CVD - Dynamic Dialogue (Lesson)

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Dynamic Dialogue

Introduction 

In the past lessons, we have focused on how dramatic plots 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 the 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 a truly active dialogue.

Please watch the presentation below to be introduced to stage conventions associated with the words characters say. 

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 leave 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.

In the presentation below, you will learn how to create effective dialogue for your characters. 

Click HERE Links to an external site. to access information related to Constantine Stanislavski's system of developing dynamic dialogue discussed in the video above. 

Click HERE Links to an external site. to visit the Actor Verbs (Tactics) document referenced in the video above. 

GOTE for Playwrights

In the presentation below, you will be learning about how the GOTE process can help a playwright with producing dynamic dialogue.

Click HERE Links to an external site. to access the presentation guide with the information discussed in the video above. 

Common Conflict Problems

If the playwright starts the developing dialogue from the onset with a focus on character objectives and tactics, they will likely avoid common playwriting conflict pitfalls. In the presentation below, you will be learning about two such pitfalls.

Click HERE Links to an external site. to access notes about the common conflict problems discussed in the presentation above. 

Extended Playwriting Explorations

 In the presentation below, you will be learning about the break-up scene. 

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