Friday, May 27, 2011

ENERGY CRISIS

An energy crisis is any great bottleneck (or price rise) in the supply of energy resources to an economy. In popular literature though, it often refers to one of the energy sources used at a certain time and place, particularly those that supply national electricity grids or serve as fuel for vehicles. There has been an enormous increase in the global demand for energy in recent years as a result of industrial development and population growth. Supply of energy is, therefore, far less than the actual demand.
Causes
Market failure is possible when monopoly manipulation of markets occurs. A crisis can develop due to industrial actions like union organized strikes and government embargoes. The cause may be over-consumption, aging infrastructure, choke point disruption or bottlenecks at oil refineries and port facilities that restrict fuel supply. An emergency may emerge during unusually cold winters due to increased consumption of energy.
Pipeline failures and other accidents may cause minor interruptions to energy supplies. A crisis could possibly emerge after infrastructure damage from severe weather. Attacks by terrorists or militia on important infrastructure are a possible problem for energy consumers, with a successful strike on a Middle East facility potentially causing global shortages. Political events, for example, when governments change due to regime change, monarchy collapse, military occupation, and coup may disrupt oil and gas production and create shortages.
 Historical crises
·         1973 oil crisis - caused by an OPEC oil export embargo by many of the major Arab oil-producing states, in response to Western support of Israel during the Yom Kippur War
·         1979 oil crisis - caused by the Iranian Revolution
Emerging shortages
Kuwait's Al Burqan Oil Field, the world's second largest oil field, will be depleted within 40 years.
Crises that exist as of 2008 include:
  • 2000s energy crisis - Since 2003, a rise in prices caused by continued global increases in petroleum demand coupled with production stagnation, the falling value of the U.S. dollar, and a myriad of other secondary causes.
  • 2008 Central Asia energy crisis, caused by abnormally cold temperatures and low water levels in an area dependent on hydroelectric power. At the same time the South African President was appeasing fears of a prolonged electricity crisis in South Africa.
  • In February 2008 the President of Pakistan announced plans to tackle energy shortages that were reaching crisis stage, despite having significant hydrocarbon reserves,. In April 2010 Pakistan government announced the Pakistan national energy policy, which extended the official weekend and banned neon lights in response to a growing electricity shortage.
  • South African electrical crisis. The South African crisis, which may last to 2012, led to large price rises for platinum in February 2008 and reduced gold production.
  • China experienced severe energy shortages towards the end of 2005 and again in early 2008. During the latter crisis they suffered severe damage to power networks along with diesel and coal shortages. Supplies of electricity in Guangdong province, the manufacturing hub of China, are predicted to fall short by an estimated 10 GW.
  • It has been predicted that in the coming years after 2009 that the United Kingdom will suffer an energy crisis due to its commitments to reduce coal fired power stations, its politicians' unwillingness to set up new nuclear power stations to replaces those that will be de-commissioned in a few years (even though they will not be running in time to stop a full blown crisis) and unreliable sources and sources that are running out of oil and gas. It is therefore predicted that the UK may have regular blackouts like South Africa.
Social and economic effects

