Visualizing Analyzing Dialogue and Reading Aloud Making Inferences Your Turn What Reading Skills Can Help You Understand Drama? Feature Menu

Visualizing A play’s script is like an outline—it gives you basic information about a play’s characters, setting, and plot, but it doesn’t bring the drama to life for you.

Visualizing To bring the script to life, you must visualize the setting, the characters, and the action: Use clues in the script to picture in your mind what is happening.

Visualizing Scripts often include stage directions, which give you clues that help you visualize characters and setting. DEIRDRE lies in her hospital bed. She is surrounded by bright lights and the noise of alarms and monitors, but pays no attention to any of it. She stares into space, stroking her cotton pillowcase, as the corners of her mouth curl downward. She looks young and small in the big bed. DEIRDRE lies in her hospital bed. She is surrounded by bright lights and the noise of alarms and monitors, but pays no attention to any of it. She stares into space, stroking her cotton pillowcase, as the corners of her mouth curl downward. She looks young and small in the big bed. DEIRDRE lies in her hospital bed. She is surrounded by bright lights and the noise of alarms and monitors, but pays no attention to any of it. She stares into space, stroking her cotton pillowcase, as the corners of her mouth curl downward. She looks young and small in the big bed. DEIRDRE lies in her hospital bed. She is surrounded by bright lights and the noise of alarms and monitors, but pays no attention to any of it. She stares into space, stroking her cotton pillowcase, as the corners of her mouth curl downward. She looks young and small in the big bed. These details help you visualize Deirdre’s actions. This helps you create a picture of the scene’s setting. These clues help you picture her appearance.

Visualizing Play As you read, fill in a chart like this one to help you visualize a play’s actions, sets, and characters. What the Text Reveals Setting Character’s Actions Character’s Appearance A brightly lit hospital room She stares into space, rubbing her pillowcase and frowning. She looks small and young in the big bed. What I Visualize Deirdre lies in a hospital bed, looking young and scared. The hospital is busy and noisy.

Visualizing What clues do these stage directions offer about the setting? What clues are there about the character’s appearance and actions? Quick Check [End of Section] JAMES sits in the witness box looking out at the packed courtroom. He is tall and muscular, but he looks more like a boy than a man. He fidgets uncomfortably with his tie and adjusts the suit jacket that he has borrowed from his uncle. He is sweating, though he can see through the courtroom window that snow has begun to fall outside.

Visualizing What clues do these stage directions offer about the setting? Quick Check JAMES sits in the witness box looking out at the packed courtroom. He is tall and muscular, but he looks more like a boy than a man. He fidgets uncomfortably with his tie and adjusts the suit jacket that he has borrowed from his uncle. He is sweating, though he can see through the courtroom window that snow has begun to fall outside. JAMES sits in the witness box looking out at the packed courtroom. he can see through the courtroom window that snow has begun to fall outside. The setting is a crowded courtroom. The snow outside suggests that it’s winter.

Visualizing What clues are there about the character’s appearance and actions? Quick Check JAMES sits in the witness box looking out at the packed courtroom. He is tall and muscular, but he looks more like a boy than a man. He fidgets uncomfortably with his tie and adjusts the suit jacket that he has borrowed from his uncle. He is sweating, though he can see through the courtroom window that snow has begun to fall outside. He is tall and muscular, but he looks more like a boy than a man. He fidgets uncomfortably with his tie and adjusts the suit jacket that he has borrowed from his uncle. He is sweating, James is big and healthy, but he looks young or immature. He’s in a suit and tie, and nervously fidgets and sweats.

Analyzing Dialogue and Reading Aloud Playwrights use dialogue, the lines characters say, to show the characters’ personalities and move along the action in the play. As you read a play, consider the dialogue carefully to understand the characters’ conflicts and emotions.

