DUCAY, Glenn Mark V.
ARC51
Art Appreciation
The 12 Dramatic Elements
These twelve dramatic elements are at the core of all drama. These elements are typically
taught at professional acting classes such as Take Lessons acting classes. 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 memorization
of text (including word, moves and gestures). Furthermore, focus requires the channeling
(focusing) of all the performers 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, stylized 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 utilized 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 audiences
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 realized 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.
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 symbolizes love; a cross symbolizes Christianity). Symbols can also be
found in the use of color. We often symbolize purple with royalty, red with anger or desire, black
with evil and darkness or white with purity and innocence. Color 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.
