Script Analysis for Actors, Directors, and Designers
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Script Analysis for Actors, Directors, and Designers teaches the skills of script analysis using a formalist approach that examines the written part of a play to gauge how the play should be performed and designed. Treatments of both classic and unconventional plays are combined with clear examples, end-of-chapter questions, and stimulating summaries that will allow actors, directors and designers to immediately incorporate the concepts and processes into their theatre production work.
Now thoroughly revised, the fifth edition contains a new section on postmodernism and postdramatic methods of script analysis, along with additional material for designers.
we break down plays into parts — plot, character, dialogue, etc. — and learn to understand a play’s complexity by focusing on only one small feature at a time. Pattern awareness demonstrates how all the parts ﬁt INTRODUCTION xxx together and how a play represents universal human experiences and feelings. Historical awareness is a type of pattern awareness intimately associated with the modern era. Historical awareness here means not only a sense of history (a set of intellectual skills
before them. Maria Knebel, a personal pupil of both Stanislavsky and Nemirovich, wrote about the seed: The concept of the seed occupies a leading position in NemirovichDanchenko’s system of creative insights. Correctly established by ACTION ANALYSIS 7 the director, the seed ﬁrst of all promotes a “vision of the whole,” it helps to construct the performance based on a harmonic unity of all its parts. The seed should resonate through each episode, Nemirovich-Danchenko said, and he required that
at the end of the play. Special activities in nonrealistic plays appear energetically and without warning. There is no obvious reason why this should be so. At one moment the action is realistically plausible, at another the characters are involuntarily pushed into readjustments, at a third mysterious unplanned impulses arise, a fourth is seen through the fun-house mirror of parody, etc. And all this happens before any reasonable explanations are offered. Explanations may follow, or may be
studying the words of one character at a time can make the topics of conversation and their associated beats easier to recognize. Beat 1 DON. So? (Pause.) So what, Bob? (Pause.) BOB. I’m sorry, Donny. (Pause.) DON. All right. BOB. I’m sorry, Donny. DON. Yeah. Beat 2 132 BOB. Maybe he’s still in there. DON. If you think that, Bob, how come you’re in here? BOB. I came in. (Pause.) DON. You don’t come in, Bob. You don’t come in until you do a thing. BOB. He didn’t come out. DON. What do I care,
formal scenes in each act. Of course, this is not entirely true. It was the convention of that time to consider a new scene through any new arrangement of characters on stage. Hence a French Scene is created anytime a character enters or exits. Plays no longer designate French Scenes as such, but the term is still used in the same sense. Modern plays “hold the situation” longer to make the most of emotional shadings, and therefore tend to have fewer events than their classic counterparts. This