Critical comments on the psychological approach and the dramatic method

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CHAPTER 2 ;PLOT STRUCTURE OF A RADIO TRILOGY

Introduction

This chapter envisages a study of plot as an element that accounts for actions and their sequence in drama. The concept plot is significant in drama; the plot’s peculiarity lies in its organizational principles. The plot contains important structural elements, such as causal and other kinds of meaningful relationships, segmentation in phases, temporal and spatial regroupings. The plot is the sequence as seen in the text, a sequence that contributes to meaning. As a matter of fact a plot is the basic element of any literary work. The playwright sketches the events and then arranges them in an artistic manner so as to make that literary work appealing to the listeners while, at the same time, conveying the theme. Considering radio drama, where the audience is not in the theatre but in a mere studio, the playwright is compelled to use signals so as to reach his listeners, not observers, spread all over the country. Hence,the discussion that follows will focus on plot levels of a radio trilogy such as cumulative effect, a rhetorical effect of summation, perfection, unity, exposition, conflict, complication, analepsis, prolepsis, cliffhangers, crisis, climax and denouement.

Plot as defined by various scholars

According to Abrams (1993 : 137):
The plot in a dramatic or narrative work is the structure of its actions, as these are ordered and rendered toward achieving particular emotional and artistic effects. From this definition, plot and structure appear to be synonymous. As regards drama,however, one will retain the term plot although structure is sometimes used. This is the reason which has compelled the researcher to use both plot and structure on the title of this chapter. From Abrams definition above it is apparent that the term plot involves the storyline of a play.
Smiley (1971 : 43) provides yet another interesting definition of plot. He writes:
Structured action is plot in drama. Since every play possesses some sort of organization, all plays have plot. The organization of a play is plot. On the other hand Reaske ( 1966 : 35) explains plot as follows:
Plot is the central aspect of all drama, for drama is primarily concerned with what happens. Plot is basically another term for structure, the difference being that when we discuss plot we more or less are committed to discussing everything that happens in the play.From the quotations above it is clear that plot is structured action and that plot is seen as a central aspect of drama. It suffices to say that without plot there can be no drama. Boulton’s (1975: 45) definition gives more information about the phases that the plot undergoes:
A plot has a beginning which leads through a middle to end; it makes some kind of pattern : the probability must appear not only in events, but in their sequence. Plot could be understood as those peculiarly arranged events in which a protagonist and/or other characters around him are involved. The events can follow each other chronologically or achronologically. The dramatist is not bound by any rule to strictly adhere to a particular sequence. When one talks about plot in a drama, one implies a unity and arrangements of events. Ash’s (1985: 25) definition has more to do with the listeners than plot for plot’s sake and besides his comparison with visual drama makes it even more interesting. He writes:
Plot has even greater importance in radio drama than in visual drama. It is the storyline that the ‘blind’ listener holds on to like a thread through a labyrinth. The trailed storyline is what the listener first grabs in order to become involved in the play and it leads that listener through a succession of scenes to the play’s climax.
Horstmann (1988: 25) puts her abridged definition of plot as follows:
The plot is the sequence of events which take place in the action. Horstmann’s definition concurs with the definitions of the various scholars which emphasize sequence of events in a plot. Hodgson ( 1988 : 282) defines plot as:
Causal narrative sequence of events which forms the basis of a play. It normally involves a hero faced by an obstacle which he surmounts or fails to surmount. Hodgson confirms the definition of Horstmann and other various scholars that the plot has sequence of events. He further describes the structure of that sequence of events in that they involve a hero faced by an obstacle which he surmounts or fails to surmount.Hodgson confirms the definition of Horstmann and other various scholars that the plot has sequence of events. He further describes the structure of that sequence of events in that they involve a hero faced by an obstacle which he surmounts or fails to surmount. Aristotle in Hodgson (1988 : 284) A plot has a beginning, middle and end. It has certain length and the events are all related.

