Aside reflects the human nature. Often you share something, confiding in a person whom who believe won’t tell the others. That’s aside!
The etymology of the word ‘Aside’ dates back to the 14th century, Middle English, meaning ‘one side’ or ‘to the side.’ It was popularised by the 15th-century Elizabethan dramatists in the Renaissance period, who used it to share comments, expressions, secrets, and humorous and witty remarks directly to the audience without involving the characters on the stage. The characters may or may not be present on the stage, but they pretend that they didn’t hear what was said. It also reveals private intentions, often malicious ones. Shakespeare, Marlowe, Johnson in the 16th-17th century and Congreve and Sheridan during the Restoration have incorporated this technique in their plays. Evidence of ‘Aside’ as a dramatic technique has also been found in Greek comedies such as Aristophanes and Plautus.
This technique has a broader motif. It is used to build a connection or intimacy with the audience, highlighting that they, too, are a part of the performance. It is used to seek their attention. In theatres like The Theatre (1576) and The Globe (1599), the audience used to sit on three sides, unlike today, where a fourth wall is removed for the spectator. Some of them used to sit/stand in front of the stage at a lower price and were usually called ‘Groundlings.’ Aside technique was a great way to build a connection with them.
In Othello, Iago says, “Thus do I ever make my fool my purse.” (Act I, Scene 3), where he reveals his manipulation directly to the audience while others remain unaware. It is this secret that drives the play forward. Hamlet also reveals his intention to the audience while using ‘Aside’ as a technique, “A little more than kin, and less than kind.”(Act I, Scene II).
In Indian Drama, the Sutradhara communicates with the audience directly quite often. Also, the characters reveal their innermost feelings, whether romantic or psycological to the audience in a monologue, audible to the audience. For instance, Dushyanta confesses his love for Shakuntala in a soliloquy while watching her secretly in Kalidasa’s Abhijnanasakuntalam. Such a technique is known as Swagta in classical drama. In Hayavadana, characters such as Padmini and Kapila reveal their innermost feelings to themselves. It’s also a form of aside, where the audience becomes part of a private entity of the characters.
In modern drama, though the word aside isn’t used commonly, the characters do converse with themselves. It is highlighted by writing (to himself/herself/themselves). The point is that during the aside dialogue, the characters are present on the stage. Hence, it doesn’t look natural for them not to hear, while the audience does, even when sitting at a distance.
Let’s try to incorporate them while writing dialogues.
Wife. It’s already 11. Let’s cook something.
(No one moves)
Husband. Why not! I am starving. (Aside) She has been saying this since morning.
Wife. But there are no vegetables. (Aside) I am waiting for him to go to the office so that I don’t have to cook. I know he isn’t going to help me out.
Husband. I’ll order through Blinkit.
Wife. Oh! I just remember. Even the gas cylinder is empty. I couldn’t even boil the milk properly.
Husband. I’ll get it delivered within 10 minutes. These days, you know, the service is prompt.
Wife. Even the stove has some issues. (Aside) Looks like I’ll succeed this time.
Husband. The guy who delivers the cylinder also repairs the stove. (Aside) Let me see how you escape it.
Wife (exhausted). Aren’t you going to your office today?
Husband (excited). No! I took a leave to eat your hand-cooked food.
Instead of ‘aside’, ‘to herself/himself’ or ‘thinks’ can be used as an alternative.
©Shashank
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P.S. The idea to write on this topic came when I saw a book with the same title by Nemichandra Jain. It was gifted by my friend Mitali. The book collects essays related to Indian Drama. The title is representational.
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