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?
Showing posts with label Actors. Show all posts
Showing posts with label Actors. Show all posts
Wednesday, February 15, 2012
actors Sprint 1
ACTORS 2/9
You’ve now analyzed two different scripts; you’re already seeing things in a different way and thinking about acting rather than approaching it mindlessly.
OBJECTIVE/WANT/INTENTION - what the character wants the OTHER character to do. It is possible in the course of the scene. It is testable.
I want world peace. This isn’t worth anything to us. We can’t get this from someone in a scene, nor do we know when we have it.
I want Chuck to leave me alone. This is better. We can get that in a scene, and we can know when we get it.
I want Chuck to leave the room... this is even better. It’s really easy to know I get my want, because Chuck leaves the room.
I want Doris to feel better. This is ok. What does better look like, though, how do I know I get it? When she stops crying? When she hugs me?
These are all better: I want Doris to stop crying. I want Doris to hug me. I want Doris to say, “It’s Ok. I feel better.”
REMEMBER - no emotional state for you. No “I want to feel better.” Nothing like that.
ACTION/TACTIC - this is what you are doing to the other person in the scene in order to get the Want. These are verbs ONLY, and the more one can see them or move them or embody them the better they are.
OBJECTIVE/WANT - I want mom to let me go to the dance.
TEST - Mom says “Ok, go to the dance.”
TACTIC/ACTION - I beg, I make a deal, I promise, I use guilt, I threaten....
There is usually one WANT across a scene, and then the character uses a bunch of TACTICS to try to get it. This is strangely just like real life.
ACTIVITY - this is some sort of physical thing you are doing in the scene that you just happen to be doing, but it can be used expressively.
While doing the dishes, I’m pleading with mom because I want to go to the dance. Which is the action? Which is the activity?
Now... you’ve heard the word BEAT. Each time a character switches to a different tactic, that is a beat.
SO... our new analysis system looks like this:
1) Read the script straight through;
Work through the script, writing down anything you figure out or that is said about the character. Find evidence of WANTS and TACTICS.
Break the script into French Scenes.
For each French Scene write the following information down in your notes;
Setting/Activities;
What happening between the characters?
What does your character WANT?
What is the TEST?
5) Draw a line in the script to indicate each beat, and write the Tactic/Action in the margin.
There really is no other way to analyze a script, and any system of analysis will always come back to the OBJECTIVES/WANTS and the TACTICS/ACTIONS.
SO... yer homework...
Boys - Re-analyze Native Dancer for MAX.
Girls - Re-analyze Native Dancer for SHIRLEY.
Choose a character you best understand. This is hard enough without getting fancy.
Write/type up your analysis and give it to me tomorrow, and then we will move on to the next thing. What I should get is a simple list of the OBJECTIVE’S and TESTS for each French Scene, and a marked up script, divided into French Scenes and then into beats, with the Tactic or the Action written in the margin.
You’ve now analyzed two different scripts; you’re already seeing things in a different way and thinking about acting rather than approaching it mindlessly.
OBJECTIVE/WANT/INTENTION - what the character wants the OTHER character to do. It is possible in the course of the scene. It is testable.
I want world peace. This isn’t worth anything to us. We can’t get this from someone in a scene, nor do we know when we have it.
I want Chuck to leave me alone. This is better. We can get that in a scene, and we can know when we get it.
I want Chuck to leave the room... this is even better. It’s really easy to know I get my want, because Chuck leaves the room.
I want Doris to feel better. This is ok. What does better look like, though, how do I know I get it? When she stops crying? When she hugs me?
These are all better: I want Doris to stop crying. I want Doris to hug me. I want Doris to say, “It’s Ok. I feel better.”
REMEMBER - no emotional state for you. No “I want to feel better.” Nothing like that.
ACTION/TACTIC - this is what you are doing to the other person in the scene in order to get the Want. These are verbs ONLY, and the more one can see them or move them or embody them the better they are.
OBJECTIVE/WANT - I want mom to let me go to the dance.
TEST - Mom says “Ok, go to the dance.”
TACTIC/ACTION - I beg, I make a deal, I promise, I use guilt, I threaten....
There is usually one WANT across a scene, and then the character uses a bunch of TACTICS to try to get it. This is strangely just like real life.
ACTIVITY - this is some sort of physical thing you are doing in the scene that you just happen to be doing, but it can be used expressively.
