| A | B |
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| Dramatic elements | The various components within a performance/play that engage the audience aesthetically, emotionally and mentally. |
| Conflict | Conflict is at the heart of dramatic action within a play text. There are two broad categories of conflict – physical and intellectual. Physical conflict can be seen, felt or even touched. Intellectual conflict deals with concepts or ideas that the characters are facing. Sometimes the character is aware of the obstacle they are facing and at other times they are not. Either way, the audience is aware of the conflict and this helps to maintain our interest in the play. |
| Non-naturalism | Non-naturalism is the manipulation of time, place, object and/or character to create theatre which does not seek to re-create real life as it is lived. |
| Climax | The pinnacle of dramatic action and often the breaking point for the major conflict within the story. For the audience this is where our own emotions are likely to be the strongest as we watch the play. |
| Naturalism | The re-creation of real life or life as it is lived on stage. It seeks to reproduce realistic characters, situations or conflicts and ususally occurs in real time with sets, props and costumes that a re respresentative of the situation, place or period. |
| Contrast | The playwright places one character, idea or incident up against another for dramatic effect and emphasis. This can also be known as dramatic juxtaposition. |
| Mood | The atmosphere or feeling created in the performance. |
| Rhythm | The timing of action, reaction and dialogue both on stage and within the text itself |
| Sound | Sound is used to under-pin and create mood. Designed and utilised well, it can create the desired emotional and/or intellectual effect on the audience. |
| Space | Use of space to define place, how space is utilised around and between actors to create tension, variety and diversity in use of stage floor and different levels to support meaning and create interest, along with the impact of the physical space itself (where the piece is being performed). |
| Symbol | A symbol is something that indicates or stands for something else. The use of symbol is intended to convey a deeper meaning than what is on the surface |
| Timing | Links with rhythm and the creation of mood. It can include the pace at which lines are delivered, the use of stillness and silence, pauses in the delivery and variety in the delivery. |
| Tension | The interrelationship between the characters and the conflict in the play helps to establish the tension. The order of scenes and the order of the action gradually build the tension as the plot unfolds. The playwright will often place within the plot and story, elements that ensure the plays builds at a pace that maximises the dramatic tension. It is then up to the director, working with the actors and designers, to enhance the tension in the script and communicate it to the audience. |
| Focus | Concentration and commitment level of people on stage and off. Engagement with story, audience and character. This can also refer to the focus point (s) on stage or within a text- what the Director/ Playwright wants the audience to see or hear. |
| Language | This can be written or verbal (spoken words, vocal sounds etc) or non-verbal (physical gestures, body language etc.). The power of this element is how and when words/sounds are used. The word choice may also help to create mood and context. |
