The Significance of Language in Dramatic Productions

The Significance of Language in Dramatic Productions The significance of language in any dramatic production, or indeed any

piece of performance art, be it song, poetry or whatever, is

undoubtedly of great importance, as it is not only the medium through

which ideas, thoughts, emotions etc. are communicated, but also sets

the scene in regards to style, feeling, mood and tone, an

understanding of which ought to lead to greater appreciation of the

work in question. In his Poetics, Aristotle prescribed that the action

of a play be “made pleasurable” “in language”, (Aristotle: p10). He

also states that “The most important quality in diction is clarity,

provided there is no loss of dignity”, (Aristotle: p36). These

instructions however, may apply quite reasonably to almost any other

kind of drama, (at least up until its emergence), but can easily be

argued to have lost all authority over the kind of dramatisation that

falls under the heading of the Theatre of the Absurd, where pleasance,

clarity and dignity frequently fall by the wayside.

In an arena where the traditional theatrical objectives of

representing reality through long-established stage conventions

regarding plot, character development, use and structure of language

etc. have been all but abandoned, the role of language has been not so

much redefined, but rather has been stripped of any clear, distinct,

exclusive working definition or suggested structure, so that it

becomes less of an explanatory accompaniment to the act...

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...ually expressed by realist

drama. These notions, the writer’s innermost thoughts and

affectations, can only find suitable expression, if the form is true

to the content. Thus we find ourselves grappling with Lucky’s inane

monologue, Estragon and Vladimir’s farcical dialogue, and other

bizarre abuses of language, in order to try to understand that of

which Beckett was thinking when he wrote Waiting for Godot.

Bibliography

Beckett, Samuel Waiting for Godot, The Complete Dramatic Works

London: Faber & Faber 1986

Esslin, Martin The Theatre of the Absurd, London: Methuen 2001

Aristotle Poetics London: Penguin 1996

Lane, Robert D. Beckett’s Godot: A bundle of broken mirrors” in “Of

Modern Poetry” by Wallace Stevens,