Script Analysis - Part 1

Divisions of a Play

For our script analysis lesson, we will be using the same play we used for the "ACTING AS CONVERSATION" lesson, Neith Boyce's tragedy, "Winter's Night" . Click on the play title if you do not already have a copy of it. Save the play as a text file so you can refer to it quickly. Or open a second browser window, then click on the play title and keep the play open in this second window. You may also print a hard copy of the play if you want to do so. This is a royalty free play.

Why are we using a play script instead of a movie script? Because most actors and actresses begin their careers in the live theatre - generally in community theatre. You don't have to wait until you can be in a movie to be able to do professional actor-type things. What you learn in this lesson, you can put into practise right away. Learning to analyze a play is an important step in becoming a professional actor or actress. Many of the things you learn by using the play script in this lesson, you can use when analyzing movie scripts later in your professional career.

"Winters Night" is a "one act play". By that I mean that the entire action of the play is performed start to finish without any intermissions. In a "two act play", the action is divided into two sections and is performed with an intermission between the two sections. A "three act play" has two intermissions which seperate three sections of action. There are plays with more than three acts, but they are rare and tend to be rather long.

Besides being divided into "acts", plays can further divided into "scenes". A scene is a major break in the action within an act. For instance, "Winters Night" begins with the action taking place on the sunporch of the Wescott farmhouse on a cold winter day. Let's make believe that half way through the play, the scene shifts to six months later, in the farm yard. (it doesn't, but actors pretend a lot.)

This shift in time and location would probably be written in the script as "Scene II" and include a statement describing the setting and time of the new "scene". The opening of the play would have probably had the heading "Scene I".

If a play has two or three acts, each act might have more than one scene. The act and scene headings might be written something like, "Act I Scene I", "Act I Scene II", "Act II Scene I", "Act II Scene II", "Act II Scene III", "Act III". Notice that the third act does not say "Scene I". That's because Act III has only one scene, so it is not necessary to write "Scene I".

A one act play does not say "Act I Scene I", "Act I Scene II" etc. because there is only one act. The script would simply have the heading "Scene I", "Scene II", etc. before each scene.

For live theatre, a shift in time and/or location (a new scene) usually means a stage crew has to set up the stage with different scenery and props. This takes time. Scene changes are not supposed to last very long since the audience does not get up, stretch, get refreshments, etc. as they would do at an intermission. However, it still takes time and is usually done in full view of the audience (or in a "blackout" of the stage lights.)

In a movie, a scene change is accomplished quickly with some kind of transition effect like a cut or dissolve or wipe. A movie script doesn't have "Acts" and "Scenes" denoted the same way as a play. A movie script would simply state the transition effect on the script along with a brief description of the new scene and the dialog.

Besides a change in time and/or location, a scene change frequently indicates a change in characters, action, emotion, intensity, energy and plot.

Another division in a play is something called a "French Scene". The exit or entrance of a character marks a new French Scene. A French Scene lasts as long as there is a constant number of characters on stage. French Scenes are not indicated in the play in any written form. There are five French Scenes in "Winter's Night:

1. In the beginning when Rachel is on stage alone
2. When Jacob enters (Jacob and Rachel are on stage together.)
3. When Sarah enters (Jacob and Rachel are joined on stage by Sarah.)
4. When Jacob leaves (Sarah and Rachel remain on stage together.)
5. When Sarah leaves (Rachel remains on stage alone.)

Units of Action

A play is composed of each character's "Units of Action". These are not nearly as cut and dry as the formal divisions of "Acts", "Scenes" and "French Scenes". Here is where the actor's script analysis work really begins.

Acting is the performance of actions. One cannot perform an emotion or intention. Emotions and intentions are internal experiences.

For instance, one cannot perform "Fear". Fear is an emotion. Emotions are internal experiences. One needs to perform actions to outwardly    express the internal experience of fear. Without the outward expression of fear - fear actions - the audience would have no idea that the character was afraid. Fear actions might be: to cower in a corner, or to scream loudly and hold the back of your hand to cover your face as you look wide-eyed at an advancing attacker. A fear action can also be to scream silently (you're so scared you cannot get any sound out) while you wildly throw whatever is available at your attacker. In fact, there are many, many ways that you can outwardly    express the internal experience of fear. (see the lesson, ACTING AS CONVERSATION.)

Likewise, one cannot perform an intention. Intentions are internal thoughts or desires (the character may or may not be consciously aware of his/her intentions.) One needs to perform actions to outwardly express the intention. Without such actions, the audience would have no idea what a character might be thinking.

For instance, if a character's intention is, "to protect his frail health", then he might perform actions like to incessantly close doors and windows, to wipe off door handles before touching them, to spray disinfectant on phone receivers, to hold a handkerchief over his nose and mouth when standing close to another character who is talking to him. Again, there are many, many actions one might perform that will express the intention of "to protect his frail health" (see the lesson, ACTING AS CONVERSATION.)

But before one can express that fear or that intention, one must be able to determine where in the script one might be fearful or intend to protect one's health.

One does this by finding in the script the "Units of Action" . In "Winter's Night", we have found by reading the play (You did read it didn't you? If not, stop and do so now.) that it is a one act play and that all of the action takes place in real time in one location.

We also know that most of the play takes place between two characters, Rachel and Jacob. The end of the play brings in the character of Sarah. So we have two "scenes" the Rachel/Jacob part of the play and the Sarah/Rachel/Jacob part of the play (two of the five "French Scenes" mentioned above.)

