This paper explores the pervasiveness of features of orality in the language of performed fiction. Features of orality are typical of spontaneous spoken conversations where they are the result of the ongoing planning process and the interaction between the interlocutors, but they also occur in the context of performed fiction (movies and plays) and in narrative fiction (e.g. novels). In these contexts, they are not the result of the spontaneous planning process but are generally produced to imitate such processes. In this paper, I explore a small range of such features (contractions, interjections, discourse markers, response forms and hesitators) in four corpora of performed fiction that have recently become available (Corpus of American Soap Operas, TV Corpus, Movies Corpus and Sydney Corpus of Television Dialogue) and compare their frequency patterns with spontaneous face-to-face conversations in the Santa Barbara Corpus of Spoken American English and with narrative fiction and academic writing in the Corpus of Contemporary American English (COCA). The results confirm that the selected features of orality are used regularly in performed fiction but less frequently than in spontaneous face-to-face interactions while they are rare in narrative fiction and almost entirely absent in academic writing. The results also show that the status of the transcriptions contained in these corpora needs to be assessed very carefully if they are to be used for a study of pragmatic features.

本文探讨了表演小说语言中口头表达特征的普遍性。口语特征是自发性口语对话的典型特征，它们是正在进行的计划过程和对话者之间互动的结果，但它们也出现在表演小说（电影和戏剧）和叙事小说（例如小说）的背景下。在这些情况下，它们不是自发规划过程的结果，而是通常是为了模仿此类过程而产生的。在本文中，我将探讨一个小范围的这种功能（收缩，感叹词，话语标记，反应形式和hesitators）在执行小说四种语料库，最近已成为可用的（美国肥皂剧的语料库，电视语料库，语料库电影和悉尼电视对话语料库），并将它们的频率模式与圣巴巴拉美式英语语料库中的自发面对面对话以及当代美国英语语料库(COCA)中的叙事小说和学术写作进行比较。结果证实，所选择的口语特征在表演小说中经常使用，但比在自发的面对面互动中使用的频率要低，而它们在叙事小说中很少见，在学术写作中几乎完全没有。结果还表明，如果要将这些语料库中包含的转录内容用于语用特征的研究，则需要非常仔细地评估它们的状态。