Verbal communication and the dramatic figure

Language is critical in the portrayal and characterization of dramatic figures, although not the only means of characterization. There are other non-verbal signs, such as costume, body-attitude, mask, facial expressions, etc. If we concentrate on linguistic portrayal, we notice that there is a super-imposition of the poetic upon the expressive function. In other words, the poetic function more or less determines the form of the utterances while the expressive function determines the content of the utterances.

In naturalist theater, each figure is associated with its own verbal style and although this idea is not really novel for it can be traced as far back as Shakespeare. It can also be stated that when linguistic homogeneity occurs, the poetic function predominates; when linguistic differentiation occurs, the expressive function predominates.

If we want to analyze the idiosyncrasies of a certain character, that is if we want to learn of his/her the psychological and sociological make-up, and how that make-up is represented linguistically, a sensible strategy would be to subtract from a figure's linguistic and stylistic inventory all the utterances that they share with other figures. In other words: to take into account the deviations from the linguistic repertory of the other figures.

To show how this can be done I shall now analyze the portrayal of the main figures (protagonists and antagonists) of Sweeney Todd. In this analysis I shall attempt to shed some light on the linguistic and musical elements that are used to portray these figures.