Analyzing Dialogue and Reading Aloud Reading the dialogue aloud, either by yourself or with others, can help you step into the world of the play. Hearing the characters’ words may help you create a clearer picture in your mind. Kevin (approaching nervously). Uh, hey, Maya, wait up a minute. I need to ask you something. Maya (smiling). What’s up, Kev? Kevin. Uh, the algebra homework.... Do you get it at all? Maya. I think so. Sit with me at lunch and I’ll explain it. Kevin (grinning). That sounds great! Really great!

Analyzing Dialogue and Reading Aloud Ask yourself these questions as you analyze dialogue: How does the dialogue advance the plot? What words do the characters use to express themselves?What emotions are expressed in the dialogue?What does dialogue reveal about character relationships?What important decisions by the character are revealed?

What words do the characters use to express themselves? Analyzing Dialogue and Reading Aloud Kevin (approaching nervously). Uh, hey, Maya, wait up a minute. I need to ask you something. Maya (smiling). What’s up, Kev? Kevin. Uh, the algebra homework.... Do you get it at all? Maya. I think so. Sit with me at lunch and I’ll explain it. Kevin (grinning). That sounds great! Really great! Kevin and Maya use informal language to speak to each other. By writing the dialogue this way, the playwright makes them sound like typical teenagers.

Analyzing Dialogue and Reading Aloud What emotions are expressed in the dialogue? Kevin. (approaching nervously). Uh, hey, Maya, wait up a minute. I need to ask you something. Maya. (smiling). What’s up, Kev? Kevin. Uh, the algebra homework.... Do you get it at all? Maya. I think so. Sit with me at lunch and I’ll explain it. Kevin. (grinning). That sounds great! Really great! Kevin (approaching nervously). Uh, hey, Maya, wait up a minute. I need to ask you something. Maya (smiling). What’s up, Kev? Kevin. Uh, the algebra homework.... Do you get it at all? Maya. I think so. Sit with me at lunch and I’ll explain it. Kevin (grinning). That sounds great! Really great! Kevin (approaching nervously). Uh, hey, Maya, wait up a minute. I need to ask you something. Maya (smiling). What’s up, Kev? Kevin (grinning). That sounds great! Really great! In the beginning of this dialogue, you can see Kevin’s nervousness, but Maya’s friendliness—and her invitation— bring him obvious happiness. nervousness friendliness happiness.

Analyzing Dialogue and Reading Aloud What does dialogue reveal about character relationships? Kevin. (approaching nervously). Uh, hey, Maya, wait up a minute. I need to ask you something. Maya. (smiling). What’s up, Kev? Kevin. Uh, the algebra homework.... Do you get it at all? Maya. I think so. Sit with me at lunch and I’ll explain it. Kevin. (grinning). That sounds great! Really great! Kevin (approaching nervously). Uh, hey, Maya, wait up a minute. I need to ask you something. Maya (smiling). What’s up, Kev? Kevin. Uh, the algebra homework.... Do you get it at all? Maya. I think so. Sit with me at lunch and I’ll explain it. Kevin (grinning). That sounds great! Really great! Kevin (approaching nervously). Uh, hey, Maya, wait up a minute. I need to ask you something. Kevin (grinning). That sounds great! Really great! Kevin’s concern about approaching Maya and his happiness at the thought of eating lunch with her suggest that he really likes her.

Kevin (approaching nervously). Uh, hey, Maya, wait up a minute. I need to ask you something. Maya (smiling). What’s up, Kev? Kevin. Uh, the algebra homework.... Do you get it at all? Maya. I think so. Sit with me at lunch and I’ll explain it. Kevin (grinning). That sounds great! Really great! Kevin (approaching nervously). Uh, hey, Maya, wait up a minute. I need to ask you something. Maya. I think so. Sit with me at lunch and I’ll explain it. Analyzing Dialogue and Reading Aloud What important decisions by the character are revealed in the dialogue? Kevin’s decision to approach Maya seems like an important step in his relationship with her. Maya’s decision to spend her lunch period with him may also turn out to be important. Kevin’s decision to approach Maya seems like an important step in his relationship with her.

