Play Techniques Flashcards
(9 cards)
Antithesis
A device in which two opposite things or ideas are placed side by side for contrasting effect. Shakespeare used antithesis extensively in his plays, especially in soliloquies. Placing these opposites in close proximity to each other emphasises their difference and is reflective of the tensions and complexities within the plays and characters.
Fair is foul, and foul is fair. - Macbeth
Anaphora
The deliberate repetition of words, or sequences of words, at the beginning of a line or phrase for effect. As well as emphasising ideas, the rhythm of anaphora makes the words memorable and signals that the character speaking is intent on their point being heard.
It is too rash, too unadvised, too sudden; Too like the lightning - Romeo Juliet
Aside
A remark or comment directed to the audience by a character, that is not heard by any other character on stage. An aside is usually an unspoken thought or comment on the action, that a character could not or would not voice in front of other characters.
KING CLAUDIUS
But now, my cousin Hamlet, and my son,–
HAMLET
[Aside] A little more than kin, and less than kind. - Hamlet
Dramatic Irony
A device in which the audience’s understanding or knowledge surpasses that of the character or characters on stage. Shakespeare employs the device throughout his plays for different effect.
Iambic Pentameter
An iamb is a unit of two syllables – one soft, one strong – and sounds similar to a heartbeat. Many, many common English language words follow this iambic rhythm. Some examples are begin, hello, goodbye, police, delay, and away. In speaking the iamb, the emphasis is naturally on the second syllable, not the first.
But soft, what light through yonder window breaks? - Romeo and Juliet
Imagery
Using figurative language to describe or represent feelings, thoughts, experiences or things, commonly visual images. Often, Shakespeare uses repetition of imagery, such as in Macbeth where images of blood abound, long after the literal blood has been spilled. This amplifies Macbeth’s dark deeds and emphasises Macbeth and Lady Macbeth’s feelings of guilt.
I am in blood
Stepp’d in so far that, should I wade no more
Returning were as tedious as go o’er - Macbeht
Soliloquy
A speech by a character that is shared only with the audience, and no other character on stage. The character may be talking to themselves, or talking directly to the audience, though the effect is a shared private moment with the audience. In a soliloquy, a character will often share their true feelings and intentions, or thoughts and concerns that they have not shared with any other characters. In some cases, characters may witness a soliloquy though the speaker does not know they are in earshot, such as Juliet’s soliloquy at her window that is overheard by Romeo.
Stichomythia
Dialogue in which a single line spoken by one character is answered by another character’s line that plays off the language of the first. Stichomythia (pronounced stick-oh-mith-ee-uh) is true wordplay, as if a tennis match with words. One character will serve a line of dialogue to another character who returns a similar line of text, with some pointed changes. Antithesis is used within stichomythia frequently, providing counterpoints between two characters and their argument.
HERMIA
I frown upon him, yet he loves me still.
HELENA
O that your frowns would teach my smiles such skill! - Midsummer Night’s Dream
Symbolism
A device in which symbols are used to represent ideas or qualities, beyond an object’s literal meaning. For example, the way an image of a heart symbolises love, or an image of a dove can symbolise peace. In this way, symbolism requires the audience to make the connection between the literal object and the meaning it conveys. Shakespeare used symbolism frequently to convey deeper meaning and ideas, making it a more sophisticated technique than merely describing something.
Is this a dagger which I see before me,
The handle toward my hand? Come, let me clutch thee. - Macbeth
