So here again! (quality not quantity? ironic smile)
I was trying to arrange a time for coffee with a friend the other day - 'Lets meet for coffee' is probably something most of us either say or hear every day even if we don't drink coffee! It got me thinking about the many meanings underneath this innocuous phrase. Whilst procrastinating I had fun thinking up as many as I could. Haven't got space to share them all here.
Another good friend often laughs at my interest in subtext in everyday conversation. She thinks this is a slightly compulsive habit not least because she doesn't have much truck with subtext herself.If she wants something she simply asks for it, and if you ask her opinion she doesn't skirt around her answer however tough it might be to hear.You know where you are.Don't want to know - then don't ask!
In response to my friend's teasing curiosity about my interest in what people might be really saying or what unconscious messages they are giving I remind her its a hazard of working as an actor or director. Dramatic dialogue is clearly different to real conversation, its consciously and carefully crafted by the writer engaging its audience through a great story, complex unfolding human relationships, conflict - comedy and tragedy. The first playwright I knew well was Mike English and he introduced the rather innocuous phrase 'Pass the marmalade' to a group of actors with whom we were working - its stayed with me ever since as a simple example of a phrase that can mean dozens of different things depending on context, character and relationship. Try it with different intentions - its fun.
In response to my friend's teasing curiosity about my interest in what people might be really saying or what unconscious messages they are giving I remind her its a hazard of working as an actor or director. Dramatic dialogue is clearly different to real conversation, its consciously and carefully crafted by the writer engaging its audience through a great story, complex unfolding human relationships, conflict - comedy and tragedy. The first playwright I knew well was Mike English and he introduced the rather innocuous phrase 'Pass the marmalade' to a group of actors with whom we were working - its stayed with me ever since as a simple example of a phrase that can mean dozens of different things depending on context, character and relationship. Try it with different intentions - its fun.
Unlike my rather rare friend many of us don't actually say what we mean much of the time (Simon Cowell excluded!) for fear of offence or conflict, the sin of omission being the most common (see Margaret Elizabeth Sangster's poem below). Its an unwritten rule that maintains a level of civility for the most part. The film Liar Liar took the notion of speaking the subtext to a whole different level and got its protagonist into deep doodie! We also often expect people to know what we want or mean when they haven't the foggiest.
My dear friend, defender of truth also likes to call me a 'drama queen', again what does she really expect? Subtext keeps drama alive, remember intently analysing text and dialogue in English at school? Drama students spend hours unpicking subtextual meaning and nuance. It doesn't mean they are right - but what it offers is a way into role that makes sense to both director and actor and brings to life often unresolvable conflicts and contradictions that inherently beset 3 dimensional characters - like they do most human beings.
As audiences we get something out of seeing the human condition played out in front of us in its many forms. We know that life is both comic and tragic and much is centred around love, money and property, and we get to experience these vicariously through drama and the other arts. I suspect we find relief in it being about someone else's life rather than our own, which of course isn't always the case!
So for a bit of fun, and because it gave me twenty minutes of distraction from writing a job description yesterday (admittedly along with occasional moves in online Scrabble) - here are some sentences found commonly in every day conversation and my tongue-in cheek suggestions about their subtext. I am sure you might take issue with some of them, because of course intention colours the tone, pitch and inflection of any interaction.
My dear friend, defender of truth also likes to call me a 'drama queen', again what does she really expect? Subtext keeps drama alive, remember intently analysing text and dialogue in English at school? Drama students spend hours unpicking subtextual meaning and nuance. It doesn't mean they are right - but what it offers is a way into role that makes sense to both director and actor and brings to life often unresolvable conflicts and contradictions that inherently beset 3 dimensional characters - like they do most human beings.
As audiences we get something out of seeing the human condition played out in front of us in its many forms. We know that life is both comic and tragic and much is centred around love, money and property, and we get to experience these vicariously through drama and the other arts. I suspect we find relief in it being about someone else's life rather than our own, which of course isn't always the case!
So for a bit of fun, and because it gave me twenty minutes of distraction from writing a job description yesterday (admittedly along with occasional moves in online Scrabble) - here are some sentences found commonly in every day conversation and my tongue-in cheek suggestions about their subtext. I am sure you might take issue with some of them, because of course intention colours the tone, pitch and inflection of any interaction.
