This document outlines the nature and significance of playscripts in drama, highlighting their unique format and structure for performance. It discusses the differences between reading a playscript and a novel, emphasizing the importance of dialogue, stage directions, and audience engagement. Key elements for analysis include character development, plot structure, themes, and various dramatic devices, all contributing to the portrayal of universal human experiences and societal issues.

1. Drama
Conventions of
Prepared by: Lui Anne May Revadavia

2. Define playscripts and
understand their purpose
01
Explain key differences
between reading a novel and
reading a playscript
03
List some of the conventions and
techniques you’d consider when
analysing a playscript
04
Identify elements of the format
and structure of playscripts
02
learning objectives

3. A playscript is a form of literature written
for performance, typically involving
dialogue, actions, and stage directions to
convey a story.
It is intended to be performed by actors on
stage, often in front of an audience, and
can encompass a wide range of genres,
themes, and styles.
What is a
playscript?

4. The significance of playscripts lies in their
unique ability to engage audiences through the
interplay of language features, narrative
conventions, and theatrical elements.
Unlike other forms of literature, such as novels,
drama is inherently performative, relying on the
collaboration between playwrights, actors,
directors, and designers to bring the text to life
on stage.
what makes
them unique?

5. Furthermore, plays can serve as a reflection
of society, culture and human experience,
exploring universal themes and issues in a
dynamic and interactive format.
They allow audiences to witness characters'
struggles, conflicts and triumphs, fostering
empathy, critical thinking and a deeper
understanding of the human condition.
what can they
teach us?

6. Reading a Playscript
Form and Conventions

7. format & structure
Playscripts are written specifically for
performance on stage, so they are formatted
differently to other texts.
They usually include the following features:
acts and scenes
stage directions
details about setting
exits and entrances
character names
dialogue

8. Acts mark major divisions within the
narrative, while scenes indicate changes
in location, time, or focus within each
act.
ACT I
SCENE I. A desert place.
Thunder and lightning.
Enter three Witches.
First Witch
When shall we three meet again
In thunder, lightning, or in rain?
Second Witch
When the hurlyburly's done,
When the battle's lost and won.
Third Witch
That will be ere the set of sun.
acts and scenes
stage directions
Instructions that provide guidance for
actors, directors and stage crew regarding
movements, gestures, entrances, exits, and
other actions. They are typically italicised.
Stage directions within dialogue (usually in
brackets) guide the actor on how to deliver
their lines. These are called parentheticals.

9. Characters enter and exit the stage at
specific points in the play, indicated by
stage directions.
ACT I
SCENE I. A desert place.
Thunder and lightning.
Enter three Witches.
First Witch
When shall we three meet again
In thunder, lightning, or in rain?
Second Witch
When the hurlyburly's done,
When the battle's lost and won.
Third Witch
That will be ere the set of sun.
exits and entrances
details about setting
Descriptions of setting might include time,
place and any significant details about
the environment. These provide context
for the action and help the reader
visualise the scene.

10. Characters are identified by their names or
titles, which are typically capitalised and
bolded. These are also known as ‘cues’.
ACT I
SCENE I. A desert place.
Thunder and lightning.
Enter three Witches.
First Witch
When shall we three meet again
In thunder, lightning, or in rain?
Second Witch
When the hurlyburly's done,
When the battle's lost and won.
Third Witch
That will be ere the set of sun.
character names
dialogue
Spoken lines exchanged between
characters. Dialogue may also include
indications of tone, emotion, or pauses.

11. plays as a distinct genre
Differences to other Text Types

12. Novels utilise descriptive language to evoke imagery
and atmosphere along with internal monologue, and
other literary devices to convey meaning. These are
necessary to help the reader visualise the setting,
characters and events.
Unlike novels, the dialogue is the central element of
playscripts, as it drives the plot forward and reveals
characters' thoughts, emotions, and relationships.
The stage directions provide context for the action and
guide the actors' movements and expressions but much
of the interpretation is up to the actors and directors.
plays vs. novels

13. Novels are also read silently by individuals, allowing
readers to engage at their own pace and visualise the
scenes in their minds.
Playscripts, however, are written with the intention of
being performed by actors for an audience, either in
a theatre or other performance space.
As such, they are designed to be interpreted visually
and orally, with the audience experiencing the story
through the interactions of characters, delivery of
dialogue and the appearance of the stage set up.
live audience