The macroeconomic implications of a supply shock-induced energy crisis are large, because energy is the resource used to exploit all other resources. When energy markets fail, an energy shortage develops. Electricity consumers may experience intentionally engineered rolling blackouts during periods of insufficient supply or unexpected power outages, regardless of the cause.
Industrialized nations are dependent on oil, and efforts to restrict the supply of oil would have an adverse effect on the economies of oil producers. For the consumer, the price of natural gas, gasoline (petrol) and diesel for cars and other vehicles rises. An early response from stakeholders is the call for reports, investigations and commissions into the price of fuels. There are also movements towards the development of more sustainable urban infrastructure.
In 2006, survey respondents in the United States were willing to pay more for a plug-in hybrid car
In the market, new technology and energy efficiency measures become desirable for consumers seeking to decrease transport costs. Examples include:
Other responses include the development of unconventional oil sources such as synthetic fuel from places like the Athabasca Oil Sands, more renewable energy commercialization and use of alternative propulsion. There may be a Relocation trend towards local foods and possibly microgeneration, solar thermal collectors and other green energy sources.
Tourism trends and gas-guzzler ownership varies with fuel costs. Energy shortages can influence public opinion on subjects from nuclear power plants to electric blankets. Building construction techniques—improved insulation, reflective roofs, thermally efficient windows, etc.—change to reduce heating costs.
Crisis management
An electricity shortage is felt most by those who depend on electricity for heating, cooking, and water supply. In these circumstances, a sustained energy crisis may become a humanitarian crisis.
If an energy shortage is prolonged a crisis management phase is enforced by authorities. Energy audits may be conducted to monitor usage. Various curfews with the intention of increasing energy conservation may be initiated to reduce consumption. To conserve power during the Central Asia energy crisis, authorities in Tajikistan ordered bars and cafes to operate by candlelight. Warnings issued that peak demand power supply might not be sustained.
In the worst kind of energy crisis energy rationing and fuel rationing may be incurred. Panic buying may beset outlets as awareness of shortages spread. Facilities close down to save on heating oil; and factories cut production and lay off workers. The risk of stagflation increases.
Mitigation of an energy crisis
The Hirsch report made clear that an energy crisis is best averted by preparation. In 2008, solutions such as the Pickens Plan and the satirical in origin Paris Hilton energy plan suggest the growing public consciousness of the importance of mitigation.
Energy policy may be reformed leading to greater energy intensity, for example in Iran with the 2007 Gas Rationing Plan in Iran, Canada and the National Energy Program and in the USA with the Energy Independence and Security Act of 2007. Another mitigation measure is the setup of a cache of secure fuel reserves like the United States Strategic Petroleum Reserve, in case of national emergency. Chinese energy policy includes specific targets within their 5 year plans.
Andrew McKillop has been a proponent of a contract and converge model or capping scheme, to mitigate both emissions of greenhouse gases and a peak oil crisis. The imposition of a carbon tax would have mitigating effects on an oil crisis. Oil Depletion Protocol has been developed by Richard Heinberg to implement a powerdown during a peak oil crisis. While many sustainable development and energy policy organisations have advocated reforms to energy development from the 1970s, some cater to a specific crisis in energy supply including Energy-Questand the International Association for Energy Economics. The Oil Depletion Analysis Centre and the Association for the Study of Peak Oil and Gas examine the timing and likely effects of peak oil.
Ecologist William Rees believes that

“
To avoid a serious energy crisis in coming decades, citizens in the industrial countries should actually be urging their governments to come to international agreement on a persistent, orderly, predictable, and steepening series of oil and natural gas price hikes over the next two decades.
”

Due to a lack of political viability on the issue, government mandated fuel prices hikes are unlikely and the unresolved dilemma of fossil fuel dependence is becoming a wicked problem. A global soft energy path seems improbable, due to the rebound effect. Conclusions that the world is heading towards an unprecedented large and potentially devastating global energy crisis due to a decline in the availability of cheap oil lead to calls for a decreasing dependency on fossil fuel.
Other ideas concentrate on design and development of improved, energy-efficient urban infrastructure in developing nations. Government funding for alternative energy is more likely to increase during an energy crisis, so too are incentives for oil exploration. For example funding for research into inertial confinement fusion technology increased during 1970s.
Energy economists theorize that declining energy availability will result in a higher price for energy and that this will attract investment to procure new sources of energy that may be substituted. However as Michael Lardelli and others have pointed out, this hypothesis does not include the concept of Energy Returned on Energy Invested, which is important for example, when considering biofuels as an alternative to conventional energy supplies. The theory also assumes that capital investment in the substitution sector will be available even if a financial downturn caused by higher energy prices happens.Nor does the theory account for the fact that the most easily obtainable energy is extracted from reserves first because it provides the most profit leaving the smaller, harder to reach and more expensive to produce reserves.
Future and alternative energy sources
In response to the petroleum crisis, the principles of green energy and sustainable living movements gain popularity. This has led to increasing interest in alternate power/fuel research such as fuel cell technology, liquid nitrogen economy, hydrogen fuel, methanol, biodiesel, Karrick process, solar energy, artificial photosynthesis, geothermal energy, Space-based solar power, tidal energy, wave power, and wind energy, and fusion power. To date, only hydroelectricity and nuclear power have been significant alternatives to fossil fuel.
Hydrogen gas is currently produced at a net energy loss from natural gas, which is also experiencing declining production in North America and elsewhere. When not produced from natural gas, hydrogen still needs another source of energy to create it, also at a loss during the process. This has led to hydrogen being regarded as a 'carrier' of energy, like electricity, rather than a 'source'. The unproven dehydrogenating process has also been suggested for the use water as an energy source.
Efficiency mechanisms such as Negawatt power can encourage significantly more effective use of current generating capacity. It is a term used to describe the trading of increased efficiency, using consumption efficiency to increase available market supply rather than by increasing plant generation capacity. As such, it is a demand-side as opposed to a supply-side measure.
Predictions
Although technology has made oil extraction more efficient, the world is having to struggle to provide oil by using increasingly costly and less productive methods such as deep sea drilling, and developing environmentally sensitive areas such as the Arctic National Wildlife Refuge.
The world's population continues to grow at a quarter of a million people per day, increasing the consumption of energy. Although far less from people in developing countries, especially USA, the per capita energy consumption of China, India and other developing nations continues to increase as the people living in these countries adopt more energy intensive lifestyles. At present a small part of the world's population consumes a large part of its resources, with the United States and its population of 300 million people consuming far more oil than China with its population of 1.3 billion people.
William Catton has emphasised the link between population size and energy supply, concluding