While doing the dishes, I’m pleading with mom because I want to go to the dance. Which is the action? Which is the activity?
Now... you’ve heard the word BEAT. Each time a character switches to a different tactic, that is a beat.
SO... our new analysis system looks like this:
1) Read the script straight through;
Work through the script, writing down anything you figure out or that is said about the character. Find evidence of WANTS and TACTICS.
Break the script into French Scenes.
For each French Scene write the following information down in your notes;
Setting/Activities;
What happening between the characters?
What does your character WANT?
What is the TEST?
5) Draw a line in the script to indicate each beat, and write the Tactic/Action in the margin.
There really is no other way to analyze a script, and any system of analysis will always come back to the OBJECTIVES/WANTS and the TACTICS/ACTIONS.
SO... yer homework...
Boys - Re-analyze Native Dancer for MAX.
Girls - Re-analyze Native Dancer for SHIRLEY.
Choose a character you best understand. This is hard enough without getting fancy.
Write/type up your analysis and give it to me tomorrow, and then we will move on to the next thing. What I should get is a simple list of the OBJECTIVE’S and TESTS for each French Scene, and a marked up script, divided into French Scenes and then into beats, with the Tactic or the Action written in the margin.
Actors Sprint 1
CTORS 2/8
I suppose that took forever. But the only way you get faster at it is to do it again and again. It goes about twice as fast each time you do it.
SO... today you’re starting a new script! Due tomorrow!
We’re working with another wonderful television play, She Walks in Beauty, by Ken Kolb.
I’ve marked on the script the character for which you are doing your analysis.
In short, you’re each analyzing a major and a minor character.
Follow the process as I outlined it:
1) Read the script straight through;
Work through the script, writing down anything you figure out or that is said about the character;
Break the script into French Scenes (I did this one for you), numbering each French Scene;
For each French Scene write the following information down in your notes;
What’s the environment/Where is it set?
Who’s in the scene;
What is happening between the characters?
What are the characters doing?
Attached is a script. You might find it helpful, after reading it through, to cross out the camera shots and action bits of the script so you can concentrate on the dialog.
You’re handing it in tomorrow, along with your first script if you’re not done with that. I want the script, all broken down, and your notes on it.
Your work tomorrow is your ticket to talking....
I suppose that took forever. But the only way you get faster at it is to do it again and again. It goes about twice as fast each time you do it.
SO... today you’re starting a new script! Due tomorrow!
We’re working with another wonderful television play, She Walks in Beauty, by Ken Kolb.
I’ve marked on the script the character for which you are doing your analysis.
In short, you’re each analyzing a major and a minor character.
Follow the process as I outlined it:
1) Read the script straight through;
Work through the script, writing down anything you figure out or that is said about the character;
Break the script into French Scenes (I did this one for you), numbering each French Scene;
For each French Scene write the following information down in your notes;
What’s the environment/Where is it set?
Who’s in the scene;
What is happening between the characters?
What are the characters doing?
Attached is a script. You might find it helpful, after reading it through, to cross out the camera shots and action bits of the script so you can concentrate on the dialog.
You’re handing it in tomorrow, along with your first script if you’re not done with that. I want the script, all broken down, and your notes on it.
Your work tomorrow is your ticket to talking....
Actors Sprint 1
ACTORS 2/6
Text Analysis is the process by which one translates the play on the page into the actions of the actor. The majority of actors are really pretty bad at doing it, and it is virtually unknown as a skill in high school theatre. It seems to be uncreative, even boring, but it is one of the those theatre skills that relies more on work than talent, and anyone who has some ability to parse out a script automatically becomes a more competitive actor, but also a better director and generally more useful in any performance situation.
This work requires writing. I keep this sort of stuff in a notebook and I’d prefer you do the same. If you don’t, at least keep everything you write together in a folder. Bring your scene notes and your script to class everyday this week. Should you forget either, you’re out.
We’re working with a wonderful television play, Native Dancer, by David Shaw.
Gentleman: you’re analyzing the script for Max Binder and Oscar Miller
Ladies: you’re analyzing the script for Shirley Kochendorfer and Francis
In short, you’re each analyzing a major and a minor character.
Here is the process you will follow:
1) Read the script straight through;
Work through the script, writing down anything you figure out or that is said about the character;
Break the script into French Scenes (I did this one for you), numbering each French Scene;
A French Scene is an arbitrary division made in a scene. Whenever the characters go into a new room, or a new character enters, that will generally mean a new French Scene is happening.