14. With this in mind, when reading a playscript,
you’ll need to take into consideration:
How the script might be interpreted
How it might be performed on stage
How the actors' might deliver their
lines
How the staging of scenes might look
The other visual and auditory elements
of the production such as lighting and
music
performance
considerations

15. analysing a playscript
Considering Key Elements

16. narrative
conventions
Besides the structural elements of a
playscript that we’ve already outlined,
a play is first and foremost a story.
So, when we’re analysing a play, we
might start by considering the same
narrative conventions we discuss
within other stories. These include:

17. In playscripts, characters are constructed through the following elements:
characterisation
Dialogue
The choice of words,
tone and delivery of lines
provide insights into
characters’ personalities,
inner thoughts and
motivations.
Actions
Characters' physical
movements, gestures, and
interactions with other
characters also convey
their traits, relationships
and development.
Stage Directions
These instructions
guide actors and
directors in interpreting
the characters'
intentions and
movements.

18. We might also consider how the playscript constructs:
plot structure
plot development
The plot unfolds through a series
of events that propel the story
forward. These are often
structured into acts and scenes.
As the plot develops, characters
face challenges, make choices
and undergo transformations.
conflicts
Conflicts are central to plays as
they create tension and
heighten emotional stakes.
Conflicts might be internal (e.g.
character vs. self) or external
(e.g. character vs. character,
society or nature).
resolution
The resolution brings closure and
provides a sense of catharsis for
the audience. It usually ties up
loose ends, creates a sense of
finality and offers insights or
lessons learned through the
characters’ experiences.

19. Themes are underlying ideas or messages
that are explored throughout the play. They
reflect universal human experiences, societal
issues or philosophical questions. Common
themes in drama include love, betrayal,
identity, power, and redemption.
Ideas are stated as a sentence and they are
usually comments made or positions taken on
the themes. Ask yourself: what is the play
saying about this theme?
themes & ideas
For example, William Shakespeare’s play
Macbeth explores the theme of ambition.
It presents the ideas that:
ambition is a powerful driving force that
compels individuals to pursue their desires
often at any cost, or
that unchecked ambition can have a
corrupting influence on individuals, leading
them to commit immoral or unethical actions.
for example

20. symbols & motifs
for example
Symbols are objects, images, or actions that
represent deeper meanings or concepts
within a play. They may be explicitly
introduced by the playwright or emerge
organically throughout the play.
Motifs are recurring elements, images,
themes or ideas that contributes to the
overall meaning or structure of a play.
They may be used to create patterns,
contrasts, or parallels within the narrative.
The dagger that appears before Macbeth in Act
symbolises the temptation and ambition that drive
Macbeth to commit regicide (killing King Duncan).
One prominent motif is the recurring references to
blood. It serves multiple symbolic purposes in
different parts of the play, representing a range of
themes such as guilt, violence and the
consequences of Macbeth's actions.

21. other dramatic devices
monologue
A speech delivered by a single
character, typically addressing other
characters, the audience, or
themselves.
soliloquy
A type of monologue in which a
character is alone on stage and
speaks their thoughts aloud, revealing
their innermost thoughts or feelings.
dramatic irony
When the audience possesses
information that one or more
characters do not, creating suspense
and anticipation.
There are a range of other techniques and elements you might come across that are specific to drama
and theatre. We should consider how these are used to explore themes and position audience response.
foreshadowing
A literary technique in which the
author hints at future events or
outcomes in the narrative through
subtle clues, symbols, or events.
aside
When a character speaks directly to
the audience or to themselves, but it’s
unheard by other characters on stage,
(although they are physically present).
breaking the 4th wall
When a character addresses the
audience directly, acknowledging
their presence and involving them in
the performance.

22. Overall, drama plays a vital role in literature by
entertaining, educating, and inspiring
audiences, while also serving as a rich source
of artistic expression and cultural exploration.
Keep an eye out for the way that playwrights
manipulate narrative conventions, structural
techniques and dramatic devices to position
audience responses and explore enduring
themes about the human condition.
Good luck!
to wrap up

23. END
The