Analyzing Dialogue and Reading Aloud How does the dialogue advance the plot? Kevin (approaching nervously). Uh, hey, Maya, wait up a minute. I need to ask you something. Maya (smiling). What’s up, Kev? Kevin. Uh, the algebra homework.... Do you get it at all? Maya. I think so. Sit with me at lunch and I’ll explain it. Kevin (grinning). That sounds great! Really great! In this dialogue, you learn that Kevin and Maya will eat lunch together. That decision is likely to lead to additional plot events, including a lunch scene.

Analyzing Dialogue and Reading Aloud How is Ben’s language different from Cate’s? Quick Check Cate. You want me to make you some pancakes? It’s no bother. Ben (coldly). That won’t be necessary. I thank you for your offer, however. Cate. What about a bowl of cereal? Some juice, maybe? Ben. Again, I must refuse. I will not be dining this morning. Cate (rolling her eyes). Whatever.... What emotions are expressed by each character?

Analyzing Dialogue and Reading Aloud Quick Check Ben uses very formal language, while Cate’s language is less formal and more natural- sounding. Cate. You want me to make you some pancakes? It’s no bother. Ben (coldly). That won’t be necessary. I thank you for your offer, however. Cate. What about a bowl of cereal? Some juice, maybe? Ben. Again, I must refuse. I will not be dining this morning. Cate (rolling her eyes). Whatever.... How is Ben’s language different from Cate’s?

Analyzing Dialogue and Reading Aloud What emotions are expressed by each character? Quick Check Ben is cold, formal, and emotionless. Cate is friendly at first, but she seems to become annoyed by Ben’s attitude. Cate. You want me to make you some pancakes? It’s no bother. Ben (coldly). That won’t be necessary. I thank you for your offer, however. Cate. What about a bowl of cereal? Some juice, maybe? Ben. Again, I must refuse. I will not be dining this morning. Cate (rolling her eyes). Whatever....

Analyzing Dialogue and Reading Aloud What is revealed about the relationship between Lila and her coach? Quick Check Lila. Coach, I can do it. I really can. Coach Dow. I’m sorry, but you’re going to have to sit this one out. Lila. I knew you’d be like this. You’ve been waiting to bench me all season. Coach Dow. I’m benching you for your own good. You have a serious injury, and playing today could make it much worse. Lila. The team can’t win without me! Coach Dow. I’ll have to take that chance. What important decisions are revealed in this dialogue? [End of Section]

Analyzing Dialogue and Reading Aloud Quick Check Lila. Coach, I can do it. I really can. Coach Dow. I’m sorry, but you’re going to have to sit this one out. Lila. I knew you’d be like this. You’ve been waiting to bench me all season. Coach Dow. I’m benching you for your own good. You have a serious injury, and playing today could make it much worse. Lila. The team can’t win without me! Coach Dow. I’ll have to take that chance. Lila. I knew you’d be like this. You’ve been waiting to bench me all season. Lila’s reaction reveals that she distrusts her coach. They may have a difficult or distant relationship. What is revealed about the relationship between Lila and her coach?

Analyzing Dialogue and Reading Aloud What important decisions are revealed in this dialogue? Quick Check Lila. Coach, I can do it. I really can. Coach Dow. I’m sorry, but you’re going to have to sit this one out. Lila. I knew you’d be like this. You’ve been waiting to bench me all season. Coach Dow. I’m benching you for your own good. You have a serious injury, and playing today could make it much worse. Lila. The team can’t win without me! Coach Dow. I’ll have to take that chance. Coach Dow’s decision to bench Lila, even though she is important to the team, is significant: That decision will affect the plot. Coach Dow. I’m sorry, but you’re going to have to sit this one out. Lila. The team can’t win without me! Coach Dow. I’ll have to take that chance.

Making Inferences Unlike short stories and novels, most plays do not have a narrator to tell you about the characters’ personalities. Because there’s no narrator, I’ll have to make some judgments about the characters on my own.

Making Inferences Inferences, educated guesses based on clues in your reading, help you figure out a character’s personality and the reason for his or her actions. To make an inference, look carefully at what a character says and does, as well as how others react to him or her.

