the style of realism, these underlying principles are often found in successful theatrical texts.
In the video below, you will learn about Theatrical Realism and will be introduced to some actor techniques.
Below the video, you will find a notes document including a script of the presentation.
Dynamic Dialogue Review Activity
Review your understanding of super objective, obstacle, and tactic in the activity below. Let your instructor know if you have any issues.
IMAGES & VIDEOS CREATED BY GAVS