Dramatic Elements
The 12 Dramatic Elements
These twelve 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.
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 ourmovements 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 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.
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. Language
The use of language in performance can be verbal, vocal or non-verbal. Language is
the spoken text. It is the written script realised in performance. While normally spoken
by the actor, language can also be chanted or sung. It can also be deliberately
nonsensical (gibberish) for dramatic effect. 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. 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.
CHECK THIS OUT: Creating Ensembles In Drama
9. 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 performance. 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 CDs and mp3 players (though this use of
sound is technically a stagecraft element in the theatre, not a dramatic element).
10. 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 better effect.
11. Conflict
Playwright George Bernard Shaw (who wrote Pygmalion, which was later adapted to
become 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.
12. 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.
