1. Conventions of Drama

2. Conventions of the Text Divisions of the text Divisions of the text An ACT is the biggest division of the play An ACT is the biggest division of the play Greek plays + Shakespearean plays nearly always five acts (climax of the plot in Act 3, generally) Greek plays + Shakespearean plays nearly always five acts (climax of the plot in Act 3, generally) More modern plays two or three acts More modern plays two or three acts A SCENE is the encounter between a character and other character(s) at a certain location. A SCENE is the encounter between a character and other character(s) at a certain location. Shakespearean plays = often 3 – 6 scenes per act Shakespearean plays = often 3 – 6 scenes per act

3. Conventions of the Text Divisions of the text Divisions of the text When writing about acts and scenes, use capital Roman numerals for acts and lower case for scenes. Use italics. When writing about acts and scenes, use capital Roman numerals for acts and lower case for scenes. Use italics. IV v = Act 4, scene 5 IV v = Act 4, scene 5

4. Conventions of the Text Stage Directions Stage Directions Instructions from the author to the production team and performance team Instructions from the author to the production team and performance team Includes staging information, lighting information, sound cues, acting instructions, movement & speaking instructions Includes staging information, lighting information, sound cues, acting instructions, movement & speaking instructions Information from the author to readers Information from the author to readers Includes visual & sound cues to help the reader experience the play Includes visual & sound cues to help the reader experience the play

5. Stage Directions Stage Directions Often written in italics or with different margins than the dialogue of the play Often written in italics or with different margins than the dialogue of the play Not usually read aloud when the play is read aloud Not usually read aloud when the play is read aloud But EXTREMELY important to read! But EXTREMELY important to read! Conventions of the Text

6. Dialogue Dialogue What the characters say to one another in a scene What the characters say to one another in a scene Each character’s voice is different: diction, tone, style Each character’s voice is different: diction, tone, style Character’s name usually in all caps, followed by a colon, then the words the character is supposed to say Character’s name usually in all caps, followed by a colon, then the words the character is supposed to say Conventions of the Text

7. Dialogue Dialogue Indicates the action, conflict, and progress of the play Indicates the action, conflict, and progress of the play Realistic plays mean realistic, plausible conversations among the characters Realistic plays mean realistic, plausible conversations among the characters But NOT like you might record two people talking at lunch, for example. More purposeful, more structured. But NOT like you might record two people talking at lunch, for example. More purposeful, more structured. Conventions of the Text

8. “Suspension of disbelief” “Suspension of disbelief” The audience agrees to pretend that they’re observing real action & conversation The audience agrees to pretend that they’re observing real action & conversation BUT the audience needs cues for when they should STOP pretending and applaud, or understand that a scene or act is over, or the play is over. Lights & sounds good for this! BUT the audience needs cues for when they should STOP pretending and applaud, or understand that a scene or act is over, or the play is over. Lights & sounds good for this! Conventions of the Stage

9. “Suspension of disbelief” “Suspension of disbelief” “fourth wall” or proscenium stages let audiences pretend they’re looking into a room “fourth wall” or proscenium stages let audiences pretend they’re looking into a room Information in the program lets audience know about the passage of time Information in the program lets audience know about the passage of time Conventions of the Stage

10. Acting conventions Acting conventions Projection of voices toward the back of the theater Projection of voices toward the back of the theater ¼ turns rather than profile to the audience; actors don’t turn their backs on the audience except for effect ¼ turns rather than profile to the audience; actors don’t turn their backs on the audience except for effect “Aside” and soliloquy “Aside” and soliloquy Conventions of the Stage

11. Staging conventions Staging conventions Upstage = toward the back of the stage, away from the audience Upstage = toward the back of the stage, away from the audience Downstage = toward the front of the stage, toward the audience Downstage = toward the front of the stage, toward the audience Stage left = the actor’s left when the actor is looking toward the audience Stage left = the actor’s left when the actor is looking toward the audience Stage right = the actor’s right when the actor is looking toward the audience Stage right = the actor’s right when the actor is looking toward the audience Conventions of the Stage

12. Set conventions Set conventions Obtuse angles instead of right angle corners where walls meet Obtuse angles instead of right angle corners where walls meet No ceilings of rooms No ceilings of rooms Sets must be “read” for meaning, just like a text is read Sets must be “read” for meaning, just like a text is read Conventions of the Stage

13. Plays are intended to be experienced as a member of the production & performance team OR as a member of the audience Plays are intended to be experienced as a member of the production & performance team OR as a member of the audience Before the curtain goes up...