1. DRAMATIC FEATURES Whaaaaaat?

2. By ‘dramatic features’ the SQA mean; Plot/plot twists Themes and issues Dramatic tension Conflict Dramatic irony Character motivation/behaviour/ development Setting/Period Shifts in time Focus Timing Rhythm Contrast Mood Climax Space Language Sound Symbol Notes from playwright, including tech suggestions Any other relevant features

3. Plot…and Plot Twists A plot twist is a radical change in the expected direction or outcome of the plot. It is a common practice in narration used to keep the interest of an audience, usually surprising them with a revelation. Some "twists" are foreshadowed.

4. Themes and Issues …An idea that repeats in or fills a work of art or literature… The THEME of a play is the point or argument the playwright is trying to make. Often it springs from a relatively universal concept, such as the evils of power or the virtues of protecting the weak. Theme is related to but different from the subject: Where the subject of a play is specific to the setting, the plot, and the characters, the theme is the broad-based philosophical issue explored by their story. It might be expressed as an observation, a problem, or a recommendation. For example, a reader of Hamlet might think the play's theme is ‘the dangers of seeking revenge’ (an observation), ‘the conflict between loyalty to others and preservation of self’ (a problem) or, as Polonius says to Laertes, "to thine own self be true" (a recommendation). Finally, remember that a play can have more than one theme - and a number of possible interpretations. How you interpret it depends not only on the author's intentions but on what you bring to the experience.

5. Dramatic Tension Tension can sometimes be used as an interchangeable term with conflict. But where it differs, lies in the development of suspense in a performance. As the audience anticipates certain outcomes in the plot, the tension builds. An obvious example of rising tension is in a mystery or whodunit. The development of tension usually parallels the advancement of the plot, leading to a crisis or climax. Tension is closely linked with timing.

6. Conflict ‘No conflict, no drama’. George Bernard Shaw Correct! Drama that lacks conflict is normally dull and uninspiring. As a rule, conflict should always be considered an essential ingredient for all dramatic performances. Conflict can be between two or more characters, or simply one (inner conflict). Many Elizabethan soliloquies contain inner conflict (‘To be or not to be…’ is an excellent example). Conflict on stage can be verbal, physical or non-verbal (psychological). Conflict differs from tension in that it is often a fixed part of the structure of a play, with characters destined to clash with one another from the outset.

7. Dramatic Irony Dramatic irony is a plot device in which the audience’s knowledge of events or individuals surpasses that of the characters. The words and actions of the characters therefore take on a different meaning for the audience than they have for the play’s characters. Alfred Hitchcock on Dramatic Irony…. ‘Let us suppose that there is a bomb underneath this table between us. Nothing happens, and then all of a sudden, 'Boom!' There is an explosion. The audience is surprised, but prior to this surprise, it has seen an absolutely ordinary scene, of no special consequence. Now, let us take a suspense situation. The bomb is underneath the table and the audience knows it, probably because they have seen the anarchist place it there. The audience is aware that the bomb is going to explode at one o’clock and there is a clock in the decor. The audience can see that it is a quarter to one. In these conditions this same innocuous conversation becomes fascinating because the audience is participating in the scene. The audience is longing to warn the characters on the screen: 'You shouldn’t be talking about such trivial matters. There’s a bomb beneath you and it’s about to explode!'

8. Character Motivation, Behaviour and/or Development Alfred Hitchcock once said, 'When an actor comes to me and wants to discuss his character, I say, 'It's in the script.' If he says, 'But what's my motivation?' I say, 'Your salary'. Everyone has a reason for doing something – it can be in a wide context such as a goal or end game or it can be in a minor context from moment to moment. Motivation is what drives a character to say what he says and to do what he does. Once you know your characters motivation, you can develop their exposition (back story) to match. You can then incorporate behaviours in voice and movement that imply this motivation.

9. Shifts in Time We don’t need to outline every minute of a characters day. Shifts in time allow us to present only the moments that are relevant to the action and have purpose which keeps the audience engaged. Shifting time in chronological order is still linear structure. Shifting time out of order is non- linear.

