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Aside
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An aside is a dramatic device in which a character speaks to the audience. By convention, the audience is to realize that the character's speech is unheard by the other characters on stage. It may be addressed to the audience expressly (in character or out) or represent an unspoken thought. An aside is usually a brief comment rather than a speech, such as a monologue or soliloquy.
The aside was used by Ian Richardson's character Francis Urquhart in the 1990 BBC mini-series House of Cards, as well as by Kevin Spacey's character Frank Underwood in the 2013 Netflix original series of the same name.[1] It can be used to explain the often complex politics on the show, describe what the character's plans/emotions are or simply for humorous effect.
It was also used by Michaela Coel’s character Tracey in the Channel 4 comedy series Chewing Gum; and by the titular character in Fleabag, written and played by Phoebe Waller-Bridge.[2]
References
[edit]- ^ Zach Seward (May 10, 2013). "House of Cards' fourth wall". medium.com.
- ^ Hunt, El (2019-03-29). "'Fleabag' proves that Phoebe Waller-Bridge is the master of the monologue". NME.
Look up aside in Wiktionary, the free dictionary.
- Bevington, David (1962). From Mankind to Marlowe. Cambridge, Massachusetts: Harvard University Press.
- Cox, John D. and David Scott Kastan (Eds) (1997). A New History of English Drama. New York: Columbia University Press.
- Salingar, Leo (1972). Shakespeare and the Traditions of Comedy. Cambridge: Cambridge University Press.
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Aside
View on Grokipediafrom Grokipedia
An aside is a dramatic device in literature and theater in which a character delivers a short speech or comment directly to the audience, revealing inner thoughts, reactions, or secrets that are conventionally unheard by other characters present on stage.[1] This technique breaks the fourth wall momentarily, allowing the audience privileged insight into the character's mind while maintaining the illusion of the fictional world.[2]
Originating from classical drama, the term derives from Middle English a side, meaning "to the side," reflecting its roots in ancient Greek and Roman plays where characters would share confidential information with spectators.[3] The aside gained prominence during the Elizabethan era, particularly in the works of William Shakespeare, who employed it extensively to convey irony, foreshadowing, or character motivations, as seen in plays like Hamlet and A Midsummer Night's Dream.[4] Unlike a soliloquy, which occurs when a character is alone and speaks their thoughts aloud, an aside happens in the presence of other characters who pretend not to hear it, emphasizing its role in heightening dramatic tension or comic effect.[5] In modern adaptations, asides continue to appear in film, television, and contemporary theater to engage audiences directly, though their use has evolved with naturalistic staging conventions that sometimes render them subtler or more stylized.[6]
Definition and Etymology
Core Definition
An aside is a dramatic and literary device consisting of a brief monologue or comment delivered by a character directly to the audience, which remains unheard by the other participants on stage.[5] This technique allows the speaker to reveal private reactions, opinions, secrets, or judgments tied to the ongoing action, providing the audience with privileged insight into the character's mindset.[7] Distinct from a soliloquy, an aside is characteristically short and conspiratorial, often occurring in the presence of other characters who appear oblivious to it, whereas a soliloquy involves a longer expression of inner thoughts delivered when the character is alone on stage.[8] The aside's brevity underscores its role in quick revelations, fostering an intimate connection with the audience without halting the scene entirely.[5] Central features of an aside include its interruption of the scene's dialogue flow, the direct address that breaks the fourth wall, and the creation of a shared secrecy between the character and the audience, enhancing dramatic irony.[7] For example, a character might utter, Aside to audience: He doesn't know the full extent of her deception..., illustrating the device's concise, confiding nature.[5]Linguistic Origins
The term "aside" originates from Middle English asīde or on side, literally meaning "to the side" or "apart," with its earliest attested use in English dating to circa 1300. This initial sense conveyed a literal spatial positioning, such as something set off from the main body or direction, derived from the Old English elements on (indicating position or direction) and sīde (side). The construction parallels the Old French a costé, which similarly denoted "beside," "by the side," or "apart," reflecting shared Indo-European roots in concepts of lateral placement.[9] The noun sense "words spoken so as to be (supposed) inaudible" in a theatrical context was first recorded in 1727. Early lexicographical records captured this specialized meaning, formalizing "aside" as a dramatic term by the 18th century. For instance, it was documented in dictionaries of the period as words spoken in a play so as to be inaudible to other onstage characters, underscoring its integration into the lexicon of theater and literature.[9]Historical Development
