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Home > English > Standard > Module A: Experience Through Language > Elective 2: Dialogue > Elective 2: Dialogue

Module A: Experience Through Language

Elective 2: Dialogue

This unit has been prepared by Cathy Sly of Barrenjoey High School.

In this elective, students explore the nature of speech and how speech is represented in a range of texts. Students will examine one prescribed text, in addition to other examples of spoken language in their lives, to explore the uses and conventions of dialogue and its interpersonal nature, who controls the conversation and whether certain voices are silenced. In their exploration of spoken language, students develop an understanding of the difference between written and spoken language.

Students will choose one of the following texts as the basis of their further exploration of dialogue.

Drama

• Harrison, Jane, Stolen, Currency, 1998
• Williamson, David, The Club, Currency, 1978

Poetry

• Dawe, Bruce, Sometimes Gladness, Collected Poems 1954-1997 (5th edition) Longman, 1997, ISBN 0733900739
  'Up the Wall', 'Weapons Training', 'Pleasant Sunday Afternoon', 'Big Jim', 'Bedroom Conversations'

What is dialogue?
Poetry: Komninos by the Kupful
Drama: The club
Drama: Stolen

What is dialogue?

Definitions
Devices
Verbal and non-verbal signals

Definitions

According to the Macquarie Dictionary “dialogue” embraces a number of definitions including:

• conversation between two or more persons
• the conversation between characters in a novel, drama etc
• an exchange of ideas or opinions on a particular issue
• a literary work in the form of conversation.

In each of the texts set for study as a part of this elective you will encounter communication through one or more forms of dialogue as outlined in the definitions above.

Dialogue involves both speakers and listeners who exchange ideas with one another. A speaker may be both the writer of the text and the persona or character(s) created by the writer. In some instances the listeners may be other characters in the text. The listeners can also be the audience, either directly or indirectly.

Register

In order to communicate ideas effectively speakers must be aware of their audience and use a register (level of language) appropriate to their content (what they are speaking about) and their audience (who they are speaking to).

Style of language often tells us a good deal more about the speaker than merely what is being spoken about. The language tells us about:

• the speaker
• the listener
• the immediate circumstances
• the social, cultural, political, and historical context.

Activity

Tune in to day-to-day conversations between people perhaps on the bus, on the train, in a shop or in a café. See what you can deduce about the backgrounds and circumstances of the speakers.
English playwright Harold Pinter claims to have gathered much of the dialogue for his plays in this manner.

Devices

There are many devices used in everyday spoken language (often without much conscious thought) that help convey messages. Here are some you should be familiar with:

cliché	a phrase or expression, originally meaningful, that has become worn-out through overuse
colloquial language	everyday spoken language that uses informal structure and vocabulary
coloured language	highly emotional words used to persuade a listener
irony	a form of mockery in which the speaker implies the opposite of what is actually said
jargon	technical or specific terms that relate to a particular group or field of interest
mood	feelings or emotions conveyed by the words spoken and the tone used by the speaker
sarcasm	in spoken language such cutting remarks are conveyed by tone of voice
slang	The most informal level of language in which words and expressions are used to suggest other meanings
tone	the pattern of pitch and stress in spoken language that conveys a speaker’s feelings to the listener

Verbal and non-verbal signals

In addition to a range of devices spoken language involves other verbal and non-verbal signals conveyed by the speaker.

Verbal signals include:

• volume
• pace
• intonation
• pauses

Non-verbal signals include:

• stance
• eye contact
• facial expressions
• gestures.

The verbal and non-verbal signals (mentioned above) give spoken language some advantages over written language. The latter has to rely on a number of rules governing such aspects as structure, punctuation, grammar and spelling in order to convey its meaning effectively.

Although the plays and poetry set for study are written to be spoken, they are also (in their textual form) examples of written language. In order to relate their messages to actors or readers who will perform these pieces, the writers make use of structural aspects in order to express the content as spoken language.

