Review of Related Studies

10 To present characters in a play script or a drama, an author may use the way a character portrayal which is known as characterization. According to Reaske, there are six devices of characterization: a. The appearance of the character Reaske states that the appearance of the character might help the readers to understand the characterization. The prologue or the playwright often describes the character in physical sense.1966: 46 b. Asides and soliloquies We learn about the characters as they speak. And specifically, we are apt to understand the characters best when they speak in short asides or in longer soliloquies. On the occasions the character is, in effect; telling the audience of his specific characteristics: if he is a villain, he usually explains his evil intentions or at least his malicious hopes; if a lover, he offers us poetic statements of devotions: if a hero torn between love and duty, he tells us about his conflict, and his resulting agony. The use of soliloquies and asides is one of the most expert devices of characterization.1966:46 From the quotation above, the writer concludes that the characters‟ soliloquies can be used as a device to characterize the characters. c. Dialogue between characters The way character uses his language and makes a dialogue to other characters also sheds a great deal of light on understanding his personality. 1966:47 d. Hidden narration Another device to characterize based on what Reaske has stated is hidden narration. One of the devices of characterization frequently 11 employed is having one character in a play narrate something about another character. 1966:47 e. Language Reaske says that we must pay close attention to the kind words which the character uses and how the character speaks. The way a character speaks and his expression should be the first concern. 1966:47-48 f. Character in action As the character become more involved in the action of the play we quite naturally learn more about them. For once a playwright chooses to have a character act in one way rather than another, we immediately understand that character much better.1966:48 Reaske is saying that through a character‟s action in the play, we can get a better way to understand the characterization of the character. Meanwhile in Mastering English Literature, Richard Gill states that You can only learn about a character from the words of the play. This means that your sources of information are dialogue, soliloquy, and in certain special cases, stage direction. A playwright, unlike a novelist, can‟t tell things directly. When we look at the words of a play we see four ways in which characters are created: 1 The way they speak 2 What they say about themselves 3 What they say about each other 4 How they are contrasted. 1995: 235 It can be concluded that a character and its characterization are the important elements in the literary work itself. Some indications to understand the character and its characterization can be seen from the name of the character, the author description and comments on the character, from 12 other characters‟ opinion and attitude toward the character, and its own dialogue and behavior. In Drama and Performance: an Anthology, it is stated that as for the audiences and for them who read the script, there are some challenges to get complete understanding about the characterizations of the characters. The characters do not always reveal their thoughts with dialogues, but sometimes their gestures impl icate more than their words.”We must see and understand what is explicitly said and done, as well as be alerted to what is implied and left un spoken.”Vena and Nouryeh, 1996: vii 2. Mother – Daughter Bond Psychoanalytic theorists have analyzed the maternal roles, examined the mothers‟ unconscious action and explored the attachment of the children to the mothers. The theorists also have proved the particular values of mother – daughter bond and how the roles of the mothers and the bond affect the characterizations of the daughter. Melanie Klein, as cited in From Klein to Kristeva: Psychoanalytic Feminism and the Search for the ‘Good Enough’ Mother written by Janice Doane and Devon Hodges, explains the mother as the child‟s primary love object, the source of its nourishment and life and how it affects the future of the infant itself. The infant usually fantasized the mother as the „good‟ and „bad‟ breast. As the infant‟s need for nourishment was its prime concern,