Skip to main content

Analyzing a Script for a Performance

 

The actor creates the embodiment of the author's idea. Your ability to penetrate a script's inner meaning and make a visceral connection with the text is vital to a successful performance. An actor must learn how to think about a play, a film or an episode on a show.

 

Acting students, above all else, want to be on set/stage acting, and this is as it should be. But you must recognize that all you will eventually do on set/stage depends on learning how to read a script effectively. As Stanislavski reminds us,”... the result of an artistic analysis is feeling."

 

An enlightened actor 

works with confidence.

Once you have learned 

to read a script for a performance, 

you can take the creative risks 

that are the mark of 

a fine artist.

 

 

THE PROCESS OF INTERPRETATION

 

When your understanding of a script deepens, the bond to the emotional life of a character becomes increasingly profound. This happens in all human relationships. As you grow to understand someone, your connection to her inner life strengthens, and inevitably your ability to share thoughts and feelings with this person increases. This is also true in your relationships with dramatic characters.

 

An actor's choices for a character must support the central idea inherent in the dramatic action. The decisions you make will be determined by your understanding of the script; if you circumvent the analytic process, you will be susceptible to doubts and uncertainties about creative choices. Such hesitation makes your acting tentative and ultimately unconvincing. Your "sense of faith" in what you do on stage affects your "sense of truth." Your intellectual homework affirms your belief and frees you to take risks and make the daring and inspired acting choices discussed. Your conscious, detailed examination of a play liberates the creative energy of the unconscious.

 

 

 

Felner, Mira. Free to Act. Allyn & Bacon, 2004.

Comments

Popular posts from this blog

WANTS WANTS WANTS VERBS ACTIONS

Wants. Wants. Wants. Wants are what create drama. Wants are what give life to the character. Wants are what the waking individual is never without. Wants are perpetual. Wants cause action. Wants create conflict. Wants are the very energy man's life and the   System of Wants  is the aspect of character to which the actor gives his relentless and obsessive attention. The actor tracks down the wants. Everything else is classified as a condition. The golden key is the character's system of wants. And after I have studied and structured and tested and assumed the character's system of wants, then, and only then, am I permitted to occupy their inner life and express their personality. Of all the questions I ask the character about themselves. the overwhelming majority have to do with their wants: "What do you want?" "What do you want now?" "What is your ultimate want?" "What do you want from the other person?" "What do you want in the ...

ACTIONS OBJECTIVES 101

  CREATING AN ACTION   Having narrowed the focus of wants to the choice of specific verbs, let us take the first of two steps in refinement. An adequate expression of the want is a verb by itself.  A superior, more subtle, and certainly more actable expression of the want will include the person to whom the want is directed   and the response sought from that person  so that a first-class actor expressing an individual want of the character would include all three elements:                                   VERB                 RECEIVER + RESPONSE I want               to WIN              Gloria's  admiration.   I want              to AWAKEN       my father's enthusiasm.   I want  ...

Parts of a beat: MOMENTS

  MOMENTS A moment comprises a purposeful action toward the beat objective and your assessment of your success or failure at achieving it, based on the response received from the situation or from another character. A moment is thus a cycle of  intention-realization-reaction  that circle of energy flow and communication. As a result of your feedback in the moment, you may decide to stay in the beat or make a tactical adjustment, moving to a new objective and a new beat. As long as the intention remains unchanged, you are still in the same beat, although you may have moved through several moments.    Although each beat and moment is connected to your super objective and through-line, when you act,  it is the needs of the immediate moment that determine your course of action. The overarching concepts are there to keep your performance on course, but they are not part of your active consciousness, just as in life what you do at any given moment is usually a re...