Declaration
Acknowledgements
Abstract
Chapter 1 General Introduction
1.1 Introductory perspectives
1.2 Aim of study
1.3 Scope of the study
1.4 Definition of concepts
1.5 Method of research
1.5.1 Fieldwork
1.6 Approaches to the study
1.6.1 Structuralism
1.6.2 Semiotics
1.6.3 Reader response
1.6.4 Reception theory
1.6.4.1 The dramatic communication process
1.6.4.2 The readers reception of the written text or play
1.6.4.3 The fictional level in the play
1.6.4.4 The performative level in the play
1.6.4.5 The listener’s reception of the radio play
1.6.4.5. l Representative level
1.6.4.5.2 Emotional level
1.6.4.5.3 Intellectual level
1.6.4.5.4 Aesthetic level
1.6.5 Didascali
1.6.5. l Title
1.6.5.2 List of characters
1.6.5.3 Play directions
1.6.5.4 Character
1.6.5.5 Visual infonnation
1.6.5.6 Physical appearance
1.6.5.7 Facial expressions
1.6.5.8 Gesture and movements
1.6.5.9 Audia! information
1.6.5.10 Space
1.6.5.11 Time
1.6.6 Intertextuality
1.6.7 The historical-biographical approach
1.6.7.1 The biographical sketch
1.6.7.2 Academic books
1.6.7.3 Articles
1.6.7.4 School manuals
1.6.7.5 Papers read by Ntuli
1.6.7.6 Literary awards
1.6.8 Concluding remarks on approaches of study
1.7 Historical background in the development of Zulu radio serial drama and Ntuli’s position in and contribution to it
1.7.1 List of radio serial dramas
1.8 Previous research studies in African Languages on radio drama : A review
1.8.1 Doctoral thesis
1.8.2 Masters dissertations
1.8.3 Honours article
1.8.4 Articles in journals
1.9 Conclusion
2 Plot Structure of a Radio Trilogy
2.1 Introduction
2.2 Plot as defined by various scholars
2.2.1 The beginning
2.2.2 The middle
2.2.3 The ending
2.3 Aspects of the plot
2.4 Plot structure of a radio drama trilogy
2.5 Theories of drama trilogy
2.5.1 Hitchcock’s theory of drama trilogy
2.5.2 Bakhtin’s theory of drama trilogy
2.5.3 Asimov’s theory of drama trilogy
2.5.4 Norris’s theory of drama trilogy
2.6 Analysis of the plot structures of Isivumelwano; Isivumelwano Esisha and Ngenxa Yesivumelwano
2.6.1 Analysis of Isivumelwano
2.6.1.1 The title
2.6.1.2 The beginning
2.6.1.3 Open and closed perspective of the plot
2.6.1.4 The flashback
2.6.2 The narrator
2.6.2.l Ntuli’s exposition
2.6.2.2 The body
2.6.2.3 Rising action
2.6.2.4 Conflict
2.6.2.5 Complication
2.6.2.6 Unity
2.6.2.7 Cliffhanger
2.6.2.8 The ending
2.7 An analysis of Isivumelwano Esisha
2.7.1 The title
2.7.2 The beginning
2.7.3 The body
2.7.4 The ending
2.8 An analysis of Ngenxa Yesivumelwano
2.8.1 The title
2.8.2 The beginning
2.8.3 The body
2.8.4 The ending
2.9 Conclusion
Chapter 3 Characterization of Radio Trilogy
3.1 Introduction
3.2 Approaches to the analysis of the dramatic character
3.2. l The psychological approach
3.2.1.1 The character’s own speech and actions
3.2.1.2 What other characters say about this character and how other characters behave towards him or her
3.2.1.3 Foreknowledge about a character
3.2.1.4 Information about a character
3.3 The character and actor relationship
3.3.1 Actor
3.3.2 The narrator
3.4 Methods of characterization
3.4.1 Direct definition
3.4.2 Indirect presentation
3.4.2.1 Action
3.4.2.2 Speech
3.4.2.3 External appearance
3.4.3 Critical comments on the psychological approach and the dramatic method
3.5 Types of characters
3.5.1 Round characters
3.5.2 Flat character
3.6 Kinds of characters
3.6.l Hero
3.6.2 Villain
3.6.3 Foil
3.7 Characterization analysis in Jsivumelwano
3.7.1 Khumalo
3.7.2 Thembisile
3.7.3 Mongameli
3.7.4 Hade be
3.7.5 Celi we
3.7.6 Hlengiwe
3.8 Foils
3.8.l Sibiya
3.8.2 Ikhehla
3.8.3 Isalukazi (UMaQwabe)
3.8.4 Gaster and Lucy (Intombi 1 and 2)
3.8.5 MaBhengu
3.8.6 Gegedla
3.8.7 Nancy
3.8.8 Johannes
3.8.9 Mr and Mrs Mkhwanazi
3.8.10 Owesifazane 1-3 (MaNcube, Mankonkoni and Mrs Mkhwananzi)
3.8.11 Dokotela
3.8.12 Zimbili and Nonhlanhla
3.8.13 Dalton
3.8.14 Umsakazi
