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    Conversion

    In some plays there are frequent cases in which the end depends on something very like the straightening out of a tangled rope or the loosening of some knot in the mind of some of the characters, or denouement. For example, the obstinate guardian who for four acts and a half had stood between the lovers, suddenly changed his mind, and all was well for them.

    Conversions fall into two classes: changes in volition, and changes in sentiment. Changes of will, on the modern stage, are not always adequately motivated, but that is because of individual lack of expertise and can show itself in action. Changes of sentiment are much more important and more difficult to handle, since it is very difficult to externalize convincingly a person’s change of heart. When the outcome of a play depends on a conversion of this nature, it becomes priority that it should not merely be asserted, but proved. Many plays failed because this was disregarded.

    Marshall wrote a "farcical romance" named “The Duke of Killiecrankie”.
    The Duke's change of mind, his will to set the Lady Henrietta free, is
    visibly demonstrated by the actual opening of the prison gate, so that
    it becomes credible to the audience and they believe that she believes in it.

    How to drive home to the audience a decisive change of heart is a constant challenge for the playwright's craft.

    Haddon Chambers’ play, “The Awakening”, turns around on a sudden
    conversion of the villain to the error of his ways, but how to convince the heroine and the audience of his change of heart? In the end the audience remains skeptical and the desired effect is missed.

    The challenge for the playwright to convince the audience of the radical change of mental attitude in a character, is part of the bigger problem of how to show such inward processes outwardly in an authentic and convincing way.

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