Activity

Listen to spoken language in different situations and consider how and why it differs from one context to another. Here are some examples of spoken language you might include:

• a newsreader (TV or radio)
• characters in a TV “soapie”
• recorded messages on telephone services
• different advertisements (TV or radio)
• talkback radio programs
• talking books (novels on cassette tapes or CD)
• shopping centre announcements.

Experiencing a play or poetry in performance is obviously quite different from reading them. It is necessary to learn to “read with your ears” and acknowledge the ways in which the written structure gives clues to its intended audio and visual communication.

In plays, for example, the name of the character speaking is noted before his or her direct speech. Stage directions, punctuated pauses and sometimes tone of voice may be included in a playwright’s directions. With poetry, its form, structure, rhythm and word choice give clues as to how it should be spoken.

Activity

Select a segment of a play or poetry you are studying and read it aloud, in different voices and tones. Which do you think best captures the writer’s intent?

Poetry: Komninos by the Kupful

Komninos, Komninos by the Kupful, University of Queensland Press, 1994
The poems set for study are ‘hillston welcome’, ‘eat’, ‘drunken dialect’, ‘diary of a residency’, ‘thomastown talk’.

Overview
Elements of speech used in the poetry
Exercises
Discussion topics
Essay question
Assessment task ideas

Overview

Komninos Zervos is a contemporary Australian poet. Born in Melbourne in 1950, Komninos has been involved in many jobs and learning experiences along the way to becoming a professional poet. Apart from writing poetry, he is a performance poet, a cyberpoet and a teacher of poetry writing. His accessible poetry and adaptation of the poetic form to multimedia production have led to the creation of very exciting work that is highly relevant to our day and age. Biographical information is available on Komninos .
Through his use of the Internet, Komninos has created cyberpoetry which is computer generated. It makes use of voice, sound and animation to convey moods, feelings and issues in a dynamic form of poetry.

Samples of his work can be found by accessing the following sites:

• Cyber Poetry

Elements of speech used in the poetry

Komninos uses colloquial language, often including a good deal of contractions and slang, to convey his messages through his poetry. Apart from his own voice, he often creates different “voices” or personae as speakers within a poem. He uses language, form and rhythm to capture the nature of his speakers.
Komninos frequently uses a rapid fire, rap style of delivery in the pace of his poems. Through this he captures the rhythm of modern day life and the impact of media images that have become so much a part of our lifestyle.
He uses language concisely to create a host of verbal images that are readily identifiable. His pauses, changes of pace and often ‘echoing’ silences at the end of a poem are equally as important as the words. They give time for reflection on what has been said.

Exercises

Here are some questions to help you focus on the language in particular poems.

‘hillston welcome’

1. Who do you think the persona might be in ' hillston welcome'? What is it about the language that suggests a character to you?
2. What technique is used by Komninos to show that the listener in the poem has answered the question “so what are ya?”?
3. From the language what do we learn about the speaker in ‘hillston welcome’?

‘eat’

This poem involves different voices in situations remembered by the poet.

1. How does he use language to present these different characters?
2. Why does the form of the poem change after the first three stanzas?
3. How does the speaker emphasise his large size in stanza 9 beginning “I was called tubby and chubby...”?
4. The poet manages to create a good deal of humour discussing a rather sensitive subject. How does he manage this?

‘drunken derelict’

1. What is the main comment being made by the poet?
2. In what way might the poem be seen as ironic?
3. What is the poet criticising in this poem?

‘diary of a residency’

This is a journal written in poetic form. It uses an economy of words to portray a good many events and interchanges with other people.

1. How does Komninos use language to present the range of characters mentioned in his diary?
2. In what ways does the language of those in authority differ from that of the inmates of the boys’ home?
3. In his entry for Day 2 how does the poet express the tediousness of the meeting?
4. In the entry for Day 8 Komninos includes Zeik’s poem:
   
   “rain
   rain
   coming down on me.
   piss off!
   or I’ll smash ya!”
   