“
The faster the present generation draws down the fossil energy legacy upon which persistently exuberant lifestyles now depend, the less opportunity posterity will have to live in anything like the same way or the same numbers. Yet most contemporary political proposals for solving problems of economic stagnation or inequity amount to plans for speeding up the rate of drawdown of non-renewable resources.
”

David Pimentel professor of ecology and agriculture at Cornell University, has called for massive reduction in world populations to avoid a permanent global energy crisis. The implication is that cheap oil has created a human overshoot beyond Earth's carrying capacity, which inevitably led to an energy crisis.
For nearly 60 years the US dependence on imported oil has grown significantly.
Matthew Simmons and Julian Darley amongst others, have examined the economic effects of an energy crisis. Historian, and sociologist Franz Schurmann links an energy crisis with a deflating American dollar. He has stated that

“
If a dollar free-fall should take place, Americans will confront an energy crisis that will make the October 1973 oil shortage seem a mild nuisance.
”

According to Christopher Falvin, geopolitical factors have made the current fossil fuel-based energy system a risk management issue that undermines global security.[citation needed] As the major source of greenhouse gas emissions that accumulate in the atmosphere, fossil fuel energy is increasingly viewed as socially irresponsible. Joseph Tainter, an expert on societal collapse and energy supply, draws attention to the complexity of modern society and our ability to problem solve the wider issue of environmental degradation.
National population suffering from undernourishment as percentage.
Agriculture
According to Kenneth S. Deffeyes, agricultural production depends heavily on hydrocarbons for energy, in the form of:
  • Petroleum to power machinery and transport goods to market
  • Natural gas to produce fertilizer and sometimes to power irrigation
Between the late 1940s and early 1980s, as the Green Revolution transformed agriculture around the globe, world grain production increased by 250%. Energy for the Green Revolution was provided almost always by fossil fuels.[citation needed] The 20th century population explosion is strongly correlated with the discovery and extraction of hydrocarbons.
The decision to develop a biofuel industry through subsidies and tariffs in the USA increased food costs globally. Lester R. Brown states that by converting grains into fuel for cars

“
..the world is facing the most severe food price inflation in history as grain and soyabean prices climb to all-time highs,
”

World power usage, 1965–2005
Catastrophe
Some experts including Howard Odum and David Holmgren have used the term energy descent to describe a post-peak oil period of transition. Ron Swenson has described a looming peak oil crisis as a calamity unparalleled in human history. The peaking of world hydrocarbon production, known as peak oil may test Malthus critics. Michael C. Ruppert has discussed energy crises in relation to the petrodollar, oil imperialism and police states.
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Saturday, April 30, 2011

