by Justin Cash
These eleven dramatic elements
are at the core of all drama. They can be used in isolation or
simultaneously and are manipulated by the performer for dramatic
effect. They are numbered merely to assist in their logical
connections with each other....
1. Focus
Focus is often used interchangeably with the terms concentration and
engagement, assisting the performer in the portrayal of believable
characters. This also implies memorisation of text (including word,
moves and gestures). Furthermore, focus requires the channelling
(focusing) of all the performer’s energies into achieving the given
goals or objectives of a character in a scene (otherwise known as
‘wants’).
2. 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.
3. 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.
4.
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.
5. 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 more subtle
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.
6. 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.
7. 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. Of
course, using the space around you can mean downstage and upstage or
walking in or on a stage set. 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).
8. Sound
Modern theatrical practice relies on sound to assist in a number of
ways. It can be useful in creating atmosphere or mood. Actors and
their bodies can construct effective sound in a performance. Mouths
can produce sound effects for particular dramatic effect. Small
props can also create sound effects that can be used live during a
show. Other uses of sound involve the implementation of technology,
such as instrumental recordings and sound effects on CD (but when
any sort of technology is used in the creation of sound, it is
classified as a stagecraft element and belongs to the Theatre
Studies course).
9. Symbol
The use of symbol in dramatic performance can be one of the simplest
and also most complicated of all techniques. Essentially, 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
Christianity). 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) and have a very different meaning.
Used only once, a gesture can also be a powerful symbol. Of course,
all of the above examples can be combined for an even more powerful
dramatic effect.
10. Conflict
Playwright George Bernard Shaw (who wrote Pygmalion, which
later became the film My Fair Lady) once said ‘No conflict,
no drama’. How right he was! 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 (think of famous Greek plays as prime examples).
11. 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. There
can also be more than one climax, although this is uncommon.