Ancient and Classical Usage
In ancient Greek tragedy, precursors to the modern aside emerged through interactions between characters and the chorus, particularly in Aeschylus' Oresteia (5th century BCE), where characters directly address the chorus in ways that function as quasi-audience commentary, bridging the dramatic action and spectator interpretation. For instance, in Agamemnon, the chorus of Argive elders is invoked by Clytemnestra and others to reflect communal judgment on events like the Trojan War's aftermath, allowing indirect audience engagement without full fourth-wall breakage. This technique underscores the chorus's role as an intermediary, voicing societal norms and foreshadowing consequences, as seen in their blame-shifting from Helen to Clytemnestra during key confrontations.[10] Sophocles further developed chorus interventions in works like Oedipus Rex (c. 429 BCE), employing them as communal asides to guide audience understanding of moral and thematic layers, often commenting on unfolding events to highlight irony or ethical dilemmas. The chorus, representing Theban citizens, intervenes post-revelations—such as Oedipus's identity—to articulate collective horror and philosophical reflection, effectively directing spectators toward the tragedy's deeper implications without direct character awareness. These choral odes and stasima served as interpretive lenses, emphasizing fate's inescapability and communal responsibility in a ritualistic theatrical context. Roman comedy adapted these elements into more explicit "parenthesis" speeches during the 3rd–2nd centuries BCE, with Plautus and Terence using asides for characters to comment on action unbeknownst to others, heightening comic irony and metatheatrical humor. In Plautus's plays, such as Pseudolus, slaves deliver extended asides or monodies to mock superiors or reveal schemes, amplifying the Greek New Comedy model for broader audience amusement. Terence, in works like The Eunuch, employs subtler asides aligned with Menandrian restraint, often as brief overhearings to advance plot without disrupting realism. These devices evolved from Hellenistic influences but were tailored to Roman audiences in temporary wooden theaters. The cultural constraints of ancient performance spaces shaped these early asides: masks, essential for visibility in vast outdoor amphitheaters seating up to 15,000, restricted facial nuance and whispered delivery, necessitating reliance on bold gestural cues—such as turning toward the audience or exaggerated postures—to signal direct address. In venues like Athens's Theater of Dionysus, acoustic demands for projection further precluded subtle whispers, making physical orientation and choral positioning key to denoting aside-like moments amid the chorus's ritualistic dances.[11][12]Renaissance and Early Modern Evolution
During the Renaissance, the aside experienced a revival in European theater, particularly in Elizabethan England, where it became a tool for revealing inner thoughts and ironic contrasts. Christopher Marlowe employed asides in Doctor Faustus (c. 1592) to underscore ironic commentary on ambition and damnation; for instance, Mephistophilis's aside, "O, what will not I do to obtain his soul?" highlights the devil's manipulative eagerness in contrast to Faustus's illusory power.[13] Similarly, the Knight's skeptical aside, "I’faith, he looks much like a conjurer," adds ironic humor by questioning Faustus's conjuring before its demonstration.[13] This technique reached its peak in the works of William Shakespeare, who integrated over 800 asides across his corpus to deepen character psychology and dramatic irony.[14] In Hamlet (c. 1600), for example, Hamlet's aside in Act 1, Scene 5—"O most pernicious woman! O villain, villain, smiling, damnèd villain!"—expresses his revulsion toward his mother and uncle immediately after the Ghost's revelation, isolating his private turmoil from the onstage witnesses.[15] Such instances proliferated in Shakespeare's tragedies and comedies, standardizing the aside as a convention for fourth-wall breaches that heightened audience complicity in the characters' deceptions. In Italy, the 16th-century commedia dell'arte further innovated the aside through improvisational performances by traveling troupes, where characters like Harlequin (Arlecchino) frequently addressed the audience directly to mock pretensions or reveal schemes.