ELT

Managing innovation in English language education
Alan Waters
Innovation in English language education (ELE) has become a major ‘growth area’ in recent years. At the same time, an ELE innovation management literature has also developed, based on insights from innovation theory and their application, both from outside and within ELE, and concerned with attempting to critically evaluate and inform ELE innovation practice. Thus, using a well-established three-part framework for distinguishing the main stages involved in innovation project management, this review describes and discusses the main features of this body of work. After defining terms and clarifying its scope, it considers what is said about the innovation ‘initiation’ phase, in terms of innovation causes, characteristics and contexts. It then examines conceptualisations of the innovation ‘implementation’ stage, by distinguishing main overall approaches, frameworks for identifying and configuring roles, underlying psychological processes, and the use of evaluation techniques. Lastly, the literature relating to innovation ‘institutionalisation’ stage is analysed. The article concludes by identifying overall trends and areas for further development. In particular, it is argued that ELE innovation work needs to become more informed by many of the concepts and procedures which the ELE innovation management literature contains.
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Monday, April 25, 2011

ELEMENTS OF DRAMA

Elements of Drama
Character
Most simply a character is one of the persons who appears in the play, one of the dramatis personae (literally, the persons of the play). In another sense of the term, the treatment of the character is the basic part of the playwright's work. Conventions of the period and the author's personal vision will affect the treatment of character.
Most plays contain major characters and minor characters. The delineation and development of major characters is essential to the play; the conflict between Hamlet and Claudius depends upon the character of each. A minor character like Marcellus serves a specific function, to inform Hamlet of the appearance of his father's ghost. Once, that is done, he can depart in peace, for we need not know what sort of person he is or what happens to him. The distinction between major and minor characters is one of degree, as the character of Horatio might illustrate.
The distinction between heroes (or heroines) and villains, between good guys and bad guys, between virtue and vice is useful in dealing with certain types of plays, but in many modern plays (and some not so modern) it is difficult to make. Is Gregers Werle in The Wild Duck, for example, a hero or a villain?
Another common term in drama is protagonist. Etymologically, it means the first contestant. In the Greek drama, where the term arose, all the parts were played by one, two, or three actors (the more actors, the later the play), and the best actor, who got the principal part(s), was the protagonist. The second best actor was called the euteragonist. Ideally, the term "protagonist" should be used only for the principal character. Several other characters can be defined by their relation to the protagonist. The antagonist is his principal rival in the conflict set forth in the play. A foil is a character who defines certain characteristics in the protagonist by exhibiting opposite traits or the same traits in a greater or lesser degree. A confidant(e) provides a ready ear to which the protagonist can address certain remarks which should be heard by the audience but not by the other characters. In Hamlet, for example, Hamlet is the protagonist, Claudius the antagonist, Laertes and Fortinbras foils (observe the way in which each goes about avenging the death or loss of property of his father), and Horatio the confidant.
Certain writers-- for example, Moliere and Pirandello--use a character type called the raisonneur, whose comments express the voice of reason and also, presumably, of the author. Philinte and the Father are examples of the raisonneur.
Another type of character is the stereotype or stock character, a character who reappears in various forms in many plays. Comedy is particularly a fruitful source of such figures, including the miles gloriosus or boastful soldier (a man who claims great valor but proves to be a coward when tested), the irascible old man (the source of elements in the character of Polonius), the witty servant, the coquette, the prude, the fop, and others. A stock character from another genre is the revenger of Renaissance tragedy. The role of Hamlet demonstrates how such a stereotype is modified by an author to create a great role, combining the stock elements with individual ones.
Sometimes group of actors work together over a long period in relatively stable companies. In such a situation, individual members of the group develop expertise in roles of a certain type, such as leading man and leading lady (those who play the principal parts), juveniles or ingénues of both sexes (those who specialize as young people), character actors (those who perform mature or eccentric types), and heavies or villains.
