What is subtext?

In a play or film, subtext is the underlying message being conveyed by a piece of dialogue. Some
call it the “lines between the lines” or “the unsaid meaning” writers love the use subtext in
scripts because it adds an extra layer of complexity to scenes and their characters.
Actors must act like investigators to identify the true meaning of their dialogue so that they can
play the character’s subtextual intention, rather than just recite the lines. Overlaying the meaning
of the subtext on top of the dialogue gives actors something to do and makes for a more
interesting performance.
FINDING THE MEANING OF THE SUBTEXT
How often do people say exactly what they mean? Probably not often because of the obstacles
that stand in the way. Social conventions, other people in the room, and/or a fear of rejection are
common reasons that people and characters do not speak literally. So, understanding a
character’s objective and obstacles is the first step to finding their subtext.
After reading a script, take a moment to think about the objective of the character i.e. what do
they want? Then, consider the different obstacles that they face. Characters adopt different
strategies to try and conquer their obstacles, and these changes of tactic are often motivated by
subtext.
When reading through the script, mark places where the character is communicating something
great than what they say. This may be a feeling, an opinion, or a desire that is hidden within the
words they say. Once the subtext is identified and assigned a meaning, experiment with ways to
clearly play the scene so the subtext shines through.

EXAMPLES OF SUBTEXT
Subtext is a common convention of modern scripts and appears in every film and play we see
today. Here is a simple two line exchange to illustrate subtext:
INT. LIVING ROOM
A man enters the room. A woman is sitting on the couch.
MAN
How are you?
WOMAN
I’m fine.
There are 1,000 different ways to play this scene and they all hinge of the choice of subtext. Is
the Woman really fine? Does the Man really care?
An actor could decide that the Woman is happy, sad, angry, disappointed or any number of
emotions which would change the delivery of the line (of course, do not play an emotion, play an
action). The same can be said for the Man. He could be in a hurry, he could be sympathetic, or he
could be sarcastic among other things.
This example is only to show how subtext can change. In a well-written script, there will be
clues about the characters’ emotional state and the true meaning of the dialogue.
(For ending) Identifying and playing the subtext of a scene is an advanced skill that the best
actors make good use of. Careful script analysis is needed to find and decide what the subtext is
and solid acting technique is needed to honestly play the subtextual meaning. If the dialogue is
what the actor says, and the action is what the character does, then the subtext is what the
character ultimately means.
Stanislavski famously said:
“Spectators come to the theatre to hear the subtext. They can read the text at home.”
Subtext adds an extra layer of complexity to every line. It can take an ordinary conversation and
lend it a magnetism that draws the audience in.
Subtext also gives the actor something to DO. They can play the subtext, while saying the lines
written in the script.
The two blend together to create an interesting contradiction.
But how do you actually write subtext?
The fact that, by definition, it isn’t actually ON the page can make it rather difficult to write.
Here are a few tips that have helped me in getting a handle on subtext:
* Remove any “on the nose” lines.
Do a reading of your play with a specific eye toward lines in which you have a character saying
exactly what they mean.
Here are a few simple examples of on the nose dialogue:
“I am so mad at you!”
“I’m having such a great time.”
“I don’t trust you.”
Anytime you have a character saying a line like this, recognize that you have an opportunity to
weave in that feeling as subtext–without having the character come out and say it.
One tip to do that is to…
* Give them something else to talk about.
You can think of each scene as a glacier–with a small tip that you can see, and a large body
that’s hidden under the surface.
That hidden part of the glacier–the underwater part–is like the subtext of your scene.
So one way to lend more subtext to a scene that’s missing it is to give your iceberg a “tip.” In
other words, give your characters something else to talk about.
Let’s say you have a scene with two characters arguing about whether or not to have a baby.
To cast that argument in subtext, give them something else to disagree on–something that can act
as a proxy for the “real” conversation.
Maybe the couple has a dog, and the man keeps pointing out to the woman how much work it is
(with the subtext being that a baby will be much more work).
Maybe the couple is looking at a new apartment, and the woman keeps dropping hints about how
this place would have enough room for a nursery.
So think about how your characters might use deception or misdirection to get what they want in
your play.
When you start to pay attention, you realize that people rarely say exactly what they mean or
what they feel. Instead, their comments are filtered according to many things (social niceties, a
desire to avoid conflict, etc.).
Let your characters do the same. It will help you write a more nuanced and layered work of
theatre.