An Analysis of Plot Structure in Richard A. Via’s "The Show Must Go On" Play

BACKGROUND ANALYSIS

The author creates a plot by arranging events in a story in order to achieve a certain effect. A pattern of cause-effect relationships may be created. Plot is important in expressing the meaning of a work. It involves the laws of plot. The laws of plot are: plausibility (the story should be convincing on its own terms, but not necessary realistic), element of surprise should be present, suspense, foreshadowing (hints at the direction the story will take, and logical (events should be believable in their relationships to one another). Based on the description, there are two kinds of plot: the progressive plot and the regressive plot. The progressive plot usually employs foreshadowing whereas the regressive plot employs flashback. In the plot itself, it contains of some stages that can be analyzed. So here, we concentrate in the structure of plot by talking, analyzing more in the analysis. All we have done is based on the crowded situation as the structure of plot in The Show Must Go On by Richard A. Via, an expert in plays and theater. 

Based on the description, there are two kinds of plot: the progressive plot and the regressive plot. The progressive plot usually employs foreshadowing whereas the regressive plot employs flashback. In the plot itself, it contains of some stages that can be analyzed. So here, we concentrate in the structure of plot by talking, analyzing more in the analysis. All we have done is based on the crowded situation as the structure of plot in The Show Must Go On by Richard A. Via, an expert in plays and theater.

The questions in this analysis:
1.    Which dialogues do show the structure of plot in the story?
2.    How complicated the dialogues in the story is able to show the structure of plot?

Objective of the analysis:
1.    To find the dialogues that show the structure of plot in the story
2.    To find the influence of dialogues that is able to show the structure of plot
 

THEORY ANALYSIS

1. The Structural Approach
According to Subhan in Understanding English Poetry And Prose (2005:63-64), this approach is similar to the objective approach, but the different is in the focus.  A reader who analyzes a novel by using the structural approach should not stop focusing at the intrinsic elements but he should go on analyzing the relationship between (among) the intrinsic elements so that they build up a structure. The structural approach suggests that the analysis should not only be focused on the intrinsic elements but also on the relationship between the elements so that they make up into a coherent structure.

2.Plot
According to Subhan in A Guide To Literary Criticism (2003: 23&24), plot can be defined as the necessary chosen order of fiction. This definition is based on the fact that the story in a novel consists of many events that should be arranged in such a way, that the story becomes coherent, meaningful, and interesting. The plot of the novel is not like the arrangement of events in the history. The events in the history are arranged chronologically whereas the events in the novel are arranged based on the cause-and result relationship.
Two kinds of plot: the progressive plot and the regressive plot. The progressive plot usually employs foreshadowing whereas the regressive plot employs flashback.

Structure of plot actually is divided into:
1.Beginning: how the novel starts
Introduces an element of instability; there is an openness in the story that is capable of being developed. It is also called with exposition of the story.

 
2.Middle
Elements of instability group themselves into what we recognize as a pattern of conflict, or complication. Complication turns into climax when it reaches its level of highest intensity. Sometimes catastrophe can happen here.

3.Denouement: how the novel ends
It is usually called the outcome. 

ANALYSIS

1. The dialogues that show the structure of plot in the story

The analysis of structure plot in  Richard A. Via’s "The Show Must Go On" Play is done because it is the dominant objective element of the story inside made strong from the chain of the dialogues.

a)      Beginning

BOB. Why did I ever agree to be in this play? (Everyone laughs) (p3)

HELEN. All this task about being nervous is making me nervous. I’m trying to concentrate on my role. (3)

JOE. Doesn’t it scare you? (p3)

b)      Middle

Rising action:

LINDA. Look! Look what you made me do! (p4)

LINDA. You scared me when you yelled. (p4)

GAGE. I knew something like this would happen. How many times have I told you to put on your makeup first, then put on your costume?

BOB. Mr. Gage would you please check my makeup?

GAGE. Oh my, who did that?

BOB. No sir, I don’t have my glasses on.

Climax:

LINDA. I forget my lines. (p6)

LINDA. I can’t. I don’t even remember my first line. (p7)

FRANK. Everyone on stage please. (p7)

GAGE. Hold the curtain. (p7)

GAGE. Yes that’s ri -- … (p8)

c)      Denouement

LINDA. But Mr. Gage has fainted!

FRANK. “No matter what happens,” he always said, “the show must go on.”

2. The influence of dialogues that is able to show the structure of plot

The influence of dialogues that is able to show the structure of plot is supported by the definition of situation while the dialogues are saying. These dialogues are very influence to give point to the structure of plot.

a)      Beginning

BOB. (rises and takes a few short gasps) (p3)

JOE. (pacing back and forth up stage he begins to recite his lines in a loud

         voice) (p3)

FRANK. (The door suddenly burst open, which startles Mr. Gage, and Frank the stage manager puts his head in and shout) Fifteen minutes! (p4)

                 

b)      Middle

Rising action:

LINDA. (She turns around and we see that the whole front of her black dress is covered with white powder) (p4)

(The door bursts open again) (Frank come enter)  (p4)

BOB. (He turns around and he has on much too much lipstick and one eyebrow is about an inch higher than the other) (p5)

Climax:

(Everyone, including Linda, begins to hunt) (p6)

LINDA. (weakly) I’ll forget my lines. (p6)

(Helen rises and turns so audience and Mr.Gage can see the mess on the back of her dress)  (p7)

FRANK. Everyone on stage please (He starts out)  (p7)

(But Frank is a good stage manager and will get the curtain up on time) (p7- p8)

(Weakly) Yes that ri – (He suddenly faints and collapses to the poor. Everyone rushes to him) (p8)

c)      Denouement

(with new strength they all start for the “stage” as the curtain falls)

CONCLUSION

1. Bob, Helen, and Joe start the play but Lin is actually the first trouble maker because of disturbance from the other
2. Frank is the first striker of the problem because of his honesty
3. Almost of all the guys are careless, sloppy, messy actors
4. Mr. Gage, in his calm, very potential to end the messy situation by his faint
5. Many dialogues creates very real step or stage of structure of plot

Bibliography
Subhan, Bustami. 2003. A Guide to Literary Criticism. Yogyakarta: LPPDMF.
______________. 2005. Understanding English Poetry and Prose. Yogyakarta: LPPDMF
http://transcoder.usablenet.com/
http://wikipedia.com/