The Art of Dialogue. Jurij Alschitz
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Название: The Art of Dialogue
Автор: Jurij Alschitz
Издательство: Автор
Жанр: Кинематограф, театр
isbn: 9783946735106
isbn:
I plus I
This interaction, although it looks like a normal exchange of lines, nevertheless, it has different themes, different contexts, which are absolutely foreign to each other. That’s why in fact it isn’t a dialogue but the existence of its two participants in two different monologues.
For that we can find a lot of examples in Chekhov’s plays: one talks about means to fight balding while the other talks about the essence of human happiness.
In this type of interaction, there exists a higher “I”, which, has distributed lines among participants of the dialogue, in times and situations. For example, the playwright, who himself divided up the positions and leads the interactions the whole way. The participants have the function of executors but not creators. The centre of meaning does not rest on one of the participants of the dialogue but is placed higher than them – in the higher “I”.
An example of this are Plato’s dialogues and a number of plays of ancient dramaturgy.
An agreed game
This is when the participants have previously defined one main theme and one point of view on it. There are no differences of opinion between them, they voluntarily, according to a prior agreement, take up different positions for the game. Furthermore, there is no guarantee that they agree on what they are saying and standing up for. Their opinions can freely be swapped and muddled up between each other. In this way, they confuse the spectator, who has not guessed that they have agreed to this game, and they force the spectator himself to search for the truth. It’s not an argument, not a discussion, but an imitation of arguments and discussions, a game within a game.
Look at Molière’s comedies and Shakespeare. This game appears in the dialogues of Plato, too.
If the agreement is set up openly at the beginning of such a game, then the spectator will follow, with excitement, how this agreement is played out, and each actor follows where he and his partner is, at any given moment, relative to the agreement, how they can sharpen the game, how to spice it up. In other words, they follow to see which way the agreement is realised by the actors’ improvisations.
The duel
This is often not real dramatic action, but a verbal skirmish, a quick exchange of short phrases. Each waits for the other’s line before they can reply. The text which they speak is not as important as the shift in context which it brings. What’s important is the form of the reply – theatrical, literary – and the paradoxical nature of the question and answer.
Look at Oscar Wilde’s plays, for example, they have series of contextual explosions. The shorter the line, the more likely is the change of context. And that is of value here, first and foremost.
Gentleman’s discourse
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