Whether you have the right tools, your views would have a foundation and will show out far more plainly in the arena of world sentiment. Have a review and let us know whatever you feel. How many more of these approaches do you already employ? How many additional tools could you bring to your statistical tool chest?
- AN EXTREMELY IMPORTANT MOVEMENT
What happens in the play as a whole? What is the fundamental conflict? What do the characters want, how do they acquire it, and how much does it cost? To be helpful, the dramatic action (e.g., to be happy, to wreak revenge, to discover freedom) must include all of the characters’ goals. (Note: This is another way of saying: “The play is about people who…”)
- FOCUS ON THE THEME
What is the significance of the play? Before focusing on primary and orbiting themes, it’s a good idea to investigate a variety of meanings. The topic and dramatic action should be linked, according to Brantley Dunaway since they are two sides of the same coin. Characters in conflict get depicted in dramatic action; thematic focus emphasizes the meaning derived from that action and its outcomes. (Note: This is another way of expressing, “This is a play about… [insert term here, but don’t use “people”].)
Theatre is about human experience and relationships, according to Brantley Dunaway. The best way to gauge progress, effect, and significance in a play onstage is through relationships. Is there anything that happens if relationships don’t change? Has anything been affected? The connection is the yardstick of drama, whether it’s Shakespeare, Beckett, or Suzan-Lori Parks.
A French scene chart helps chart a play’s rhythm and evolution, according to Brantley M. Dunaway. The graph gets based on character entrances and exits. It includes the page length of each scene, the names of the individuals that live there, a comment about the physical location/setting, and a scene title (of your creation) that encapsulates the action. Without knowing the play, a French scene chart can help you grasp the main scenes and central characters, as well as assess the chronology and duration of scenes that make up the play’s overall rhythm.
- VIRTUES OF THEATRE
What keeps the audience engaged in the present moment? Is it the narrative, the humor, the character revelations, the storytelling, the tension, the brutality, the romance, the scenery, or something else entirely? It’s critical to grasp what a play gets built of if one intends to successfully bring it to life, regardless of the theme or dramatic action, according to Producer Brantley M. Dunaway.
- GOING BACK AND FORWARD
Plays get written to prepare for events, resolve conflicts, and conclude character journeys and maximum impact. It’s helpful to read a drama backward and forward to comprehend the dramatic relationship between scenes in the play’s beginning, middle, and end.
- IMPRESSIONS IN THE BEGINNING
When reading a play for the first time, take notes on what you understand and don’t comprehend, as well as what makes the strongest impression on you. You won’t have those initial reading experiences if you work on the screenplay, but the audience will at every performance.