The commedia dell'arte, a popular form of the late Middle Ages and early Renaissance, employed actors who had standard lines of business and improvised the particular action in terms of their established characters and a sketchy outline of a plot. Frequently, Pantalone, an older man, generally a physician, was married to a young woman named Columbine. Her lover, Harlequin, was not only younger and more handsome than her husband but also more vigorous sexually. Pantalone's servants, Brighella, Truffaldino, and others, were employed in frustrating or assisting either the lovers in their meetings or the husband in discovering them.
A group of actors who function as a unit, called a chorus, was a characteristic feature of the Greek tragedy. The members of the chorus shared a common identity, such as Asian Bacchantes or old men of Thebes. The choragos (leader of the chorus) sometimes spoke and acted separately. In some of the plays, the chorus participated directly in the action; in others they were restricted in observing the action and commenting on it. The chorus also separated the individual sins by singing and dancing choral odes, though just what the singing and dancing were like is uncertain. The odes were in strict metrical patterns; sometimes they were direct comments on the action and characters, and at other times they were more general statements and judgments. A chorus in Greek fashion is not common in later plays, although there are instances such as T.S. Eliot's Murder in the Cathedral, in which the Women of Canterbury serve as a chorus.
On occasion a single actor may perform the function of a chorus, as do the aptly named Chorus in Shakespeare's Henry V and the Stage Manager in Thornton Wilder's Our Town. Alfieri in the View from the Bridge functions both as a chorus and a minor character in the action of the play.
Reference:
The Norton Introduction to Literature (Combined Shorter Edition) Edited by Carl E. Bain, Jerome Beaty & J. Paul Hunter Copyright 1973 by W. W. Norton & Company, Inc. and published simultaneously in Canada by Goerge J. McLeod Limited, Toronto
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Plot
by: Eduardo M. Tajonera Jr.
The interest generated by the plot varies for different kinds of plays. (See fiction elements on plot for more information regarding plot.) The plot is usually structured with acts and scenes.
Open conflict plays: rely on the suspense of a struggle in which the hero, through perhaps fight against all odds, is not doomed. Dramatic thesis: foreshadowing, in the form of ominous hints or symbolic incidents, conditions the audience to expect certain logical developments. Coincidence: sudden reversal of fortune plays depict climatic ironies or misunderstandings. Dramatic irony: the fulfillment of a plan, action, or expectation in a surprising way, often opposite of what was intended.
Reference:
Encarta Encyclopedia
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Theme
The plot has been called the body of a play and the theme has been called its soul. Most plays have a conflict of some kind between individuals, between man and society, man and some superior force or man and h imself. The events that this conflict provokes make up the plot. One of the first items of interest is the playwright\rquote s treatment of the plot and what them he would draw from it. The same plots have been and will be used many times; it is the treatment that supplies each effort with originality or artistic worth. Shakespeare is said to have borrowed all but one of his stories, but he presented them so much better than any of the previous authors that he is not seriously criticized for the borrowing. Th e treatment of theme is equally varied.
The same theme or story may be given a very serious or a very light touch. It may be a severe indictment or a tongue-in- cheek attack. It could point up a great lesson or show the same situation as a handicap to progress. The personality, background an d social or artistic temperament of the playwright are responsible for the treatment that he gives to his story or theme. We must, therefore, both understand and evaluate these factors.
To endure, a play should have a theme. It is sometimes suggested in the title as in Loyalties, Justice, or Strife, You can't Take It With You, or The Physician in Spite of Himself. At other times it is found in the play itself, as in Craig's Wife when the aunt says to Mrs. Craig, "People who live to themselves are often left to themselves." Sometimes theme is less obvious, necessitating closer study.
If a play has a theme, we should be able to state it in general terms and in a single sentence, even at the risk of oversimplification. The theme of Hamlet is usually stated as the failure of a youth of poetic temperament to cope with circumstances that demand action. The theme of Macbeth is that too much ambition leads to destruction; a Streetcar Named Desire, that he who strives hardes t to find happiness oftentimes finds the least; and of Green pastures, that even God must change with the universe.
Of course the theme, no matter how fully stated, is not the equivalent of the play. The play is a complex experience, and one must remain open to its manifold suggestions.
As indicated above, the statement of the play in specific terms is the plot presented. Plot and theme should go hand in hand. If the theme is one of nobility, or dignity, the plot must concern events and characters that measure up to that theme. As we a nalyze many plays, we find that some posses an excellent theme, but are supported by an inconsequential plot. One famous play of this nature, Abie's Irish Rose, held the stage for many years. The theme said: Difference of r eligion need not hinder a happy marriage. The plot was so thin and both characters and situation so stereotyped, that justice was not done to the theme. This weakness was most obvious in the play's revival after twenty years.