3.8.15 Amazwi (voices)
3.8.16 Zwane
3.8.17 Indoda (a man)
3.8.18 Mhlengikazi (nurse)
3.8.19 Buthelezi
3.8.20 Sithandwa
3.8.21 Umxoxi
3.9 Self-delineation of dramatis personae
3.9. l Khumalo
3.9.2 Thembisile
3.10 Dramatis personae delineation by means of fellow-dramatis personae
3.10. l Khumalo
3.10.2 Thembisile
3.11 Dramatis personae ofNtuli’s radio trilogy
3.12 Conclusion
Chapter 4 Perspectives on theme of the Radio Trilogy
4.1 Introduction
4.2 The a-perspectival and closed perspective with regard to theme
4.3 Open perspective
4.4 Different methods of presenting the theme
4.5 Types of themes
4.5.1 Theme as subject matter
4.5.2 Theme as a statement
4.6 The contributions of a theme
4.7 The nature of themes
4.8 Finding a theme
4.9 Approach to be adopted in the delienation of theme in Ntuli’s radio trilogy: lsivumelwano, lsivumelwano Esisha and Ngenxa Yesivumelwano
4.9.l Isivumelwano (Covenant or Agreement)
4.9.2 Isivumelwano Esisha (New Covenant or Agreement)
4.9.3 Ngenxa Yesivumelwano (Because of an agreement)
4.10 Biblical allusions
4.11 Conclusion
Chapter 5 Dialogue in a Radio Trilogy
5.1 Introduction
5.2 Dialogue, duologue and monologue
5.3 Dialogue
5.3.1 Dialogue, character and action
5.4 The functions fulfilled by dramatic utterances
5.4.1 Referential function
5.4.2 Phatic function
5.4.3 Appellative function
5.4.4 Emotive function
5.4.5 Metalingual function
5.4.6 Poetic function
5.5 Primary purposes of dialogue
5.5.l Giving information
5.5.2 Moving the story forward
5.5.3 Revealing present mood and emotional state of characters
5.5.4 Creating atmosphere
5.5.5 Showing attitudes and conflicts
5.5.6 Building up character suspense
5.5.7 Sustaining listeners interests and curiosity
5.5.8 Word order patterns
5.5.9 Climax and bathos
5.5.10 Effective pauses
5 .5.11 Occupations and age-groups
5.5.12 Sentence lengths
5.5.13 The interrupted speech
5.5.14 Overloaded speeches
5.5.15 Handling several characters at once
5.6 The functions of dialogue
5.6.1 It conveys plot
5.6.2 ll conveys theme
5.6.3 It reveals characters
5.6.4 It enhances tension and suspense
5.6.5 It narrates a story
5.7 The nature of dialogue as a characteristic of the dramatic action
5.7.1 It is poetic
5.7.2 Silences and pauses
5.7.3 It is full of wit and originality
5.7.4 In drama speech is particular to certain characters
5.8 The characteristics of good dialogue
5.8.l Informal words
5.8.2 Contractions
5.8.3 Simple sentences
5.8.4 Incomplete sentences
5.8.5 Short speeches
5.9 Dialogue appropriate to the character and mood
5.9.1 Content
5.9.2 Word choice
5.9.3 Sentence structure
5.9.4 Rhythm of the speeches
5.9.5 Dialogue should advance the story
5.9.6 Suspense
5.10 Conflict
5.11 Conclusion
Chapter 6 Style of Radio Trilogy
6.1 Introduction
6.2 Definition of style
6.3 Elements of style
6.3.l Sentence
6.3.2 Paragraph
6.4 Different types of styles
6.5 Diction
6.5.1 Language and style
6.6 Analysis of style in Isivumelwano; Isivumelwano Esisha and Ngenxa Yesivumelwano
6.6.1 Analysis of style in Isivumelwano
6.6.1.1 The word
6.6.1.2 Interlarding
6.6.1.3 Repetition of expressions, words and phrases
6.6.1.4 Parallelism
6.6.1.5 Frequency
6.6.1.6 Singulative
6.6.1.7 Iterative
6.6.1.8 Synthesis
6.6.1.9 Dilatation
6.6.1.10 Imagery
6.6.1.11 Simile
6.6.1.12 Metaphor
6.6.1.13 Personification
6.6.1.14 Symbolism
6.6.1.15 Figurative language
6.6.1. I 6 The usage of proverbs in Isivumelwano
6.6.1.17 The usage of idioms in Isivumelwano
6.6.1.18 Biblical allusions
6.6.1.19 Influence of folklore on Isivumelwano
6.6.2 An analysis of style in Isivumelwano Esisha
6.6.2.1 The word
6.6.2.2 Interlarding
6.6.2.3 Repetition of expressions, words and phrases
6.6.2.4 Frequency
6.6.2.5 Synthesis
6.6.2.6 Dilatation
6.6.2.7 Imagery
6.6.2.8 Simile
6.7 Conclusion
Chapter 7 Conclusion
7.1 Introduction
7.2 Summary and observations
7.3 Future research