Making Inferences Read, then listen to, the following passage. What inferences can you make from the clues in the text? Tim. I’ve got another one of my headaches. I don’t think I can go to school today. Mother (stroking Tim’s head). Oh, buddy, I know it’s tough being the new kid. Tim. No, really, school’s fine, I swear. I’ve made tons of friends—tons! Mother (nodding sympathetically). Good. Tim. So, you’re not going to make me go, are you?

Making Inferences Tim. I’ve got another one of my headaches. I don’t think I can go to school today. Mother (stroking Tim’s head). Oh, buddy, I know it’s tough being the new kid. Tim. No, really, school’s fine, I swear. I’ve made tons of friends—tons! Mother. (nodding sympathetically). Good. Tim. So, you’re not going to make me go, are you? Tim. I’ve got another one of my headaches. I don’t think I can go to school today. Mother (stroking Tim’s head). Oh, buddy, I know it’s tough being the new kid. Tim. No, really, school’s fine, I swear. I’ve made tons of friends—tons! Mother (nodding sympathetically). Good. Tim. So, you’re not going to make me go, are you? Tim. I’ve got another one of my headaches. I don’t think I can go to school today. Textual Clue: Tim has frequent headaches. Inference: Tim may be in poor health, or he may be trying to avoid school. Read, then listen to, the following passage. What inferences can you make from the clues in the text?

Making Inferences Tim. I’ve got another one of my headaches. I don’t think I can go to school today. Mother (stroking Tim’s head). Oh, buddy, I know it’s tough being the new kid. Tim. No, really, school’s fine, I swear. I’ve made tons of friends—tons! Mother (nodding sympathetically). Good. Tim. So, you’re not going to make me go, are you? Tim. I’ve got another one of my headaches. I don’t think I can go to school today. Mother (stroking Tim’s head). Oh, buddy, I know it’s tough being the kid. Tim. No, really, school’s fine, I swear. I’ve made tons of friends—tons! Mother (nodding sympathetically). Good. Tim. So, you’re not going to make me go, are you? Mother (stroking Tim’s head). Oh, buddy, I know it’s tough being the new kid. Read, then listen to, the following passage. What inferences can you make from the clues in the text? Textual Clue: Tim’s mother tries to console him about being at a new school. Inference: She thinks he is trying to avoid school; she is concerned about him.

Tim. I’ve got another one of my headaches. I don’t think I can go to school today. Mother (stroking Tim’s head). Oh, buddy, I know it’s tough being the new kid. Tim. No, really, school’s fine, I swear. I’ve made tons of friends—tons! Mother (nodding sympathetically). Good. Tim. So, you’re not going to make me go, are you? Making Inferences Tim. I’ve got another one of my headaches. I don’t think I can go to school today. Mother (stroking Tim’s head). Oh, buddy, I know it’s tough being the new kid. Tim. No, really, school’s fine, I swear. I’ve made tons of friends—tons! Mother (nodding sympathetically). Good. Tim. So, you’re not going to make me go, are you? Mother (nodding sympathetically). Good. Read, then listen to, the following passage. What inferences can you make from the clues in the text? Textual Clue: Mother reacts sympathetically when Tim says school is fine. Inference: She doesn’t believe that school is fine or that he’s made friends.

Making Inferences Play The chart below shows how you can make inferences based on textual clues within the passage. Sample Inferences Tim gets headaches. Tim’s mother is sympathetic when he says school is fine. Tim’s mother consoles him about being new at school. He’s sick or wants to avoid school. She thinks he’s having trouble making friends at school. She’s worried about him and thinks he’s avoiding school. Text Clue

Making Inferences Which textual clues support the inference that Mr. Peters has a quick temper? Quick Check Mr. Peters (shouting). I can’t believe that mechanic is trying to cheat me like this. Mrs. Peters (gently patting his hand). The car is getting old. A little work isn’t unexpected. Mr. Peters. If he thinks he can fool me, he’s crazy! I am no fool! Mrs. Peters (nodding knowingly). No, he won’t get anything past you. Mr. Peters (pounding his fist). I’ll tell him a thing or two about fixing cars! What can you infer from Mrs. Peters’ actions? [End of Section]