Examples of the frequent fault of superior plot and little or no theme come to us in much of the work of our current playwrights. Known for their cleverness in phrasing and timing, and their original extremely witty conceptions, these plays are often ver y successful. More often than not, however, they are utterly lacking in a theme or truth that will withstand more than momentary analysis. They are delightful but ephemeral. An audience believes them only while watching in the theatre. Consequently, the author, although now among ou r most popular, will not endure as artists, nor are their plays likely to be revived a hundred years hence. They but emphasize more strongly the axiom that a good plot or conflict is needed for transitory success, but a great theme is more likely to assu re a play a long life.
Reference:
Wright, E.A. (1969). A PRIMER FOR PLAYGOERS. Englewood Cliffs; PRENTICE-HALL, INC., pp.156-158
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Dialogue
Dialogue provides the substance of a play. Each word uttered by the character furthers the business of the play, contributes to its effect as a whole. Therefore, a sense of DECORUM must be established by the characters, ie., what is said is appropriate to the role and situation of a character. Also the exposition of the play often falls on the dialogue of the characters. Remember exposition establishes the relationships, tensions or conflicts from which later plot developments derive.
Any artificial picture of life must start from the detail of actuality. An audience must be able to recognize it; however changed; we want to check it against experience. Death for exampl e, is something we cannot know. In every man it is represented as an embodying some of our feelings about it. So Death is partly humanized, enough, anyway, for us to be able to explore what the dramatist thinks about it.
Conversely, the detail of actuality in realistic drama can be chosen and presented in such a way as to suggest that it stands for more on the stage than it would in life. The Cherry Orchard family, in the excitement of their departure, overlook s their old servant Firs. Placed with striking force at the end of the play, this trivial accident becomes an incisive and major comment on everything the family has done.
So it is dramatic speech. A snatch of phase caught in everyday conversation may mean little, Used by an actor on a stage, it can assume general and typical qualities. The context into which it is put can make it pull more than its conversation al weight, no matter how simple words. Consider Othello\rquote s bare repetition: 'Put out the light, end then put out the light.' In its context the repetition prefigures precisely the comparison Shakespeare is about to make between the lam Othello is holding and Desdemona's life and being. Its heavy rhythm suggests the strained tone and obsessed mood of the man, and an almost priestlike attitude behind the twin motions. We begin to see the murder of Desdemona in the larger general terms of a ritualistic sacrifice. Poetry is made of words, which can be in use in more prosaic ways; dramatic speech, with its basis in ordinary co nversation, is speech that has had a specific pressure put on it.
Why do words begin to assume general qualities, and why do they become dramatic? Here are two problems on either side of the same coin. The words in both cases depend upon the kind of attention we give them. The artist using them, whether aut hor or actors, force them upon us, and in a variety of ways try to fix the quality of our attention.
If dialogue carefully follows the way we speak in life, as it is likely to go i n a naturalistic play, the first step towards understanding how it departs from actuality can be awkward. It is helpful to cease to submit the pretence for the moment. An apparent reproduction of ordinary conversation will be, in good drama, a constructio n of word setup to do many jobs that are not immediately obvious. Professor Erick Bently has written of Ibsen's 'opaque, uninviting sentences' :
An ibsenite sentence often performs four or five function at once. It shed light on the character spo ken about, it furthers the plot; it functions ironically is conveying to the audience a meaning different from that conveyed to the characters.
It is true that conversation itself can sometimes be taken to do this thing. 'Whatever you think. I'm going to tell him what you said.' is a remark which in its context can shed light on the speaker, the person spoken to and the spoken about. For a fourth person listening, as spectator witnesses a play, there may also be an element of that mean something only to himself as observer. In the play the difference lies first in an insistence that the words go somewhere, move towards a predetermined end. It lies in a charge of meaning that will advance the action.