[16] These asides dissolved the fourth wall, allowing Harlequin's acrobatic zanni to whisper satirical observations on social hierarchies, influencing broader European theater by blending physical comedy with verbal irony.[17] By the 17th century, French neoclassicism adapted the aside for pointed social critique, as seen in Molière's Tartuffe (1664), where characters use whispered asides to expose religious hypocrisy. Dorine, the outspoken maid, delivers numerous asides mocking Tartuffe's feigned piety, such as her ironic comments on his lustful glances, while Orgon's aside—"Her monstrous impudence must be chastised with one good slap in the face"—reveals his delusional defense of the impostor.[18] These devices enabled Molière to satirize clerical abuses without overt confrontation, aligning with neoclassical unities while amplifying the play's condemnation of deceitful devotion.[19]Role in Theater
Dramatic Function
In theatrical storytelling, asides fulfill essential narrative roles by foreshadowing plot twists, exposing hypocrisy, and amplifying irony through the contrast between a character's outward behavior and inner revelations. For example, when a character voices private doubts or intentions unheard by others, it signals potential conflicts or deceptions ahead, enriching the plot's complexity without disrupting the onstage action. In Shakespeare's The Tempest, Antonio and Sebastian's aside alluding to a "murderous deed" foreshadows treachery against Alonso, heightening dramatic tension for the audience.[20][21] Asides significantly contribute to character development by unveiling subtext, unreliability, or sharp wit that might otherwise remain concealed, thereby fostering deeper audience empathy or critical judgment. These momentary disclosures of true motives or internal conflicts humanize characters, revealing layers of complexity in their psychology. A notable instance occurs in Shakespeare's Antony and Cleopatra, where Enobarbus employs asides to comment on events, exposing his evolving loyalties and inner turmoil to underscore his tragic arc.[20] By directly addressing the audience or select onstage figures, asides cultivate engagement and complicity, drawing viewers into the narrative as confidants privy to secrets that escalate suspense toward key revelations. This technique isolates other characters while forging an intimate bond with the audience, who anticipate the consequences of unspoken truths. Dialogical asides, such as those between Menas and Pompey in Antony and Cleopatra, exemplify this by allowing private strategic exchanges that build shared intrigue and tension.[20][21] Psychologically, asides emulate the unspoken thoughts of everyday experience, injecting realism into stylized dramatic forms and mirroring characters' internal monologues or deceptions. This reflection of hidden mental processes enhances the authenticity of emotional portrayals, even in conventional theater. In early modern works like Shakespeare's histories, asides adapt to contexts—shifting from plotting in Henry VI, Part 3 to critical commentary—thus varying their impact on perceived character psyche.[20]Performance Techniques
In live theater, actors deliver asides using vocal techniques that preserve character authenticity while signaling a direct address to the audience, often maintaining a grounded, conversational tone rather than exaggerated whispers to ensure natural flow and audibility. For instance, acting coach Doug Fahl recommends treating the audience as a scene partner, focusing on one spectator to foster intimacy and specificity in delivery, thereby avoiding a detached or performative feel.[23] This approach supports the aside's dramatic function of revealing private thoughts without disrupting immersion.[2] Physical staging plays a crucial role in isolating the speaker, with actors typically turning away from other characters or stepping downstage to break the fourth wall explicitly, allowing the audience to receive the message while onstage companions appear oblivious. This movement must remain subtle to sustain character integrity, as overemphasis can undermine the realism of the moment. Precise coordination ensures other performers continue the main action seamlessly, often freezing briefly or averting focus to heighten the effect.[23][2] Directors make key choices in timing and integration to amplify the aside's impact, selecting moments where a pause in the primary dialogue underscores tension or revelation, and aligning it with the production's overall pacing and vision. In proscenium-style theaters, asides may leverage the arch's frame to emphasize the speaker-audience connection, enhancing comedic timing through quick, wry delivery or tragic weight via lingering pauses. Nora Williams notes that in modern productions of Jacobean plays like The Changeling, directors preserve asides' structural role by editing scripts to retain their spontaneous, confessional quality, avoiding cuts that dilute dramatic irony.[23][24] Contemporary revivals face challenges in executing asides across venue scales, where large auditoriums demand amplified projection to reach distant seats without losing the intimate, secretive essence, while smaller intimate spaces risk overexposure if staging feels too overt. Directors must balance these acoustics with actor training, often rehearsing variations to adapt to technical aids like hidden microphones, ensuring the device remains a vital tool rather than a dated convention.[23][24]Applications in Literature
