Actors Sprint 1

ACTORS 2/10

A quick recap of script analysis:

We read the script to find out the OBJECTIVES of each scene the character is in, and the TACTICS used in each BEAT of the scene by the character in pursuit of the OBJECTIVE.

Another way to say this: we read the script to find the WANTS of the character in each scene and the ACTIONS used in each BEAT of the scene by the character in pursuit of the WANTS.

We also figure out the SETTINGS, the ACTIVITES, the RELATIONSHIPS - we can call all of this stuff the GIVEN CIRCUMSTANCES or simply, the GIVENS.

OBJECTIVES, WANTS, INTENTIONS - all the same thing.
TACTICS, ACTIONS - the same thing.

We divide the script into SCENES, often into FRENCH SCENES if necessary, and then further dividing the SCENES into BEATS.

OBJECTIVES - what the character WANTS from other characters. Written like this:

Karen wants her mom to let her go to the dance.

The OBJECTIVE can be gotten in the course of the scene, and it is testable, ie, there needs to be clear evidence of the character getting the OBJECTIVE.

TACTICS - the ACTIONS the character takes to get the OBJECTIVE. Written using descriptive verbs...

Karen begs, Karen pleads, Karen bargains, Karen demands, Karen threatens, Karen guilts (uses guilt), Karen jokes, Karen frightens, etc...

GIVENS are things that cause the actor to have to adjust PHYSICALLY - the temperature, the type of room, the other people in the room, his or her job, etc.

ACTIVITIES are things the character is doing that, while they might be expressive of emotions or something, aren’t directed at other characters.

We avoid thinking about emotions and states of being!

NOW... what about a consideration of the entire script? A character exists across and throughout the entire script. If we see the character in multiple scenes we might see many different objectives and tactics used, and we might see the character change. This is commonly called the ARC OF THE CHARACTER.

A character, in moving across their arc, does so in accordance with and is expressive of the character’s SUPER OBJECTIVE.

The SUPER OBJECTIVE is what the character wants across the entire script.

SO... going back to Native Dancer, what are the SUPER OBJECTIVES of




Shirley?





Max?





Francis?






Oscar Miller?






Shirley’s Mom?