Methods of

Characterization in Drama

Characterization
In order to understand dramatic characters,

we need to make empathic connection with

their behavior.
By connecting with their moment to
moment behavior we can find out who the
characters are, where they come from, and
what they are doing. At this point we can
refer to the characterization.

Here some devices of

characterization.

1. From name and physical

appearance of each character
(although this information is often
In the prologue or in the stage directions the
unreliable)

playwright often describes the name of the

character and the character in the physical sense.
We learn from these stage directions what the
character looks like and probably how he dresses;
when a character walks onto the stage, it is
obvious from, his appearance whether he is a
meticulous or sloppy person, attractive or
unattractive, old or young, small or large, etc. In
other words, in the mere appearance of character
we locate our first understanding of him.

2. Through the way a character speaks;

dialect, word choice, and grammar all

provide clues to a persons
background and intelligence.

E.g.

Othellos perfect soul is partially revealed through

his eloquence. On the other hand, Iagos idiomatic slang
marks him as a profane wretch in the very first scene of
the play.

Othello : My life upon her faith! Honest Iago,

My Desdemona must I leave to thee:
I prithee, let thy wife attend on her:
And bring them after in the best advantage. 655
Come, Desdemona: I have but an hour
Of love, of worldly matters and direction,
To spend with thee: we must obey the time.
(Act 1, Scene 3)
Iago :
I am one, sir, that comes to tell you your daughter
and the Moor are now making the beast with two backs.
(Act 1, Scene 1)
(Making the beast with two backs is a euphemistic
metaphor for two persons engaged in sexual intercourse.)

3. Through individuals patterns

of action over the course of the
playFor example, Hedda Gabler, in Henrik
Ibsens Hedda Gabbler, pacing is an
indication of her sense of suffocating
confinement in her role as a woman.

4. Through the way a character

responds to others
For example, in Shakespeares Othello, when
Brabantio seeks to arrest Othello, the latter avoids a
crisis with composure. Yet the violent temper of this
eminent soldier eventually surfaces.
Brabantio:
You evil thief, where have you hidden
my
daughter? You devil, youve put a spell on her!
Anybody with eyes could tell you that a beautiful and
happy young girl like her, whos refused to marry all
of the handsome young men of the city, wouldnt
run off with a black thing like you unless shed been
bewitched. Youre something to fear, not to love. Its
obvious to everyone that youve tricked her, drugged
her, or kidnapped her. Thats probably what
happened, so Im arresting you.Arrest this man as
a practitioner of black magic. Grab him. If he
struggles, use force!
(Act 1, Scene 2)

Through asides, soliloquies

We are likely to understand the characters best when

they speak in short asides or in longer soliloquies.
On these occasions the character is telling the audience
of his specific characteristics.
If he is villain, he usually explains his evil intentions or
at least his malicious hopes; if a lover, he offers poetic
statement of devotion, etc.

E.g. HAMLET :
To be, or not to be? That is the question
Whether tis nobler in the mind to suffer
The slings and arrows of outrageous fortune,
Or to take arms against a sea of troubles,

(Act III, Scene 1)

The Translation in Modern English:
The question is: is it better to be alive or dead? Is it nobler to put up
with all the nasty things that luck throws your way, or to fight against all
those troubles by simply putting an end to them once and for all?

6. Through hidden narration

One of the devices of characterization that
is frequently use is having one character
in a play narrate something about
another character. The narration is
hidden in the sense that it is not that
playwright's direct comment. (other
characters comment)