Mr. Peters (shouting). I can’t believe that mechanic is trying to cheat me like this. Mrs. Peters (gently patting his hand). The car is getting old. A little work isn’t unexpected. Mr. Peters. If he thinks he can fool me, he’s crazy! I am no fool! Mrs. Peters (nodding knowingly). No, he won’t get anything past you. Mr. Peters (pounding his fist). I’ll tell him a thing or two about fixing cars! Making Inferences Quick Check Mr. Peters’ shouting and fist- pounding, along with his wife’s attempts to calm him, suggest he is quick-tempered. (shouting). (pounding his fist). The car is getting old. A little work isn’t unexpected. won’t get anything past you. No, he Which textual clues support the inference that Mr. Peters has a quick temper?

Making Inferences What can you infer from Mrs. Peters’ actions? Quick Check Her knowing nods and attempts to calm her husband suggest that she’s reasonable, wants to soothe him, and doesn’t take his anger seriously. Mr. Peters (shouting). I can’t believe that mechanic is trying to cheat me like this. Mrs. Peters (gently patting his hand). The car is getting old. A little work isn’t unexpected. Mr. Peters. If he thinks he can fool me, he’s crazy! I am no fool! Mrs. Peters (nodding knowingly). No, he won’t get anything past you. Mr. Peters (pounding his fist). I’ll tell him a thing or two about fixing cars! (gently patting his hand). (nodding knowingly).

Apply Reading Skills Your Turn Read this excerpt from a scene in The Diary of Anne Frank silently to yourself, paying careful attention to both dialogue and stage directions. Peter (to ANNE). Have you seen my shoes? Anne (innocently). Your shoes? Peter. You’ve taken them, haven’t you? Anne. I don’t know what you’re talking about. Peter. You’re going to be sorry! Anne. Am I? From The Diary of Anne Frank (Play) by Frances Goodrich and Albert Hackett. Copyright © 1956 by Albert Hackett, Frances Goodrich Hackett, and Otto Frank and renewed © 1986 by Albert Hackett, David Huntoon & Frances Neuwirth. Reproduced by permission of Random House, Inc. and electronic format by permission of Flora Roberts, Inc.(Abrams Artists Agency). [PETER goes after her. ANNE, with his shoes in her hand, runs from him, dodging behind her mother.] Mr. Frank (protesting). Anne, dear! Peter. Wait till I get you! From The Diary of Anne Frank (Play) by Frances Goodrich and Albert Hackett. Copyright © 1956 by Albert Hackett, Frances Goodrich Hackett, and Otto Frank and renewed © 1986 by Albert Hackett, David Huntoon & Frances Neuwirth. Reproduced by permission of Random House, Inc. and electronic format by permission of Flora Roberts, Inc.(Abrams Artists Agency).

Apply Reading Skills Your Turn 1.Which stage direction describes the way Anne speaks a line of dialogue? Peter (to ANNE). Have you seen my shoes? Anne (innocently). Your shoes? Peter. You’ve taken them, haven’t you? Anne. I don’t know what you’re talking about. Peter. You’re going to be sorry! Anne. Am I? From The Diary of Anne Frank (Play) by Frances Goodrich and Albert Hackett. Copyright © 1956 by Albert Hackett, Frances Goodrich Hackett, and Otto Frank and renewed © 1986 by Albert Hackett, David Huntoon & Frances Neuwirth. Reproduced by permission of Random House, Inc. and electronic format by permission of Flora Roberts, Inc.(Abrams Artists Agency). [PETER goes after her. ANNE, with his shoes in her hand, runs from him, dodging behind her mother.] Mr. Frank (protesting). Anne, dear! Peter. Wait till I get you! From The Diary of Anne Frank (Play) by Frances Goodrich and Albert Hackett. Copyright © 1956 by Albert Hackett, Frances Goodrich Hackett, and Otto Frank and renewed © 1986 by Albert Hackett, David Huntoon & Frances Neuwirth. Reproduced by permission of Random House, Inc. and electronic format by permission of Flora Roberts, Inc.(Abrams Artists Agency).

