Deborah R. Geis and S. I. Salamensky The Talking Stage: Drama's Mono-Dialogics
DramariC speech, as scriprcd, formalized talk, would appear inherendy dialogic-and may be, if more in Mikhail Bahktin's [han the camman sense of the ward. fu a model for cooversadonai edqucnc, it is less [han ideal. As in our everyday talk, one characrcr may command more linguisric space than anmher presem on stage. He or she mayaiso speak alone on stage. or-within or without a conversant's hearing-direcdy address the auclience. FurcheT, the presence of auclience members, posed as (usually silent, usually unacknowledged) interlocutors, fenders any dialogical relationship, on stage, a "trialogical" Olle, and cven theorizing the audience itself as "one" body is problematic. Imricate theauical, narrative, and episremological quesrions arise from ralk-acrors', as weIl as our own-that goes less, or more, rhan t\Vo ways. Much has been wrinen on avanr-garde theater's employments of multiple and/or marginal voices. Yer even ar its most traditional, dramaric talk contains multitudes.