This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1908 edition. Excerpt: ... CHAPTER XXIX. DIALOGUE, MONOLOGUES AND ASIDES. Dialogue, is commonly said to be the easiest part of a play to write, and the uninformed writer can and does write yards of it to no purpose. DEGREESBut it is not Dialogue, itV is conversation. IThe true dramatist might, on occasion, spend ten times the ...
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This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1908 edition. Excerpt: ... CHAPTER XXIX. DIALOGUE, MONOLOGUES AND ASIDES. Dialogue, is commonly said to be the easiest part of a play to write, and the uninformed writer can and does write yards of it to no purpose. DEGREESBut it is not Dialogue, itV is conversation. IThe true dramatist might, on occasion, spend ten times the time on one-tenth of the space that the amateur writer does and he might have equal facility in "writing" Dialogue or thrice the facility.* The dramatist v/ prepares Plot, Sequences, Scenes, Action, everything pos- j sible or practicable, before he thinks of writing Dialogue/ Of course there is a certain freedom reserved in the matter of detail during the composition of it. It is made easy only by this means. But it is often difficult, as we shall see when we reach the actual doing of it. After a play is Divided into Acts and Scenes, it is the Dialogue that works out each scene. Thus, the Dialogue is confined to the business in hand. YThe distinctive mark of real Dialogue is v Ythat it is and must be responsive. It is give and take. If you have a difficulty or misunderstanding with any one it is a series of thrusts and parries, is it not? People in the drama are never at one--there is always a disagreement or some obstacle which requires discussion. Something is always in solution. The emotions are alive. 'The fact that a character might be talking with a deaf man does not disturb the principle, for the obstacle or misunderstanding would still exist. Never close a sentence so that the audience will not understand or surmise what its completion should be. Merely dividing Dialogue into short sentences does not necessarily make the Dialogue dramatic. It is true that a manager, in glancing at a manuscript and seeing that all the speeches are long, ...
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