Apply Reading Skills Your Turn 2.What conflict is revealed in these lines of dialogue? Peter (to ANNE). Have you seen my shoes? Anne (innocently). Your shoes? Peter. You’ve taken them, haven’t you? Anne. I don’t know what you’re talking about. Peter. You’re going to be sorry! Anne. Am I? From The Diary of Anne Frank (Play) by Frances Goodrich and Albert Hackett. Copyright © 1956 by Albert Hackett, Frances Goodrich Hackett, and Otto Frank and renewed © 1986 by Albert Hackett, David Huntoon & Frances Neuwirth. Reproduced by permission of Random House, Inc. and electronic format by permission of Flora Roberts, Inc.(Abrams Artists Agency). [PETER goes after her. ANNE, with his shoes in her hand, runs from him, dodging behind her mother.] Mr. Frank (protesting). Anne, dear! Peter. Wait till I get you! From The Diary of Anne Frank (Play) by Frances Goodrich and Albert Hackett. Copyright © 1956 by Albert Hackett, Frances Goodrich Hackett, and Otto Frank and renewed © 1986 by Albert Hackett, David Huntoon & Frances Neuwirth. Reproduced by permission of Random House, Inc. and electronic format by permission of Flora Roberts, Inc.(Abrams Artists Agency).

Apply Reading Skills Your Turn 3. What inference can you make about Anne’s personality based on her actions? Peter (to ANNE). Have you seen my shoes? Anne (innocently). Your shoes? Peter. You’ve taken them, haven’t you? Anne. I don’t know what you’re talking about. Peter. You’re going to be sorry! Anne. Am I? From The Diary of Anne Frank (Play) by Frances Goodrich and Albert Hackett. Copyright © 1956 by Albert Hackett, Frances Goodrich Hackett, and Otto Frank and renewed © 1986 by Albert Hackett, David Huntoon & Frances Neuwirth. Reproduced by permission of Random House, Inc. and electronic format by permission of Flora Roberts, Inc.(Abrams Artists Agency). [PETER goes after her. ANNE, with his shoes in her hand, runs from him, dodging behind her mother.] Mr. Frank (protesting). Anne, dear! Peter. Wait till I get you! From The Diary of Anne Frank (Play) by Frances Goodrich and Albert Hackett. Copyright © 1956 by Albert Hackett, Frances Goodrich Hackett, and Otto Frank and renewed © 1986 by Albert Hackett, David Huntoon & Frances Neuwirth. Reproduced by permission of Random House, Inc. and electronic format by permission of Flora Roberts, Inc.(Abrams Artists Agency).

Peter (to ANNE). Have you seen my shoes? Anne (innocently). Your shoes? Peter. You’ve taken them, haven’t you? Anne. I don’t know what you’re talking about. Peter. You’re going to be sorry! Anne. Am I? From The Diary of Anne Frank (Play) by Frances Goodrich and Albert Hackett. Copyright © 1956 by Albert Hackett, Frances Goodrich Hackett, and Otto Frank and renewed © 1986 by Albert Hackett, David Huntoon & Frances Neuwirth. Reproduced by permission of Random House, Inc. and electronic format by permission of Flora Roberts, Inc.(Abrams Artists Agency). Apply Reading Skills Your Turn [PETER goes after her. ANNE, with his shoes in her hand, runs from him, dodging behind her mother.] Mr. Frank (protesting). Anne, dear! Peter. Wait till I get you! From The Diary of Anne Frank (Play) by Frances Goodrich and Albert Hackett. Copyright © 1956 by Albert Hackett, Frances Goodrich Hackett, and Otto Frank and renewed © 1986 by Albert Hackett, David Huntoon & Frances Neuwirth. Reproduced by permission of Random House, Inc. and electronic format by permission of Flora Roberts, Inc.(Abrams Artists Agency). 4. Which details help you to visualize the action in this scene?

The End