   Can this be considered a poem? Why or why not?
   
   
5. Compare the tone of the entries for Day 14 and Day 15. In what ways do these differ?
6. What does the poet suggest he needs for himself at the end of the journal? Why do you think he might feel this way?

‘thomastown talk’

1. What type of character is the speaker in this poem? What makes you think this?
2. What is the significance of the repetition of the word “mate” throughout the poem?

Discussion topics

1. Poetry is music in words.”
   Discuss this statement considering different styles of music and poetry.
2. Is there any real value in performance poetry and cyberpoetry?”

Essay questions

1. Komninos believes that poets are “observers of life”. With reference to two of his poems set for study explain what he means by this comment.
2. Komninos uses a range of verbal images to create feelings and impressions about his subjects. Explain how he does this in two or more of his poems set for study.

Assessment task ideas

1. Create your own performance poem and perform it. Here are some suggested titles:
   
   Rain
   Spinach
   Washing up
   Feeding the dog
   Studying
   TV ads
   Racing
   
   
2. Create a multimedia poem using any of the following: words and pictures on paper, computer generated words and pictures, recorded words and sounds, or movement, sound and words.

Drama

The club by David Williamson

Overview
Language
Activities
Assessment task ideas

Overview

David Williamson is a popular Australian playwright. He was born in Melbourne in 1942. Since his first full-length play, The Coming of Stork in 1970, Williamson has many plays to his credit. As a playwright he deals with significant contemporary issues and his works have gained him a strong reputation as a social commentator. Biographical material and other links can be found at Wikipedia.

The Club premiered in 1977 and focuses on the interpersonal politics of the administrators and players in an Australian Rules football club. The action reveals a powerful conflict between those who are loyal to the old traditions of the club and the new opportunists who are prepared to buy and sell players. Williamson’s witty, satirical humour captures the essence of power games that seem to be occurring more and more frequently in modern sports.

Language

In this play about a football club, Williamson uses language to suit the characters and the situation they are in. Throughout their dialogue the speakers make use of clichés, slang, expletives, rhetorical questions and Australian idioms.
While reading the play consider the effect of the many clichés used by the characters. Some examples of these are: “jump in boots and all” p.7; “thrash this out” p.8; “pretty dim view” p.9, “sick of pussyfooting around” p.10. Make a note of others you can find.
Note also the use of slang and expletives e.g. “ratshit”, “bastard”, “bullshit” Is this language appropriate in the context?
The use of names mentioned in this play also makes an important contribution to the nature of the language. Consider such names as Cheeta Ryan; Tubby Robinson; Lofty Bluett; Rabbit Rutherford. What is the significance of this way of referring to people by nicknames?

Activities

1. The World Series Debating programs produced by the ABC have an interesting debate titled Football is Stupid. Watch a video of this program and discuss the arguments presented and the language used. What type of audience is such a program aimed at?
   
   
2. Read Bruce Dawe’s poem Life cycle. What issues raised in the poem link with those in The Club? Are there any similarities in the language of the poem and the play?
   
   
3. “Sport is becoming too commercial.”
   Discuss with reference to issues raised in The Club and other recent examples you are aware of.
   
   
4. “Football is so stupid, not everyone can play. To qualify you have to wear a boot size bigger than your IQ. ... These are blokes who wear their names on the outside of their jumpers. ... blokes who secure their ears to their head with electrical tape.” (Wendy Harmer)
   What is the tone of Wendy Harmer’s comments on football? How might you respond to her agreeing or disagreeing with her comments in the same tone?

