Dialogue isn't just talking. Dialogue HAPPENS. It happens when your characters' need to speak. It is also how they listen (or not listen), and the connotation, nuance, color and subtext of what they say, how they say it, and why they say it. Good dialogue is the result of well-defined characters in a well-structured plot. They may be compelled to speak (or not), but they should have a REASON for speaking.
Here are some tips to consider:
1. We usually talk because we want to communicate some need. If we want nothing, we say nothing, usually. We also speak when we want to: threaten, teach, explain, tease, joke, murmur, pontificate, defend ourselves, apologize, seduce, evade, pout, challenge, yell, scold, cry, motivate, convince, etc.
2. Dialogue is action. It is an action taken to satisfy a want or desire. What a character wants or desires moves them to speak and act. This is part of characterization--and the best way to build or develop your character(s).
3. When we don't get what we want (often immediately), humans tend to become shy, aggressive, or hide our agendas in our words. This is often our subtext (the meaning hidden in a line of dialogue; or saying one thing, but meaning another) and is very important to actors. It is often this subtext that a good actor will uncover in a performance.
4. Characters have to hear each other. Characters often do not listen the same way. Characters interpret what is being said, ask questions, ignore speech, get confused, miss a meaning and even read special meaning into something that has no meaning. Listening, therefore, will often help build the conflict and drama in your scene. A response reveals something important about the listener. How a character hears, then, is an important point to consider.
TODAY IN THE LAB: Please continue writing your plays with the dialogue advice in mind during period 1. Before the end of period 1, please read and take notes on the following:
Please take a look at Charles Busch's blog. He has placed a variety of play video clips here. Take a look at a few of these. His official website is located here.
Please watch a few video clips, read an interview or two with the author, and learn a little about his background. Please take about 10-15 minutes to view this material.
In period 2, please pick up our next play: The Vampire Lesbians of Sodom.
HOMEWORK: PLEASE READ (on index card, write a one-sentence summary of each article and 1 important fact or detail you think is essential or interesting):
Here are some tips to consider:
1. We usually talk because we want to communicate some need. If we want nothing, we say nothing, usually. We also speak when we want to: threaten, teach, explain, tease, joke, murmur, pontificate, defend ourselves, apologize, seduce, evade, pout, challenge, yell, scold, cry, motivate, convince, etc.
2. Dialogue is action. It is an action taken to satisfy a want or desire. What a character wants or desires moves them to speak and act. This is part of characterization--and the best way to build or develop your character(s).
3. When we don't get what we want (often immediately), humans tend to become shy, aggressive, or hide our agendas in our words. This is often our subtext (the meaning hidden in a line of dialogue; or saying one thing, but meaning another) and is very important to actors. It is often this subtext that a good actor will uncover in a performance.
4. Characters have to hear each other. Characters often do not listen the same way. Characters interpret what is being said, ask questions, ignore speech, get confused, miss a meaning and even read special meaning into something that has no meaning. Listening, therefore, will often help build the conflict and drama in your scene. A response reveals something important about the listener. How a character hears, then, is an important point to consider.
TODAY IN THE LAB: Please continue writing your plays with the dialogue advice in mind during period 1. Before the end of period 1, please read and take notes on the following:
Please take a look at Charles Busch's blog. He has placed a variety of play video clips here. Take a look at a few of these. His official website is located here.
Please watch a few video clips, read an interview or two with the author, and learn a little about his background. Please take about 10-15 minutes to view this material.
In period 2, please pick up our next play: The Vampire Lesbians of Sodom.
HOMEWORK: PLEASE READ (on index card, write a one-sentence summary of each article and 1 important fact or detail you think is essential or interesting):
- An article about cross-dressing and theatre
- Since theatre began, cross-dressing has been a common occurrence on the stage. As far back as ancient Greek theatre, male actors acted both male and female roles on stage. Later in pantomime, commedia dell'arte, and medieval theatre the tradition continued. Of course, Shakespeare and his contemporaries also used cross-dressing in Elizabethan theatre. Many of Shakespeare's funniest comedies use the trope of cross-dressing, for example: Twelfth Night, As You Like It, and even The Merchant of Venice.
- Read the Charles Busch's Introduction (ix-xix)
- Continue to write your play scripts.
- Bring your Charles Busch collection of plays back with you to our next class!
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