Open a little 'book (or maybe browse a bit' of your writing) and try to divide the dialogues into categories. To begin with we hypothesize three, but taking into account that any division admits all possible intermediate varieties or gradations (ever seen two birds are exactly alike?) 1.Dialogo instrumental or informant.
2.Dialogo staff or forming.
3.Dialogo play / screenplay
Regarding the first two categories, the distinction is given in relation to the function of dialogue in the text. Informant fulfills mainly to alert, inform the reader of events that took place off stage. It is not a dialogue according to the dictionary definition of rhetoric, but a narrative form where the characters have replaced the omniscient narrator in making the reader aware of the facts essential to reading. The more pedestrian version of the dialog informing you that adopted by many science fiction writers of the forties Technology:
- as I am sure you will recall, Professor Heinechen - Johnny Karlsberg intervened - the disassembler ellissocardanico was invented in 2030 to defeat the evil-Bau Wow. It works on the principle of molecular breakdown inducible in a field elliptical through an energy cannon mounted on a gimbal ...
Professor. Heinechen knows what the disassembler ellissocardanico, when it was invented and how it works (even if it had a bit 'of autonomy instead of being a dummy character, he would know also that the pistolotto Johnny Karlsberg is absurd). But the reader, Boeotian and ignorant, must be informed in detail on the weapon.
Today, thanks to the patron god of readers, this kind of dialogue is no longer used (or not?). But
are useful dialogues like the following:
- We, has begun. - Rob announces entering a precipice in the study of Magda. - People really can not anymore. He is gathering in front of supermarkets and shopping centers, just as Henry provided the other night.
- The other month, after yet another increase in gasoline she, did casino - Magda continues to decorate the leather bag lady commissioned by Biamonti, - but then swallowed it all, as usual.
- Yes, but this time is different. At SMS wide Savoy broke through the turnstiles e razziato gli scaffali.
– Gesto isolato di pochi facinorosi – Magda sorride storto e imita alla perfezione il tono saccente dello spaccianotizie della Mediamed.
– No, è proprio cominciata. Sono disordini di piazza, non gesti isolati, non è escluso che facciano intervenire l’esercito.
– E chi lo dice che è cominciata?
– Mah. – Nel tono allarmato di Rob s'infila una sottile soddisfazione. – I tuoi occhi, per esempio… – Indica la finestra con un cenno discreto della mano.
Magda si alza di scatto, raggiunge la finestra, scosta la veneziana. Il primo blindato lince svolta dal viale e subito viene circondato da decine di persone a svolto scoperto. Per un attimo tutto tace, come congelato nel tempo, poi parte la prima molotov.
Scegliendo la parte del narratore onnisciente potevo evitarmi il dialogo, naturalmente:
Nel primo pomeriggio la folla si radunò, ben decisa a sfondare le saracinesche del Mall. Impazienti e rabbiosi, non riuscendo a spuntarla contro le chiusure di sicurezza, percorsero il grande viale urlando slogan, poi si sparsero nelle vie intorno, giungendo proprio sotto il laboratorio di Magda. Era gente comune, impiegati, pensionati, piccoli esercenti condannati alla chiusura dalla crisi. La collera per l’ingiustizia patita li sorreggeva: non indietreggiarono nemmeno di fronte al blindato lince inviato in segno di avvertimento su richiesta the mayor.
But immediately jumps to the eye (and ear) that the description is boring and ideological, while the dialogue creates a growing tension, it makes things happen live.
The third category is largely spurious and intended to indicate the dialogue here in which the incisors do not reveal the thoughts of the characters but their actions and attitudes and then they could be replaced with instructions of the scene (walking back and forth - it wrings his hands - continues to play with the unlit cigarette - embraces his friend supporting him ...).
The theater is essentially forming and informing only episodically. In this case, the category applies to the form-dialogue rather than to its meaning nel testo.
Ma è la seconda categoria a rappresentare il dialogo per eccellenza, quello in cui due personaggi, mossi da scopi diversi, comunicano influenzandosi vicendevolmente. Al termine del dialogo formante si dovrebbe poter affermare che i due hanno maturato una visione del mondo leggermente diversa da quella che avevano all’inizio. Parlando i due personaggi si svelano all’altro e a se stessi (e a chi legge). Proprio come accade nella vita reale, può accadere loro di scoprire il proprio pensiero parlando. Il dialogo formante permette di definire appieno i loro caratteri; non solo, costituisce una forma di azione e mette il lettore di fronte alla possibilità di schierarsi (con uno dei due) o di maturare sua volta un punto hybrid view.
I remember that during a meeting agitated student in high school, a courageous and consistent (now I can recognize) a professor of philosophy said, "we dialogue to uncover the truth." Then I thought the typical shot of a maverick teacher. I was wrong. That sentence led me patience and taught many times, while discussing with my daughter or my students. And often I am reminded as I write and I read. That's the time to become merciless or dialogue that I wrote is merely informing or must leave the characters (and me) a bit 'different from the beginning.
Or is useless, only serves to fill a page. Better delete it.
Beyond the categories of convenience, often effective dialogues are placed straddling the three categories, but at the same time forming informants, describing the psychology of dialogue partners and full of action and movement.
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