Assessment task ideas

1. Later in the play Ted Parker tries to get Laurie to retract his criticism of him that was published in the newspaper:
   
   Ted: What’re we going to say to the press?
   Laurie Just that we’re prepared to keep working with each other and that I’ve withdrawn my resignation.
   Ted: I’d like a bit more than that, Laurie. You called me autocratic in the press this morning. Don’t you think that calls for some sort of retraction?
   Laurie: The fact that I’ve said we can still work together will be more or less a retraction.
   Ted: No it won’t. All that it means is that you still think I’m autocratic but you’ve decided to grit your teeth and sit it out.
   Laurie: That’s not too far wide of the mark.
   Ted: Yes, well I want a bit more. I’ve got my pride. I want to say that we’ve had discussions, that several misunderstandings have been ironed out, and that we’re sure we can re-establish a fruitful and harmonious relationship.
   Laurie: Is it true?
   Ted: No, but it sounds good.
   
   What are the personal interests of each of the characters in this conversation? Who has the upper hand and how is this displayed in their dialogue? How does this conflict reflect some of the issues of the play as a whole?
   
   
2. Ted comments about the new player, Geoff Hayward saying:
   “The team’s made him feel as welcome as a blowfly at a butcher’s picnic.”
   Imagine you are a player on the team. Present your arguments to Ted and the other administrators as to why Geoff Hayward has been treated in this way in a two to three minute speech.
   
   
3. Jock’s advice to Laurie as coach is:
   “A good thump never hurt anyone. Let’s get the lad in here and thrash this thing out.”
   Imagine you are being interviewed for the job of coach of a team in this club. Both Jock and Laurie are on the interviewing panel. How would you express your philosophy of coaching in a two to three minute speech?
   
   
4. Write a news report on the most recent game played by the team in The Club.

Drama

Stolen by Jane Harrison

Overview
Language
Exercises and activities
Discussion topics
Essay questions
Assessment task ideas
References

 

 

 

 

 

 

 

 

 

 

 

Overview

This play traces the lives of five Aboriginal children, two males and three females, who are forcibly removed from their families. These innocent representatives of the stolen generation are raised in an authoritarian children’s home devoid of their own cultural traditions.

Cameos of past and present experiences of each of the characters are melded into a didactic dramatisation. An acute sense of alienation and despair is conveyed through the frequent use of monologues, interspersed with dialogue and counterbalanced by reverberating sounds and off-stage voices.

The main characters at times assume the roles of to a range of other characters who have had an impact on the lives of the protagonists.

Compelling characters, a range of exciting dramatic techniques and carefully constructed dialogue create a sensitive, moving play

Language: elements used in the play

Stolen is a compact play that makes a very efficient use of spoken language. It contains all aspects of dialogue as outlined in What is dialogue At times the characters speak to one another, often they speak directly to the audience, they express ideas and opinions at different stages of their lives.

Throughout the play the language is simple and direct. It succinctly captures the tone of the speakers. It integrates such elements as:

• Aboriginal words - “the Mungee” (monster that steals children); “yurringa” (the sun) p.11; “banga” (old wind) p.24
  
  
• racist slang - “Ya bloody mongrels” p.7; “you black dog” p.15; “dirty Abo” p. 26; “dirty nig-nog” p.35
  
  
• incorrectly constructed English - “ I haven’t done nothing wrong.” p.4; “Mum didn’t steal it or nothin’ like that.” p. 21 "kid- speak" (the way children talk) - “I wanna go home”, “When’s my mum gunna come for me?” p.12; “He gave her a pitcha book.” p.17

Exercises and activities

1. Compare Sandy’s speech on A Can of Peas pp. 21-22 and his speech on Desert Sands pp.24-25
   1. How does the language Sandy uses differ in these two speeches?
   2. What is the tone of each?
   3. Find specific elements of language used in each of these speeches that help convey the speaker’s intent.
      
      
2. Read the section spoken by the Englishwoman pp.15-16
   1. What does the language she uses tell us about her character?
   2. Select some phrases that help to convey her particular character.
      
      
3. Consider the dialogue used by some of the minor characters in the play e.g. Anne’s “father” p.6; Authority Figure p. 26; Man pp.28-29, and explain how language is used to capture the nature of these characters.

