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21 Oct

Impact of Plot on Characterization

Impact of Plot on Characterization Plot is an effective means of characterization. Plot is conditioned by the character. Hamlet’s character could not have been more sharply focusses in a different set of circumstances. The plot is so contrived to bring out the deepest layers of the mind. The plot turns out to be a projection of the character even as we know the tree by its fruit

21 Oct

Characterization in Drama

Characterization in Drama The relative importance of character and plot is often disputed. It is often assumed that plot is of supreme importance and that characters are secondary. In fact characters and plot are interdependent. Character cannot exist in a vacuum and the plot is empty without characters. But if we are driven to choose either of the two, we should take character fir

21 Oct

Conclusion/Catastrophe

Conclusion/Catastrophe Too many playwrights begin a play well and it badly. In a well-planned play, the end is implicit in the beginning. Here the conflict should be brought to a natural conclusion. It must give us a sense of finality and completeness. Hence after Hamlet kills the king, he ascends the throne and dies. Then Fortinbras enters and the play and the play ends with a death-

21 Oct

Falling Action: Denouement or Resolution in a Play

Falling Action: Denouement or Resolution in a Play When the crisis is over, the play takes its course to the conclusion whether it is happy or tragic. In comedy it will take the form of the gradual withdrawal of obstacles for the principal characters. In tragedy it consists in letting loose the powers of evil to work out their will. We can now foresee the outcome of events. Here our i

21 Oct

Turning Point: Climax or Crisis in a Play

Turning Point: Climax or Crisis in a Play The conflict and tension cannot go on indefinitely. Sooner or later the story reaches a stage at which the balance begins to tilt one side or the other. The crucial scene is the greatest one in the play. Often the playwright plans it as the focal point. The great law of the crisis is that it shall be natural and logical. It should not be an ac

21 Oct

Rising Action in a Play

Rising Action in a Play This admits no laxity or slow-pedaling. The tempo must be kept at feverish pitch as in Macbeth. The rising action starts in the first Act and it is the main concern in the second Act. Complications are intensified by the conflicting forces. Interest is heightened leading to the decisive clash between the opposing forces. The rule to be observed is that of clear