This is argued in a statement in Strindberg's manifesto for the naturalistic theatre. He says of his characters that he has 'permitted he minds to work irregularly as they do in reality, where, during conversation, the cogs of mind seem more or less haphazardly to engage those of another one, an where no topic is fully exhausted.' But he adds that. While the dialogue seems to stray a good deal in the opening scenes, \lquote it acquires a material that later on is worked over, picked up again repeated, expounded, and built up the theme in a musical composition.'
It is a question of economy. The desultory and clumsy talk of real life, with its interruptions, overlapping, in decisions and repetitions, talk without direction, wastes our interest\emdash unless, like the chatter given to Jane Austen\rquote s Miss Bates, it hides relevance in irrelevance. It follows the dialogue which the wit and vitality in Shaw's dialogue yet ignore the question of its relevance to the action.
When the actor examines the text to prepare his part, he looks for what makes the words different from conversation, that is he looks for the structural elements of the building, for links of characteristic thought in the character, and so on . He persists till he has shaped in his mind a firm and workable pattern of his part. Now the clues sought by the actor hidden beneath the surface of the dialogue are the playgoer's guides too. The actor and producer Stanislavsky have called these clues the 'subtext' of a play.
The subtext is a web of innumerable, varied inner patterns inside a play and a part, woven from 'magic ifs' , given circumstances, all sorts of figments of the imagination, inner movements, objects of attention, smaller and greater truths and a belief in them, adaptations, adjustmen ts and other similar elements. It is subtext that makes us say the words we do in a play.
And in another place he says that 'the whole text of the play will be accompanied by a sub textual stream of images, like a moving picture constantly thrown on the screen of our inner vision, to guide us as we speak and act on the stage.' Once we admit that the words must propose and substantiate the play\rquote s meaning, we shall find in them more and more of the author's wishes.
For dramat ic dialogue has other work to do before it provides a table of words to be spoken. In the absence of the author it must provide a set of unwritten working directives to the actor on how to speak its speeches. And before that, it has to teach him how to think and feel them: the particularly of a play requires this if is not to be animated by a series of cardboard stereotypes.
Dramatic dialogue works by a number of instinctively agreed codes. Some tell the producer how to arrange the figures on the stage. Others tell him what he should hear as the pattern of sound echoing and contradicting, changing tone, rising and falling. These are directives strongly compelling him to hear the key in which a scene should be played, and the tone and temp of the melody. Others oblige him to start particular rhythmic movements of emotion flowing between the stage and the audience. He is th en left to marry the colour and shape of the stage picture with the music he finds recorded in the text.
Good dialogue works like this and throws out a 'substextual stream of images'; Even if the limits within which these effects work are narrow, even if the effect lies in the barest or simplest of speeches, we may expect to hear the text humming the tune as it cannot in real life. Dialogue should be read and heard as a dramatic score.
Reference:
The Elements of Drama by J.L. Styan
Cambridge University Press 1960
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Convention
The means the playwright employs are determined at least in part by dramatic convention. Greek: Playwrights of this era often worked with familiar story material, legend about gods and famous families that the audience was familiar with. Since the audience was familiar with certain aspects of these, the playwrights used allusion rather than explicit exposition. In representing action, they often relied on messengers to report off-stage action. For interpretation the Greeks relied on the CHORUS, a body of onlookers, usually citizens or elders, whose comments on the play reflected reactions common to the community. These plays were written in metered verse arranged in elaborate stanzas. This required intense attention from the audience. English Drama: Minor chara cters play an important role in providing information and guiding interpretation. The confidant, a friend or servant, listens to the complaints, plans and reminiscences of a major character. Minor characters casually comment among themselves on major characters and plot development. Extended SOLILOQUY enables a major character to reveal his thoughts in much greater detail than in natural dialogue. ASIDES, remarks made to the audience but not heard by those on the stage, are common. Realism: Toward the end of the nineteenth century, realistic depiction of everyday life entered the genre of drama, whereas the characters may be unconventional and their thoughts turbulent and fantasy-ridden. Contemporary: Experimentation seems to be the key word here. A NARRATOR replaces the messenger, the chorus and the confidant. FLASHBACKS often substitute for narration. Many contemporary playwrights have abandoned recognizable setting, chronological sequence and characterization through dialogue.
Reference :
Encarta Encyclopedia
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