(In 1970 anthropologist Ray Birdwhistell advanced theory that a mere 7% of our inter-personal communication is words, 38% tone of voice and a massive 55% our physiology - discuss)
So here we go with some I have been having fun with!
So here we go with some I have been having fun with!
We really must meet up again soon.
(Its not at the top of my priority - probably won't happen)
No, you're not fat
(But you could afford to lose a few pounds)
(Its not at the top of my priority - probably won't happen)
No, you're not fat
(But you could afford to lose a few pounds)
It wouldn't hurt to lose a few pounds
(You're pretty fat)
Of course I'll still respect you in the morning.
(I'll tell you any lie to get what I want)
How do I look?
(Please tell me I look fabulous)
Where the hell have you been?!!
(I love you and I've been sick with worry)
Of course — I started on that project days ago.
(Just don't ask to see how much I've actually done)
No, really — I never liked that vase anyway.
(You'd better come up with a suitable replacement, or I'll really be annoyed)
I'm really a bastard, ha-ha-ha-ha.
(Seriously — I'm really a bastard)
It's hardly noticeable.
(It's the first thing anybody sees)I am sure you have many more to add!
And finally in today's hotchpotch - a copy of The Sin of Omission by Margaret Elizabeth Sangster.
(You're pretty fat)
Of course I'll still respect you in the morning.
(I'll tell you any lie to get what I want)
How do I look?
(Please tell me I look fabulous)
Where the hell have you been?!!
(I love you and I've been sick with worry)
Of course — I started on that project days ago.
(Just don't ask to see how much I've actually done)
No, really — I never liked that vase anyway.
(You'd better come up with a suitable replacement, or I'll really be annoyed)
I'm really a bastard, ha-ha-ha-ha.
(Seriously — I'm really a bastard)
It's hardly noticeable.
(It's the first thing anybody sees)I am sure you have many more to add!
And finally in today's hotchpotch - a copy of The Sin of Omission by Margaret Elizabeth Sangster.
(but essential to drama Mags!)
The Sin Of Omission
It isn't the thing you do, dear,
It's the thing you leave undone
That gives you a bit of a heartache
At setting of the sun.
The tender work forgotten,
The letter you did not write,
The flowers you did not send, dear,
Are your haunting ghosts at night.
The stone you might have lifted
Out of a brother's way;
The bit of heartsome counsel
You were hurried too much to say;
The loving touch of the hand, dear,
The gentle, winning tone
Which you had no time nor thought for
With troubles enough of your own.
Those little acts of kindness
So easily out of mind,
Those chances to be angels
Which we poor mortals find -
They come in night and silence,
Each sad, reproachful wraith,
When hope is faint and flagging,
And a chill has fallen on faith.
For life is all too short, dear,
And sorrow is all too great,
To suffer our slow compassion
That tarries until too late:
And it isn't the thing you do, dear,
It's the thing you leave undone
Which gives you a bit of heartache
At the setting of the sun.
Margaret Elizabeth Sangster
It's the thing you leave undone
That gives you a bit of a heartache
At setting of the sun.
The tender work forgotten,
The letter you did not write,
The flowers you did not send, dear,
Are your haunting ghosts at night.
The stone you might have lifted
Out of a brother's way;
The bit of heartsome counsel
You were hurried too much to say;
The loving touch of the hand, dear,
The gentle, winning tone
Which you had no time nor thought for
With troubles enough of your own.
Those little acts of kindness
So easily out of mind,
Those chances to be angels
Which we poor mortals find -
They come in night and silence,
Each sad, reproachful wraith,
When hope is faint and flagging,
And a chill has fallen on faith.
For life is all too short, dear,
And sorrow is all too great,
To suffer our slow compassion
That tarries until too late:
And it isn't the thing you do, dear,
It's the thing you leave undone
Which gives you a bit of heartache
At the setting of the sun.
Margaret Elizabeth Sangster
A coming up blog will explore the question 'Does the actor lose himself totally in the character he plays' - a question I was recently asked - its a classic and interesting question for the actor.
Bye for now
2 comments:
Is that me for the coffeee
Not at all Ann! Just give me a date!
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