Directing the High School Play – Script Analysis

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Part of this Series Director High School games on script analysis focus. Originally, before the players and the landscape and blocking light and sound and of course the public, the director is alone with the room.

One who knows

The script is elected! And after that? All forms of the pieces from the absurd comedy in favor of some modern breeziest of classic and traditional, the level of analysis. It may help if you think you are an administrator strict repetition. Because in the secondary part, the director of “just be to find out.” That’s really what I mean by the analysis – to become one who knows “, after the script backwards and forwards. Are researching in the professional world dramturgs, there are actors who are motivated to study their characters, it directors are, the list the accessories.

In most cases, these jobs by the director of the school are supported. And even if you ask able pupils to take care of things, or is it part of their classroom work, are you still going to push it, the consultant always the “only in knowledge.” You have to know what it is trying to reach students. If part of the work was started before the sample, the better.

For me, text analysis, is always a good start. If I do not have a clear vision of the production, the screenplay study opens up many creative doors. When I analyze a script I’m looking for something that the experience of all parties seeking to improve. Something that contribute to a theatrical world.

“The attempts in the script

Details about the character: What are the details of the character in the script? What are the questions students should be able to answer about their characters? What does each character want? Did they succeed? What changes occur to the characters? What do they look? What is her background? The details of the characters rich or thin?

Story details: What are the main plot? Is this history or absurd logic? Are there holes in land? Are there times mentioned in the piece, but not dramatic?

Structure: How is the structure say about the game? For example, to repeat the dialogue, the choice of ordinary words, changes in time. The structure attempts to make a point? Think of some kind or the time or place? Are there any words that might be mispronounced or misunderstood?

Conflict: What is the main conflict? How to respond to each character of the conflict?

Topics: they are clear? Subtle? More than one? Define the issues that can shape your vision of the piece. How to block factor models topics? Can you create images that to illustrate the topics? Is there a recurring symbol?

Images: What images come to mind when you read the play? What can you pictures? The pieces are more than words, they are images that you can plant in the public mind the physical action of the characters. Is there a dominant color or texture?

The Nitty Gritty: A list of props, scenery, costumes specifically mentioned in the script. What you really need for the show?

Search: If there is a time to a historical event, specific references to pop culture, all these things are considered. He will guide the decisions in terms of quality, design decisions, decisions.

The biggies: What is the big problem is trying to solve? What is the most important measure of the story? What is the most important measure of the individual characters? What is the climax? The highest point? The lowest point?

A small discussion on shock

Depending on the type of administrator you are able to text-analysis include the determination of BAT in each scene. Some directors are very specific to describe the shock, others not so.

In my experience of high school theater is very limited in the adolescence I never heard of the “Beat”. No director ever had this conversation with me. In fact, I would go so far as to say that in my limited experience of the university theater I have not of “beats” to listen to my progress. Although I gradually aware of them, as a director, I have always focused on other elements.

Is it necessary to mark beats? Students need to know about them? It depends on your own experience as a director and the background of the students. If they never heard the beats and you start marking in this way will not end well. It is easily confused. Because the interpretation of the whole world a script may be different beats can vary. I feel the same about iambic pentameter – that is definitely something that can help, but can also be an obstacle to the process.

Of course, students can introduce something new, there may be some knowledge of the background of your students of the theater and your goals for production. Maybe you talk about fighting for a scene. If they have not done before, they certainly should not do it themselves.

A Lesson is a moment in the drama of a scene. This means that the actor in mind to bring not only the physical action (character on the stage the phone), but the effect of the characters (this is the character does to get what they want in the scene) and the psychological (what emotions are involved) See, it can be complicated! A lesson has a beginning, middle and end – it can be very short and take only a few lines of dialogue or the entire scene.

How do I know if the pace of more? The beat is more when it turn to a change in the action (for example, the character on a different subject, someone enters or leaves is a solved problem, a new problem begins, a change in emotion).

The number of scenes are not to be beaten? There is no set answer. Whenever there is a change to a new rhythm.

Why are they important? It is important for directors and actors on the same page when it comes to the pace and rhythm of a scene, and play as a whole. Marking beats helps to define the peak, and know the action for every action, every scene, every moment.

How can I mark the beats in the script? Slashes, brackets, stars – what works for you. Just be consistent.

Part III of this series to the direction of the High School play will focus on the vision. How you use your vision to best advantage in the production of high school?

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