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Chapter 3 Character and Consciousness in Drama

Abstract: This chapter examines the main parts of the playscript where characters and their consciousness are constructed. There is an obvious shift from an internalist, psychological viewpoint to an externalist, social one. The chapter begins with the existing theories of characterisation and discusses what is missing and how they can be made more compatible with a more cognitivist approach like Palmer's that also suits a genre like drama.

3.1 Character and Characterisation in Theatre Studies So Far

As explained in the previous chapter the main objective of my approach based on Palmer’s theory is to analyse the construction of the mentality of characters within the plays of Ibsen, Wilde and Shaw, and then to trace the premises of their interaction in the social setting of their storyworld. Since drama is prototypically an unmediated genre, the consciousness construction of characters is unravelled predominantly through their dialogue and action. Palmer finds fault with the prevalent internalist approach that the more traditional theories have regarding character and characterisation. He pleads for a more externalist view and regards all aspects of the character, psychological as well as social and outward actions as important. This chapter examines three different parts of playscripts where character construction happens: a) the dialogue that normally comprises the major part of playscripts, b) the stage directions and c) the introductory/explanatory passages. I will look at the existing theories regarding characterisation, briefly review them, discuss their shortcomings and suggest what could make them more compatible with my approach for this project. I will exclusively be dealing with playscripts and not the performance aspect of the play. Finally, I will briefly state the implications of such a framework for the discussion of group formation, intermentality and collective minds in drama.