In Narrative Prose
In narrative prose, particularly within novels, asides adapt the theatrical device into subtle authorial or character-driven interruptions that provide ironic commentary, internal reflection, or contextual insight without fully disrupting the flow of the story. These intrusions often emerge in third-person narration, where the narrator steps forward to offer a wry observation on characters or societal norms, fostering a conspiratorial bond with the reader. A seminal example appears in Jane Austen's Pride and Prejudice (1813), where the opening line—"It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife"—serves as an authorial aside that satirically mocks the rigid social conventions of marriage in Regency England, framing the entire narrative through ironic detachment.[25] Similarly, later intrusions, such as the narrator's remark on Mr. Collins's self-delusion—"He thought too well of himself to comprehend on what motives his cousin could refuse him"—underscore the folly of pride and class pretensions, using sarcasm to critique character motivations and broader cultural expectations.[26] In first-person narratives, asides manifest as the protagonist's parenthetical thoughts or digressions, revealing personal biases, uncertainties, or moral quandaries that deepen character complexity and engage the reader directly. Mark Twain's Adventures of Huckleberry Finn (1884) exemplifies this through Huck Finn's colloquial, unreliable narration, where interruptions like his frequent "(says I)" or reflective asides expose his naive worldview and evolving conscience amid societal hypocrisies. For instance, during encounters with Jim, Huck's parenthetical remarks—such as questioning his own actions against ingrained racial prejudices—highlight his internal conflict, transforming the narrative into a stream of candid, biased observations that critique antebellum Southern values without overt authorial intervention.[27] This technique, rooted in the vernacular style, allows Twain to convey Huck's growth through unfiltered, aside-like confessions that mimic spoken interruptions, enhancing the intimacy between narrator and audience.[28] To structurally integrate these asides into prose, authors often employ italics for unspoken thoughts or footnotes for extended commentary, echoing the theatrical aside's exclusivity while building reader-character intimacy in a non-performative medium. Italics denote internal monologues as brief, parenthetical revelations, isolating them visually to simulate a whisper to the audience, as seen in various modernist works where they underscore fleeting biases or epiphanies.[29] Footnotes, conversely, function as artificial paratexts that extend the narrative with discursive insights, such as historical context or ironic glosses, without halting the main thread; for example, in John Fowles's The French Lieutenant's Woman (1969), they provide the narrator's Victorian-era commentary, mimicking an aside's revelatory aside to deepen thematic layers.[30] This formatting choice enhances accessibility, allowing readers to engage with the interruption at their pace and reinforcing the aside's role in bridging narrative distance. By the 20th century, asides evolved into more fluid forms like stream-of-consciousness techniques, where internal digressions capture characters' fleeting observations and psychological depths in a seamless prose flow. Virginia Woolf's Mrs. Dalloway (1925) masterfully employs this for aside-like intrusions, as in Clarissa Dalloway's fragmented recollections—"standing and looking until Peter Walsh said, ‘Musing among the vegetables?’ — was that it? — ‘I prefer men to cauliflowers’ — was that it?"—which reveal her biased, nostalgic musings on past relationships through uncertain, parenthetical syntax.[31] Similarly, Septimus Smith's hallucinatory asides, such as "So, thought Septimus, looking up, they are signalling to me… with beauty, more beauty!", interject manic perceptions that expose his trauma, functioning as internal commentaries on war's lingering effects and blending observation with emotional bias.[31] Woolf's approach, prioritizing sensory immediacy over linear plot, transforms these asides into vital tools for conveying the multiplicity of inner lives, distinct from their performative origins in theater.[32]In Poetry and Verse Drama
