ABSTRACT
Good drama* is never an essay, a lecture, or a straight narrative. It is always cause and effect, action and reaction, even when no physical activity is involved. A good dialogue scene is rarely a straight interchange of declarative lines or overt plot exposition, no matter how brilliantly written; i t contains conflict, surprises, "twists," and "food for thought"—something for the actor, as well as the viewer, to ruminate.