For each French Scene write the following information down in your notes;
What’s the environment/Where is it set?
Who’s in the scene;
Include only major characters. Lump minor characters together.
What is happening between the characters?
Characters NEVER talk. They argue, fight, make-up, court, etc., but they never simply talk;
What are the characters doing?
Again, they never talk. Describe with VERBS. Don’t mention emotions.
Attached is a script. I’ve broken the first few pages into French Scenes for you (you have to do the rest of the script) and I’ve done step 4 of the first French Scene as an example.
This is enough for the first day. Bring all your work, completed, to class tomorrow so I can check it all over. Don’t forget to do the sheet of terms too. That’s due Tuesday Night.
SCENE 1
Analysis for Shirley:
What’s the environment/Where is it set?
Drug store/Soda fountain/diner in NYC, day, the 1950’s
Shirley is behind the counter in a cooking area - it’s hot and cramped back there.
Who’s in the scene;
Shirley the short order cook, Francis the waitress
What is happening between the characters?
They’re kind of fighting in a frustrated, friendly way.
What are the characters doing?
Shirley is cooking slowly and day dreaming a lot, and practicing her dancing.
Analysis for Francis:
What’s the environment/Where is it set?
Drug store/Soda fountain/diner in NYC, day, the 1950’s
Francis is “on the floor” — tables and people everywhere
Who’s in the scene;
Francis the waitress, Shirley the short order cook
What is happening between the characters?
They’re kind of fighting in a frustrated, friendly way.
What are the characters doing?
Francis is bugging Shirley to work faster.
Text Analysis is the process by which one translates the play on the page into the actions of the actor. The majority of actors are really pretty bad at doing it, and it is virtually unknown as a skill in high school theatre. It seems to be uncreative, even boring, but it is one of the those theatre skills that relies more on work than talent, and anyone who has some ability to parse out a script automatically becomes a more competitive actor, but also a better director and generally more useful in any performance situation.
This work requires writing. I keep this sort of stuff in a notebook and I’d prefer you do the same. If you don’t, at least keep everything you write together in a folder. Bring your scene notes and your script to class everyday this week. Should you forget either, you’re out.
We’re working with a wonderful television play, Native Dancer, by David Shaw.
Gentleman: you’re analyzing the script for Max Binder and Oscar Miller
Ladies: you’re analyzing the script for Shirley Kochendorfer and Francis
In short, you’re each analyzing a major and a minor character.
Here is the process you will follow:
1) Read the script straight through;
Work through the script, writing down anything you figure out or that is said about the character;
Break the script into French Scenes (I did this one for you), numbering each French Scene;
A French Scene is an arbitrary division made in a scene. Whenever the characters go into a new room, or a new character enters, that will generally mean a new French Scene is happening.
For each French Scene write the following information down in your notes;
What’s the environment/Where is it set?
Who’s in the scene;
Include only major characters. Lump minor characters together.
What is happening between the characters?
Characters NEVER talk. They argue, fight, make-up, court, etc., but they never simply talk;
What are the characters doing?
Again, they never talk. Describe with VERBS. Don’t mention emotions.
Attached is a script. I’ve broken the first few pages into French Scenes for you (you have to do the rest of the script) and I’ve done step 4 of the first French Scene as an example.
This is enough for the first day. Bring all your work, completed, to class tomorrow so I can check it all over. Don’t forget to do the sheet of terms too. That’s due Tuesday Night.
SCENE 1
Analysis for Shirley:
What’s the environment/Where is it set?
Drug store/Soda fountain/diner in NYC, day, the 1950’s
Shirley is behind the counter in a cooking area - it’s hot and cramped back there.
Who’s in the scene;
Shirley the short order cook, Francis the waitress
What is happening between the characters?
They’re kind of fighting in a frustrated, friendly way.
What are the characters doing?
Shirley is cooking slowly and day dreaming a lot, and practicing her dancing.
Analysis for Francis:
What’s the environment/Where is it set?
Drug store/Soda fountain/diner in NYC, day, the 1950’s
Francis is “on the floor” — tables and people everywhere
Who’s in the scene;
Francis the waitress, Shirley the short order cook
What is happening between the characters?
They’re kind of fighting in a frustrated, friendly way.
What are the characters doing?
Francis is bugging Shirley to work faster.
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