In epic poetry, lyrical asides function as brief digressions that interrupt the primary narrative to insert divine or supernatural commentary, providing layers of meaning beyond the mortal realm. These interventions often highlight the gods' influence on human events, serving as compositional devices that expand the poem's scope. For instance, in Homer's Iliad (c. 8th century BCE), the gods' actions—such as Athena's guidance of Diomedes or Apollo's protection of Hector—operate as asides to the battlefield action, offering glimpses into divine motivations and altering the mortal perspective without direct participation in the dialogue.[33][34] In verse drama, asides manifest as parenthetical lines that disrupt the metrical structure to deliver angelic or otherworldly insights, emphasizing the tension between earthly and celestial viewpoints. John Milton's Paradise Lost (1667) exemplifies this through Raphael's narrations, where parenthetical asides interrupt the epic flow to comment on divine mechanics, such as the measurement of time in eternity: "(For time, though in eternity, applied / To motion, measures all things durable / By present, past, and future)" (Book V, lines 580–582). These intrusions, like Raphael's warning of future inventions such as cannons derived from the heavenly war (Book VI, lines 501–506), create a rhythmic dislocation that underscores God's omniscience and justifies divine ways to human understanding.[35] Modern poetry adapts asides into more fragmented, confessional forms, often using footnotes as explanatory whispers that elaborate on the text's allusions and personal undercurrents. In T.S. Eliot's The Waste Land (1922), the extensive notes serve this role, guiding readers "behind the magician’s curtain" to connect disparate cultural references, such as those from Dante's Inferno or the Tarot, while revealing Eliot's intent to unify fragmented human experience—though he later critiqued them as misleading "bogus scholarship." These footnotes function as meta-poetic asides, offering intimate clarifications that mirror the poem's disjointed voice without fully resolving its ambiguities.[36] The metrical effects of asides in poetry frequently involve enjambment and caesura to generate tension, propelling or halting the rhythmic flow to accentuate the digression's intrusive nature. In epic verse, parenthetical asides—appearing roughly once per 100 lines—disrupt syntactic and metrical expectations, enhancing stylistic elevation and orality by providing explanatory expansions after speech verbs, as seen in structures that blend singer's commentary with narrative advancement. This alteration in poetic rhythm not only draws attention to the aside's content but also mimics the abrupt shift in perspective, heightening emotional and thematic impact.[37]Modern and Contemporary Adaptations
In Film and Television
In film and television, the aside adapts from its theatrical roots to visual media through techniques like voiceover narration and editing manipulations, allowing characters to convey inner thoughts or direct commentary to the audience without disrupting the narrative flow. Voiceover narration serves as a primary method for delivering asides, enabling characters to address viewers introspectively or humorously. A seminal example is Woody Allen's Annie Hall (1977), where the protagonist Alvy Singer frequently breaks the fourth wall via voiceover and direct camera addresses to share personal reflections and frustrations, enhancing the film's comedic and autobiographical tone.[38] This approach draws on earlier voiceover uses but innovates by blending it with on-screen interruptions, such as characters pausing mid-scene to solicit audience empathy.[39] Editing techniques further evolve the aside by employing visual interruptions like freeze-frames, cutaways, and on-screen text to externalize unspoken thoughts or meta-commentary. In Deadpool (2016), director Tim Miller utilizes freeze-frames and rapid cutaways during action sequences, where the titular character pauses to quip directly at the camera, mocking superhero tropes and production elements for comedic effect.[40] These edits, often enhanced by visual effects, create a seamless integration of the character's awareness of the audience, distinguishing the film as a modern benchmark for irreverent fourth-wall breaks.[41] More recently, Megalopolis (2024) features a distinctive fourth-wall break in which the protagonist, played by Adam Driver, interacts with a live performer in the theater audience during screenings, blending film and real-time engagement.[42] In television, particularly sitcoms, asides manifest through talking-head interviews that simulate confessional monologues to the audience. The U.S. version of The Office (2005–2013) exemplifies this with its mockumentary style, where characters deliver aside-like insights via isolated camera interviews, fostering intimacy and irony as they reveal hypocrisies unseen by coworkers.