Handout #5

As I said in the last toot, it seems to me you have to see and hear the concepts of text and sub-text in action in order to really get them. So here's some suggested viewing (again, I've looked for videotapes that are reasonably easy to find):

Plays in which characters say exactly what they're thinking and feeling are the more commonplace; the point is to find ones that do it particularly powerfully. For that, you still can't beat the plays of Billy Shakespeare: try Kenneth Branagh's adaptations to film of Much Ado About Nothing and Hamlet. (I finally began to understand Shakespeare's plays when somebody pointed out to me that what his characters are really doing, not just in the soliloquies but throughout, is 'thinking out loud.' See if it's not so.)

For examples of sub-text . . . if you can find it (definitely not easy), the American Film Theatre's version of Harold Pinter's The Homecoming is choice. You'll never look at a pair of scissors the same way again (and if you don't know what I'm talking about, you can at least get the play from your local library and read it). Pinter's Betrayal (with Jeremy Irons and Ben Kingsley, easier to get your hands on) is very fine, and lots of fun; or try the film version of David Mamet's Oleanna (which is rich in subtext because the characters are simply incapable of saying what they mean).

Now, just for a lark, I'm going to take the first bit of the opening scene of Betrayal and tell you what, moment-by-moment, I think the sub-text is. I'll put the dialogue down as it appears in the film, then add my invented sub-text in parentheses. This will make the most sense if you get the video and follow along that way; then you can continue watching the movie and filling in the sub-text for yourself. I think I've just invented a new parlor game.

This takes place in a pub in England. Jerry and Emma are seated at a table, glasses of beer in front of them . . .

JERRY: Well . . . (Let's keep this light.)

EMMA: How are you?

JERRY: All right. (How do you think?)

How are you?

EMMA: I'm fine. (I'm lying.)

*She looks round the bar, back at him.*

Just like old times.

JERRY: Mmn. It's been a long time. (This is extremely uncomfortable.)

EMMA: Yes.

*Pause.*

I thought of you the other day. (You're not going to get out of discussing this.)

JERRY: Good God. Why?

*She laughs.*

Why? (I'm threatened.)

EMMA: Well, it's nice, sometimes, to think back. Isn't it?

JERRY: Absolutely. (Don't bring it up.)

*Pause.*

EMMA: Do you know how long it is since we met?

JERRY: (I'm going to avoid what you mean.) Well I came to that private view, when was it - ?

EMMA: No, I don't mean that. (You know what I mean.)

JERRY: Oh you mean alone?

EMMA: Yes. (You were naked.)

JERRY: Uuh . . .

EMMA: Two years. (I've been counting.)

JERRY: Yes, I thought it must be. Mmnn.

*Pause.*

EMMA: Long time. (I miss you.)

JERRY: Yes. It is. (You were naked too.)

. . .

I hope you can find and enjoy the rest of the film.

To Toot 6