Professional Documents
Culture Documents
Character
Tuesday, January 17, 2017
9:49 AM
Character:
Story:
Conflict:
-"No one wants to see a play about nice things happening to nice people.
Unless something really unhappy is about to happen to them."
Unity of Action:
Lack of Plausibility:
-Action is illogical
-Seek out the truth inherent in you premise and reveal it for the audience
through a plausible sequence of related events.
Too many:
-Scenes
-Locations
-Jumps in time
-Conflict
-Characters
-Action
-But along with cinematic thinking, its scope is too wide for a play.
-Too episodic. A good play has a more focused scope - a limited number of
characters with only a few hours time in their lives presented (although that
time can spread out over days or years).
Lack of Focus:
-Create a simple protagonist - one who takes action and drives the main
conflict.
Too Trendy:
-"Hot topics" change quickly: by the time this is produced, the world will have
moved on.
-Dont write for success and popularity - write your truth - what you need to
write, what you want to write. Something you care about, whether it is
successful or not.
-Conflict
-Crisis
-Beginnings of CHARACTER
-(But be careful of preaching to the audience - obvious right and wrong sides of
a politically correct topic. Can wind up smug, sanctimonious, and pointless.)
-Plot
-Character
-Thought
-Diction
-Music
-Spectacle
-3 Unities:
-Time
-Place
-Action
Dramatic Principles: Dealing with structure that hasn't really changed very much
over the ages. (Changed very little)
Spectacle:
Dramatic Unity
Character
Action
Character Notes
Thursday, February 09, 2017
9:54 AM
Sociology: Status/Class
Nationality
Psychology: Superstitions
Talents
Tastes
Mannerisms
Ambitions
Disappointments
Inhibitions
Morals
Philosophy
Obsessions
Hobbies
Temperament
Fears
Background Information:
Childhood
Education
Parental Relationship
First kiss
War record
Dont treat this as a character analysis as though you are an actor preparing
for a role.
Don't try to reproduce a living person; this is a character giving the impression
they are a real person within the confines of a particular story
Present tense:
Be selective
Sub-textual information
One EMOTION usually defines them the most (think back to the Breakup scene
characters)
Cheerfulness
Lust
Anger
But not: SELF-PITY (unless they take action to snap out of it)
Stereotypes
The "redneck"
"The cranky old widower who uses a million balloons to fly his house to South
America."
Desire
Want
Goal
Character who does the most to move the action forward (or does the most to
prevent it) sets the play on course
REAL people usually make bad stage characters--we rarely significantly take
action
They have not been given enough traits or opportunities to take action
Don't use addiction, alcoholism, etc; don't mistake the symptom for the cause.
Formula
Inciting Incident
o 10% Rule:
Major Decision:
o The hook that will keep the audience in their seats for two hours
Series of obstacles
o Make sure that your protagonist doesnt succeed for a while (if at all!)
Three Cs
o When the protagonist faces no more of these, the play is over for the
audience
Rising Action
o Middle of the play should follow the path of the most resistance
o All is lost!
o The ultimate obstacle
Enlightenment
o Something the protagonist could not have known without the previous
trials and tribulations
o Carefully set up since the beginning, but not obvious at the time
o Protagonist finally sees the light after falling into the dark moment
Climax:
Catharsis:
o Aristotlepurging of emotions
o Tragedy: Audience feels pity for hero, or fear they will suffer the same
fate
o The TRAP is winding up with a boring uninteresting playit sells but its
not ART
o The playwrights ally in finding danger and risk in his play that follows
formula is CHARACTER (remember the chicken and the egg)