[43] This format breaks the fourth wall subtly, positioning viewers as voyeuristic confidants and amplifying the show's satirical commentary on workplace dynamics.[44] The technical evolution of asides in film traces from silent era intertitles, which functioned as narrative asides by inserting explanatory text or character thoughts directly to the audience, interrupting action to clarify unspoken motivations.[45] As sound and visual effects advanced, these gave way to voiceovers in the mid-20th century, and in contemporary blockbusters, CGI enables more immersive integrations, such as dynamic on-screen graphics or augmented reality-like overlays in films like Deadpool, allowing asides to blend fluidly with high-production spectacle.[40] This progression reflects broader shifts toward viewer engagement in passive media formats.In Digital and Interactive Media
In digital and interactive media, asides evolve through mechanisms that leverage user agency and nonlinearity, allowing direct communication between the narrative and the participant without disrupting the simulated world for other elements. This adaptation emphasizes participatory engagement, where asides serve as meta-commentary, hints, or confessional moments tailored to the player's or viewer's choices and perspective. Unlike linear formats, these implementations often incorporate branching paths or real-time feedback to make the aside feel personal and responsive. In video games, asides manifest as character pop-up thoughts or heads-up display (HUD) text that deliver guidance exclusively to the player, bypassing NPC awareness to hint at puzzles or mechanics. For instance, in The Legend of Zelda: Skyward Sword (2011), the companion Fi provides direct asides to the player, such as analyzing environmental clues or even commenting on hardware issues like low Wii Remote battery levels, effectively breaking the fourth wall to enhance guidance without alerting in-game characters.[46] This technique maintains immersion by framing Fi's interventions as logical extensions of her analytical nature, while prioritizing player convenience in puzzle-solving. Similar HUD-based asides appear across the series, like contextual tips in Breath of the Wild (2017), which overlay subtle directives during exploration to suggest solutions without narrative interruption.[47] Interactive fiction platforms like Twine enable choice-based asides that respond to player decisions, functioning as "whispers" or introspective breaks that dynamically alter the narrative trajectory. These asides often employ hypertext links for branching, allowing users to influence confessional or meta-elements that reveal hidden story layers. A representative example is An Aside About Everything (2021), a noir-styled Twine game where the protagonist's introspective asides—triggered by player choices—explore surreal, projection-like landscapes and personal revelations, blending direct address with nonlinear progression to deepen emotional investment.[48] This approach highlights Twine's strength in fostering agency, where asides serve not just as exposition but as pivotal mechanics for narrative divergence, as discussed in analyses of choice-driven hypertext tools.[49] Social media adaptations of asides appear in meme formats and short-form videos, particularly on TikTok, where "POV: aside to camera" trends mimic confessional breaks by having creators directly address viewers for intimate disclosures or humorous meta-commentary. These videos often simulate reality TV confessionals, with the creator pausing the scene to "whisper" thoughts to the audience via eye contact and camera focus, fostering a sense of shared secrecy. For example, confessional-style POV clips gained popularity post-2020, enabling users to break the fourth wall in user-generated content that parallels Shakespearean asides but leverages algorithmic virality for broader engagement.[50] This format underscores interactivity, as viewers can duet or stitch responses, extending the aside into communal dialogue. Emerging trends post-2020 in VR immersive experiences utilize spatial audio to deliver private player directives as asides, simulating whispered or localized communications that enhance personalization in 360-degree narratives. Spatial audio techniques, such as head-related transfer functions (HRTFs), position sounds directionally around the user, making direct addresses feel intimately targeted without external awareness. In VR theater and games, this enables asides like character monologues that pivot toward the player, as explored in production guidelines for immersive media where audio cues guide attention and emotional depth.[51] For instance, experiences adapting immersive theater methods employ these directives to break the virtual fourth wall, heightening agency in responsive narratives.References
- https://en.wiktionary.org/wiki/aside
- https://www.open.edu/openlearn/history-the-arts/[literature](/page/Literature)/approaching-plays/content-section-7.2