Our recent studies of Hamlet and The Castle of Otranto have made me realise that a sense of the theatrical can elevate both the style and structure of a story.
The Play’s the thing
It’s quite clear that Horace Walpole intended Otranto to be stage-y. He even remarks on this in the frame narrative ( the mock preface he writes to explain the provenance of the story):
“It is a pity that he [the imaginary author] did not apply his talents to what they were evidently proper for—the theatre.” – Preface to the first edition of The Castle of Otranto
Theatrical Techniques
Here are some elements that can add a touch of the theatrical to your story. Note that you don’t need to use these techniques consistently. Sprinkle them here and there when you want to create heightened drama, or unfold a particularly memorable scene.
☞ Quotations are from The Castle of Otranto, for which there may be spoilers.
1. “OFF-STAGE” OCCURRENCES
Dramatic pieces draw distinctions between action that occurs on-stage, and off-stage. In a story that isn’t written for the stage, this effect can be achieved by:
- Using a messenger or herald character to report events that happen “off-stage”. These characters don’t need to be developed (or even mentioned) — “word was brought that the banquet was prepared”.
- Sending for people so that the action occurs “on-stage”, — or as a way to remove people from the stage/scene.
- Having characters speak from “off-stage”.
2. CONDENSED TIMING
Events that ought to take longer are squeezed into an impossible timeframe in order to fit the limitations of the play:
- Concurrent “off-stage” events make it seem like everything happens at once.
- Characters receive information impossibly quickly. — “In the midst of their senseless guesses, a young peasant, whom rumour had drawn thither from a neighbouring village…”
- Characters sent to verify information return before the relevant discussion is concluded. — “During this altercation, some of the vulgar spectators had run to the great church, which stood near the castle, and came back open-mouthed, declaring that the helmet was missing from Alfonso’s statue.”
3. STAGE DIRECTIONS
While it may be strange (though not impermissible) to include stage directions in prose, there are ways to make the technique less intrusive while still sounding theatrical:
- Characters issue orders. — “’Stay,’ cried Manfred.”
- Characters describe actions, even those occurring on-stage: “He is dying.”
- Characters describe their own actions. — “Alas! on my knees I supplicate you to forbear…”
4. AUDIENCE
Drawing attention to an audience is a simple technique to bring out the theatrical potential in a scene:
- Events of high tension are witnessed by onlookers.
- Ceremonies and rituals take place “on-stage”.
- Onlookers act as a collective. — ‘The beholders fell prostrate on their faces, acknowledging the divine will.’
5. DISTINCT SETTINGS
Limitations in stage sets means that (traditionally) theatrical scenes are, if not small, then at least contained. To give this impression:
- Focus actions in a small foreground space.
- Imagine characters placed on a vertical plane, with levels to suggest galleries — “’Is anybody below?’ said the Princess; ‘if there is, speak.'”
- Confine characters to small spaces through incarceration.
- Change scenes less frequently, and revisit locations.
- Frame scenes.
6. ENTRANCES & EXITS
Closely tied with the use of distinct settings is the emphasis given to the way in which characters enter and exit these settings:
- The authorial viewpoint is more “fixed”, so that the approach of characters is only described once they come in sight.
- Special attention is given to doors and gateways. — “The gentle timidity of her nature made her pause for some minutes at his door.”
- Characters are sometimes introduced in procession (with retinues).
7. COMIC RELIEF CHARACTERS
Characters like Jaquez and Diego, and the maid, Bianca, draw on the tradition of plays where low class characters provide comic relief from the dense subject matter. They often:
- Delay exposition and narrative revelations through comic misunderstanding, pettifogging and argumentation.
- Misuse phrases and idioms, which can develop the themes of the play and at the same time bring out the intelligence of the main characters through contrast.
- Misdirect characters, helping the innocent escape.
- Offer different perspectives on the action. — “’A bystander often sees more of the game than those that play,’ answered Bianca.”
8. (RE)DIRECTING ATTENTION
It’s possible for the audience to take in simultaneous actions on a stage, but more often, characters purposely draw attention towards certain important points, or away from background “mechanics”:
- Characters tell others where to look and what to see. — “’Behold!’ said the Friar; ‘mark this miraculous indication that the blood of Alfonso will never mix with that of Manfred!'”
- Characters tell others to focus on small objects they’re holding. — “… ‘here, take this jewel, perhaps that may fix thy attention—nay, no reverences; my favour shall not stop here…”
- Character stare fixedly at something. — “Manfred’s eyes were fixed on the gigantic sword…”
9. VISUAL EXAGGERATION
Since theatre is such a visual art form, emphasising visual spectacles can heighten the sense of dramatic interest:
- Enlarge objects to fill the confined setting. — “A hundred gentlemen bearing an enormous sword, and seeming to faint under the weight of it.”
- Employ supernatural elements that shock the characters who behold them.
- Consider limiting the visual effects (at least in some scenes) to what might be accomplished using stage equipment. For example, the armour in both Hamlet and Otranto is what allows the supernatural element to be “staged”.
10. STRONG LIGHTING
Part of the effect of stage visuals is lighting. Although a spotlight can create a very straightforward sense of the theatrical, more subtle techniques can be:
- Characters moving into and out of light. — “…ere her lamp, which she held up, could discover who opened it, the person retreated precipitately on seeing the light.”
- Emphasising that characters can’t see or have difficulty recognising others. — “… the gloominess of the night had prevented his discovering who the woman was.”
- Character waiting for daylight or asking for illumination. — “Manfred ordered the torches to be held up…”
- Characters asking for darkness. — “’Take away that light, and begone.’”
11. SPEECHES
Speeches are of course central to stage drama, and there a few ways to distinguish the spoken word with an air of the theatrical:
- Important exposition and internal conflict is expressed out loud (in dialogue or monologue).
- Long histories are retold, all at once and out loud (to an audience).
- Actions (often off-stage) are summarised in speech.
- Characters speak in asides or monologues.
- Thoughts are related using direct speech. — “’Why did I dissuade her?’ said Isabella to herself; ‘I am punished for my generosity…’”
- Silence is remarked, in dialogue tags or in speech. — “‘Still ye are silent—well!'”
- Characters call and address others. — “Ha! what art thou? thou dreadful spectre! is my hour come?”
- Characters are overheard. — “‘Good heaven! we are overheard!’ said the Princess. They listened; but perceiving no further noise, they both concluded it the effect of pent-up vapours.”
- Writing (e.g. letters, inscriptions, etc.) is read out loud to others — “… the herald advancing, read again the words of the challenge.”
