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A dialogue it is a form of communication between two or more people. "Dialogue" is called both its written form and any type of oral communication in everyday life.
In theater, actors orally perform dialogues that find their written form in dramatic literature. The dialogues that we hear in film and television also have their written form in the scripts.
In other forms of literature we also find dialogues. Interviews are a form of dialogue that usually occurs first orally and is later included in written form in book or magazine articles. In narrative literature, dialogues are the moments when the characters speak.
Dialogues are usually marked with a script at the beginning of each person's speech. When a character finishes speaking, they write a full stop. Scripts can also be used to clarify what the character is doing while speaking. In other formats, such as the dramatic format, each parliament is preceded by the name of the speaking character and a colon.
- See also: Monologue
Examples of short dialogues
Ma Joad: Tommy, you're not going to kill anyone, are you?
Tom Joad: No, Mom, not that. Is not that. It's just that, since I'm an outlaw anyway and maybe I can do something. Maybe you can figure something out, search and maybe find out what's wrong, and then see if there's anything that can be done about it. I haven't thought about it clearly, Mom. I can not. I don't know enough.
Ma Joad: How will I know about you, Tommy? They could kill you and I would never know. They could hurt you. How do I know?
Tom Joad: Well maybe that's what Casy said. You don't have a soul of your own. Just a little piece of a great soul, of the great soul that belongs to all of us.
Ma Joad: And then… So what, Tom?
Tom Joad: Then it doesn't matter. I'll be anywhere in the dark I will be everywhere wherever you look. Wherever there is a fight for the hungry to eat, I will be there. Wherever there is a policeman beating a man, there I will be. I'll be in the way that men scream when they get angry. I will be in the laugh of the children when they are hungry and know that dinner is ready. And when people eat what they grow and live in the houses they built, I'll be there too.
Ma Joad: I don't understand, Tom.
Tom Joad: Me neither, Mom, but it's something I've been thinking about.
(Viñas de Ira, directed by John Ford.)
Fernando: Miss ...
Francisquita: Gentleman ...
Fernando: Let him stop you, excuse me.
Francisquita's mother: What is it, Francisca?
Francisquita: Nothing, mother. The handkerchief you give me. Wait, I don't know if it's mine.
Fernando: That it is yours, I attest.
Francisquita: Is it a bit unstitched?
Fernando: Indeed.
Francisquita: By any chance, is it lace?
Fernando: Yes, I trust you.
Francisquita: It's mine.
Fernando: And an efe.
Francisquita: Francisca means.
Fernando: It is very beautiful!
Francisquita: Although the signs match my embroidered handkerchief, if any lady asks if you have found it, tell her that the widow of Coronado lives here and that her daughter has it for her owner to keep.
Fernando: Get lost, lady, watch out.
Francisquita: Goodbye!
Fernando: Bye!
(Doña Francisquita, Lyrical comedy in three acts. Text by Federico Romero and Guillermo Fernández Shaw.)
- Good day.
- Good day. How can I help you?
- I need two kilos of bread, please.
- Two kilos of bread. Are here. Anything else?
- Nothing else. How much do I owe you?
- Thirty pesos.
- Here you go.
- Thanks a lot. Good afternoon.
- Good afternoon.
HUMBERTO: You ... Do you have a lot to do?
ARÓN: How?
HUMBERTO: I mean ... if you have a lot to do?
ARON: No… no, just half an hour. Are you waiting for me to finish?
HUMBERTO: Yes ...
ARON: I have to deliver the balance tomorrow ... the best thing would be to come earlier and finish ... if I finish ... Are you hired by the company or the building?
HUMBERTO: The company.
ARON: (sings company jingle) Sugarpoint, Sugarpoint. We are all of Sugarpoint… We are from the same company…
HUMBERTO: Yes.
ARON: Do you have someone to tax you?
HUMBERTO: No.
ARON: If you want I can. The first year free.
HUMBERTO: Thank you.
ARON: Expires in nine days. Married or single?
HUMBERTO: Single.
ARON: I am married to my mother. See you tomorrow Humberto!
HUMBERTO: See you tomorrow!… Arón.
(Excerpts from “Rebatibles” by Norman Briski.)
- Sorry.
- Yes tell me.
- Didn't you see a black dog around here?
- Several dogs passed this morning.
- I'm looking for one that has a blue collar.
- Oh yeah, it was in the direction of the park, just a moment ago.
- Thank you very much see you later.
- Bye.
Juan: Whose umbrella is this?
Ana: I don't know, it's not mine.
Juan: Did someone forget an umbrella in the hallway?
Alberto: Not me.
Diana: Not me.
Juan: So who left him?
Ana: Margarita was here earlier. It's probably hers.
Juan: I'm going to call her to let her know that she's here.
"Excuse me for coming so late," he began; and then, suddenly losing control of herself, she rushed at my wife, threw her arms around her neck, and burst into tears on her shoulder. Oh, I have such a big problem! -sob-. I really need someone to help me!
"But it's Kate Whitney!" said my wife, lifting her veil. You scared me, Kate! When you came in I had no idea who you were.
-I didn't know what to do, so I came right to see you. As usual. People in difficulty flocked to my wife like birds in a lighthouse.
-You have been very kind coming. Now have some wine and water, sit back and tell us all about it. Or do you want me to send James to bed?
-Oh, no, no. I also need the advice and help of the doctor. It is about Isa. He hasn't been home in two days. I'm so worried about him!
("The man with the twisted lip," Arthur Conan Doyle.)
- Excuse me, that's my seat.
- Are you sure?
- Yes, my ticket says row six, seat twelve. It is that same.
- Excuse me, I had seen my entrance wrong. My seat is two. I already leave your seat.
- Thanks a lot.
- No problem.
- I see the window is broken, eh?
"Yes, sir," said the latter, very concerned with giving him the change, and without paying much attention to Valentin.
Valentin silently added a hefty tip. At this, the waiter became communicative:
- Yes sir; an amazing thing.
- For real? Tell us how it was - said the detective, as if without giving much importance.
- You see: two priests entered, two foreign priests of those who are now around here. They asked for something to eat, they ate very quietly, one of them paid and left. The other was going to leave too, when I realized that I had been paid triple the amount due. «Hey you (I told my man, who was already going through the door), you have paid me more than the bill. »« Ah? », He replied with great indifference. "Yes," I said, and showed him the note… Well, what happened is inexplicable.
- Why?
- Because I would have sworn by the Holy Bible that I had written four shillings on the note, and now I found the figure of fourteen shillings.
- And then? - Valentin said slowly, but with flaming eyes.
- Afterwards, the parish priest who was at the door said to me very calmly: «I am sorry to confuse your accounts; but I am going to pay for the window. » "What stained glass?" "The one I'm going to break right now"; and unloaded the umbrella there.
("The Blue Cross", G. K. Chesterton.)
- Hi?
- Hello, I am Juan.
- Hello Juan How are you?
- Well thanks. Could I speak to Julia? I can't get through to your phone.
- He told me his phone ran out of battery. I already happened to you with her.
- Thanks a lot.
- No problem.
