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Throughout history numerous playwrights have brought about many contributions to the theatrical world As I have discovered throughout my three semesters of Dramatic Literature playwrights have different approaches to theatricality Some of the plays we have read seem like gibberish when being read but when acted out fly by the seat of their pants with comedy Other plays were phenomenal to read but hard to envision on stage This is partly due to the different approaches in theatrical language In Corrigans book The World of the Theatre he lays the ground work for the use of language in successfully writing a play Corrigan states in order for a playwright to be successful they must have four essential qualities of theatrical language present in their work These four qualities are character consciousness while developing action eloquence use of gestures and the quality of presencesCorrigan 230 In this paper I will discuss these four qualities of theatrical language and provide examples of their theatrical success through the works of Arthur Miller and Samuel Beckett The first quality of theatrical language is to reveal the consciousness of the character while concurrently developing the action Corrigan discusses the importance of maintaining a balance between the development of the plot and the characters internalization of their personal actions If a play has too much action it loses value because there is no meaning behind the characters action In doing so the characters become mere puppets of the plot If there is consciousness of the character self and not enough action the audience becomes bored and loses interest in the play Waiting for Godot is a prime example of the balance between characters consciousness and action At first it seemed both action and character consciousness were missing from this play However as the play developed the characters became more conscious of their actions and existence I dont think the characters were ever conscious previously of their
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