10. Focus Focus is often used interchangeably with the terms concentration and engagement, assisting the performer in the portrayal of believable characters. Furthermore, focus requires the channeling (focusing) of all the performer’s energies into achieving the given goals or objectives of a character in a scene (otherwise known as ‘wants’)

11. Timing Timing in performance refers to dramatic timing of movements and gestures. We often take our movements for granted in everyday life, but when performing, the use of our body must be carefully considered. Timing can be manipulated to create contrast in a scene or simply to demonstrate robotic, stylised and non-naturalistic movements. Rhythm and pace are affected by timing.

12. Rhythm Rhythm refers to the timing and pace of the drama. It also means the beat or tempo of the performance. As a rule, rhythm should never be the same throughout the drama, regardless of its length. Rhythm can follow the emotional state of one or more characters or the atmosphere of the performance at particular moments.

13. Contrast Without the careful use of contrast a performance is boring and lacks tension. An obvious example of contrast is a sad scene followed by a happy one. But contrast can be created in subtler and sophisticated ways, such as manipulating the drama to create a change in setting, use of space or rhythm. The pace of scenes can also be altered, as can various dramatic elements within one small section of a performance.

14. Mood Mood is the feeling or tone of a performance. It refers to ambience or aura and is often created through a combination of several dramatic and stagecraft elements working in harmony with each other. The mood of a performance is closely linked with everyday feelings such as pity, anger, desire or frustration. Mood in drama can be created via sound, lighting, movement, setting, rhythm, contrast, conflict and more.

15. Climax Most drama will have one or more crises in the development of the plot. A crisis is a key moment of dramatic tension and conflict in the play, usually occurring between two or more characters and having serious implications for the outcome of the plot. The ultimate crisis, or highest peak, is usually called the climax and often (but not always) occurs toward the end of a performance.

16. Space This dramatic element refers to the effective use of available space in a performance. Different levels of space are utilised by the performer, such as sitting, bending over, lying down or crawling. In order to use the space effectively, movement becomes an important factor. Use of space also implies clearly communicating to the audience where the action is taking place. This may include any changes in location that may occur in the performance (particularly if little or no sets and/or props are being used and there is a heavy reliance on the audience’s imagination).

17. Language Can be spoken, chanted or sung. The choice of language in performance is crucial, as it is forms a major means of communicating the story of the drama to the audience. It can establish setting, themes, characters and relationships, style or genre. It can dictate rhythm or pace. Exactly how the actor in performance uses language is usually determined by the expressive skill of voice. However, language can also be non-verbal, commonly referred to as body language.

18. Sound It can be useful in creating atmosphere or mood. Actors and their bodies can construct effective sound in performance. Similarly small props can also create sound effects that can be used live during a show. Sound involving the implementation of technology, such as recordings and sound effects is a stagecraft element in the theatre, not a dramatic element.

19. Symbol Symbolism implies a greater meaning than the literal suggestion. Props are the easiest to work with because objects in everyday life are symbols in society (for example a rose symbolises love; a cross symbolises relgion…) Symbols can also be found in the use of colour. We often symbolise purple with royalty, red with anger or desire, black with evil and darkness or white with purity and innocence. Colour association can be worthwhile symbols with costumes, sets and props. But the most sophisticated use of symbol occurs with the application of gesture and movement. A particular gesture performed by a character early in a performance can be repeated later under different circumstances (context) which makes it a ‘motif’. Used only once, a gesture can also be a powerful symbol.

20. Notes from playwright Read the stage directions and consider them carefully. If the writer has gone to the trouble of outlining directions so specifically then these directions must have a particular purpose or reason. They provide details about how the playwright has imagined the environment and atmosphere. They describe critical physical aspects of the characters and settings. Stage directions can also be critical in dictating the intended tempo and rhythm of the piece. Whether they establish a production’s overall tone or clarify particular actions of characters, stage directions help tell the complete story that is in the playwright’s mind. CONSIDER ‘Stage Directions’ by Israel Horowitz. The entire piece comprises stage directions with no dialogue at all. Yet it manages to communicate more about its characters and their emotions than most plays you will read—in this case, two sisters and a brother together after their parents’ funeral.