Discussion topics

1. Consider the following definitions and explain how each of these can be applied to Jane Harrison’s Stolen.
   According to the Macquarie Dictionary “dialogue” embraces a number of definitions including:
   • conversation between two or more persons
   • the conversation between characters in a novel, drama etc.
   • an exchange of ideas or opinions on a particular issue
   • a literary work in the form of conversation
     
     
2. Through brief segments of conversation Harrison manages to express a great deal. How does she do this?
   
   
3. In what ways does the dialogue of the characters depict their stages of childhood, their teens, or as adults?

Essay questions

1. Different types of “dialogue” can be observed in Jane Harrison’s play Stolen. Explain some of the different ways this playwright uses dialogue to convey her messages effectively.
   (In doing this task, the following outcomes will be achieved: 1,3, 4, 6, 7, 8, 10)
   
   
2. How do the voices and dialogue of the minor characters in Jane Harrison’s Stolen enhance the drama?
   (In doing this task, the following outcomes will be achieved: 1, 3, 4, 6, 7, 8, 10, 11)
   
   
3. Compare the dialogue of the character Anne, in Jane Harrison’s Stolen with the dialogue of one of the other major characters. In what respects and why do they differ?
   (In doing this task, the following outcomes will be achieved: 1, 3, 4, 6, 7, 8, 10)

Ideas for assessment tasks

1. The content of the following two extracts is similar. Compare the use of language in each of these extracts and explain how it differs and the effect these differences have.
   (In doing this task, the following outcomes will be achieved: 1,3, 4, 7)
   Extract 1. from Stolen by Jane Harrison
   Jimmy: They kept saying she was dead...
   Echo of voice-over saying ‘Your mother’s dead.’
   “... but I could feel her spirit. Mum was alive and I waited and I waited and waited for her to come and get me, to take me home. I was just a little tacker, for God’s sake... dear Mum, forgive me. I have sinned. I’ve been a thug and a thief - but I’ve never stolen anyone’s soul... Oh, Mum, why couldn’t you have lived a bit longer just so I could meet you? I waited so long.” (Stolen p.36)
   Extract 2. from The Stolen Children their stories. Edited by Carmel Bird
   “I wept silent bitter tears at my mother’s funeral. I wept for the five children, I wept for the mother I never knew, I wept for the question I never had the courage to ask her when she was alive: ‘Did you ever love me, even just a little, in the short time we were together?’ I left my mother’s graveside eighteen months ago, I never went back. I think the time has come for me to return soon, after all she is my mother and who am I to judge so harshly. Whatever crimes were committed we didn’t deserve life sentences, a sentence I still serve today. Thirty-eight years on. When I lie awake at night and the dark memories come colliding in on me, I keep seeing a scene in my mind of a woman crying at the end of my bed. I can’t see her face in the darkness, is it her? My sister seems to think so, she said our mother cried a lot when we were young. Is it a memory trying to break through.”
   
   Murray’s Journal - p.50
   
   
2. Read Stolen pp.14-15 where Anne is told she is Aboriginal. Compose a letter Anne might write to her Aboriginal mother now she has found out the truth about her background.
   (In doing this task, the following outcomes will be achieved: 3, 4, 7 )
   
   
3. Make a close study of one of the major characters in Stolen. Imagine you are that character and you have been asked to speak on a radio program about your life. Prepare and deliver a 5-8 minute speech about yourself.
   
   
4. With one or two other students select a section from the play Stolen and prepare this for performance as a dramatic reading.

References

Social Justice: Stolen Children Report (Personal Tales)

The Pain of a Lost Childhood (and other links to personal stories)

Books:

The lost children. Edwards, Coral & Read, Peter (ed.) Doubleday, 1989

The stolen children their stories. Bird, Carmel (ed.) Random House, 1998

Bringing them home. Human Rights and Equal Opportunities Commission, 1997

The stolen generations. Read, Peter NSW Ministry of Aboriginal Affairs - Occasional Paper No.1.

Return to Module A: Experience through language