ABSTRACT
Children engage in dramatic play with siblings and peers every day. They place themselves in another reality, another world—the world of characters like Pandabear Pebbles and Doggy Fun. They create some realities and everything that occurs in them, and they have the power to feel what characters feel, to let them talk, to create dialogues. Dramatic dialogue gives form to imagining space, and the use or the possible use of that space, through information within dialogue and through the way movement in dialogue is constructed. This chapter describes why and in which way the most important information in dramatic texts comes from the structure of the rhythm of movement in dramatic dialogue. The rhythm in a dramatic dialogue can be made visible through segmenting the text into beats, marking the rhythm of the text, like phrases in music. The importance of studying acts of violation of the postulates in dramatic dialogue is almost self-evident.
