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Line 3: − + − <small>''Spectators come to the theater to hear the subtext.'' Constantin Stanislavski, the father of [http://en.wikipedia.org/wiki/Stanislavski%27s_system method acting]</small> − Line 11:
Line 9: + + + + − An example of subtext: When Bodie and Doyle have a different set of rooms every time they are shown at home in [[The Professionals]], the subtext might be, "CI5 agents have to move often for security reasons," or "These characters are so unstable that they can't keep the same apartment for long." The subtext intended by the show's creators, if any, can be intuited through dialogue, continuity, bits of stage business and so on. For example, a line about how much they're paid can help to determine if they're choosing to move that frequently (expensive) or if CI5 pays for their housing and/or assigns them to live in different places.+ − −
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|seealso= [[Slashy]], [[Shippy]], [[Slash Goggles]], [[Hoyay!]], [[Slashnip]]
|seealso= [[Slashy]], [[Shippy]], [[Slash Goggles]], [[Hoyay!]], [[Slashnip]]
}}
}}
'''Subtext''' as defined by the Russian director Constantin Stanislavski is the underlying motivation, feelings and emotions behind a character's actions and speech. With a good actor, the audience can pick up on the subtext and interpret the character's thoughts and feelings. Stage "business" as well as speech contributes to the story behind the story. This is why people say of actors like Ethel Barrymore or Leonard Nimoy that a single gesture or word "spoke volumes".<ref>At least this is true of neurotypical audiences. This is an area where autistics can have difficulty eliciting meaning, and may need to have some things spelled out in more detail.</ref>
'''Subtext''' as defined by the Russian director Constantin Stanislavski is the underlying motivation, feelings and emotions behind a character's actions and speech. With a good actor, the audience can pick up on the subtext and interpret the character's thoughts and feelings. Stage "business" as well as speech contributes to the story behind the story. This is why people say of actors like Ethel Barrymore or Leonard Nimoy that a single gesture or word "spoke volumes".<ref>At least this is true of neurotypical audiences. This is an area where autistics can have difficulty eliciting meaning, and may need to have some things spelled out in more detail.</ref>
In fandom, subtext is content in [[canon]] (or, sometimes, [[fanworks]]) that is meant to be understood by the audience without being explicitly stated.
In fandom, subtext is content in [[canon]] (or, sometimes, [[fanworks]]) that is meant to be understood by the audience without being explicitly stated.
A fan used examples from [[Quantum Leap]] and [[The Professionals]] in a 1995 comment: {{Quotation|
"Subtext " is what a work of art may imply or indicate without stating outright. It can be deliberate
or inadvertent, and can be interpreted subjectively by the art's reader/viewer/listener. When [[Al]] screws up his face into an expression of misery at learning that [[Sam Beckett|Sam]] doesn't remember him, possible subtexts are: "Oh shit, the experiment's gone wrong!" "Does this mean he doesn't remember fucking me under the Accelerator night before last?" or "My hangover is even worse than I said." When [[Bodie]] and [[Ray Doyle|Doyle]] have a different set of rooms every time they are shown at home, the subtext can be, "CI5 agents have to move often for security reasons," or "These characters are so unstable that they can't keep the same apartment for long." <ref> from [[Strange Bedfellows (APA)]] #8 (February 1995) </ref>}}
In the [[Star Trek: The Original Series]] episode "Journey to Babel", Spock volunteers to donate blood for his father's heart operation. Christine Chapel says Spock's blood "isn't true Vulcan blood either, it, ah -- has human -- blood elements in it." Spock replies, "It should be possible to filter out the human factors." Whether or not a viewer has been following the show and knows the characters, the theatrical subtext is clear: Chapel loves Spock, because he's a Vulcan he can't respond, but he's also part human and she wishes she could connect with that aspect of his nature (but knows she cannot). Filtering out the human factors is exactly what he's been doing with his entire life. These lines are significant to their characters and to this episode in particular (as a subsequent scene with Spock and his mother demonstrates). It's all conveyed in her regretful expression and slight stammer, and his matter-of-fact response.
In the ''[[Star Trek: The Original Series]]'' episode "Journey to Babel", Spock volunteers to donate blood for his father's heart operation. Christine Chapel says Spock's blood "isn't true Vulcan blood either, it, ah -- has human -- blood elements in it." Spock replies, "It should be possible to filter out the human factors." Whether or not a viewer has been following the show and knows the characters, the theatrical subtext is clear: Chapel loves Spock, because he's a Vulcan he can't respond, but he's also part human and she wishes she could connect with that aspect of his nature (but knows she cannot). Filtering out the human factors is exactly what he's been doing with his entire life. These lines are significant to their characters and to this episode in particular (as a subsequent scene with Spock and his mother demonstrates). It's all conveyed in her regretful expression and slight stammer, and his matter-of-fact response.
==Subtext and Authorial Intent==
==Subtext and Authorial Intent==