ABSTRACT
The potential compatibility between printed fiction and stage drama acquires another dimension when considered from the perspective of visual culture. Whilst sentimental affect can be captured in, for instance, the broken syntax of a character’s speech and their actions – whether described in words or acted out on-stage – the graphic composition of the text allows the author to indicate where and in what manner such responses should take place, using (for instance) dashes to signal aphasia. Yet typography can be used to convey a wide array of ideas and effects, and to incite an equally diverse response from the text’s viewer and handler.