These two French Scenes might be described as:

• Scene I : Where Rachel and Jacob reveal their desires and dreams.
• Scene II : Where Rachel's and Jacob's dreams are forever destroyed.

A play is composed of many Units of Action. Each character having his or her own "through line" composed of their own Units of Action. The play is propelled forward by these Units of Action. If there is more then one unit of action in a play per character (it would be a mighty short play to be composed of a single unit of action per character) then each unit of action must have a start and an end.

Units of Action frequently begin when a character enters the stage. Units of Action frequently end when a character leaves the stage. (Sounds like a French Scene - eh?) Why? Because a good play does not have unnecessary characters doing unnecessary things. If the character was not needed on the stage at a particular time, the author would have cut the character out of the scene.

A character should have a reason for being on the stage. When that reason is complete, the character either needs another reason to stay on stage (another intention), or the character should exit.

Frequently, the entrance of a character and the exit of a character, alters the dynamics among the other characters on the stage. These altered dynamics frequently result in the Units of Action of the other characters to change.

In "Winters Night", Sarah's entrance significantly changes what is happening on the stage. It provides Rachel surcease from what she perceives as Jacob's attack and loathsome proposal. It is the impetus behind Jacob's perception that others will discover his "crazy", shameful proposal to Rachel and, because Jacob is such a private, quiet man, such a discovery is so unbearable to him that he commits suicide.

So far we have only divided "Winters Night" into two scenes: the scene without Sarah and the scene with Sarah. We can further divide the Sarah/Rachel/Jacob French Scene into two other French Scenes. The part of the scene after Sarah enters and the part of the scene after Jacob exits. Remember that frequently, Units of Action change after a character exits (a new French Scene.)

After Jacob exits, what is new? Well for one thing, we never see Jacob again - so he is done. Some stagehand in the wings will fire the shot. His final intentions and emotions had to be conveyed before his exit.

Rachel, on the other hand, realizes Jacob has taken his rifle when he went out. Her thoughts have changed from Jacob's vile proposal to the realization that Jacob has killed himself. Likewise, she would have a change of emotions. A change from what emotion to what emotion? Who knows. We're not that far yet. Heck we just got started.

Sarah's intention could be "to give comfort and protection from pain and sorrow". After Jacob exits, her intention pretty much stays the same. The exit or entrance of a character doesn't always create new Units of Action for every character on stage.

So here is what we have:

• Scene I (before Sarah's entrance): Where Rachel and Jacob reveal their desires and dreams.
• Scene II (after Sarah's entrance, before Jacob's exit)
  • UA-R (Unit of Action-Rachel): Where Rachel seeks comfort and protection from Jacob
  • UA-J: Where Jacob believes he will be exposed, forever shamed, and walks out to commit suicide.
  • UA-S: Where Sarah gives comfort.
• Scene III (after Jacob's exit)
  • UA-R: Where Rachel realizes that Jacob has killed himself.
  • UA-S: Where Sarah gives comfort.

• Scene III (after Jacob's exit)
  • UA-R: Where Rachel realizes that Jacob has killed himself.
  • UA-S: Where Sarah gives comfort.
• Scene IV (after Sarah exits)
  • UA-Rachel: Where Rachel faces the horror of the nights events.

S.      Why, of course I wouldn't leave you alone this night, you want a woman with you. And Jacob - ah the poor man, he's feeling it too.

R.     Yes, Jacob's feeling bad. Take off your things, Sarah, come and warm yourself, it's so cold. Oh Sarah, I'm so thankful you came.

So now Scene III becomes:

• Scene III (after Jacob's exit)
  • UA-R: Where Rachel realizes that Jacob has killed himself.
  • UA-S1: Where Sarah gives comfort.
    • UA-S2: Where Sarah realizes Jacob might have killed himself.

Finally, we have this little arrangement of scenes and Units of Action.

• Scene I (before Sarah's entrance): Where Rachel and Jacob reveal their desires and dreams.
• Scene II (after Sarah's entrance, before Jacob's exit)
  • UA-R (Unit of Action-Rachel): Where Rachel seeks comfort and protection from Jacob
  • UA-J: Where Jacob believes he will be exposed, forever shamed, and walks out to commit suicide.
  • UA-S: Where Sarah gives comfort.
• Scene III (after Jacob's exit)
  • UA-R: Where Rachel realizes that Jacob has killed himself.
  • UA-S1: Where Sarah gives comfort.
    • UA-S2: Where Sarah realizes Jacob might have killed himself.
• Scene IV (after Sarah exits)
  • UA-Rachel: Where Rachel faces the horror of the nights events.

It seems our simple, little one act play has started to become rather complex. We now have four "scenes" and several Units of Action for the characters. Well, actually, we technically do not have Units of Action. We have a description of what the characters are thinking or doing.

Units of Action ("Intentions") need to be expressed as something the character "desires"

• Scene II (after Sarah's entrance, before Jacob's exit)
  • UA-R (Unit of Action-Rachel): Where Rachel seeks protection from Jacob
          Rachel's desire (intention) is - to shield herself from Jacob's emotional assault.
  • UA-J: Where Jacob believes he will be exposed, forever shamed, and walks out to commit suicide.
          Jacob's desire (intention) is - to end his pain.
  • UA-S: Where Sarah gives comfort.
          Sarah's desire is - to comfort her neighbors' pain.
• Scene III (after Jacob's exit)
  • UA-R: Where Rachel realizes that Jacob has killed himself.
          Rachel's desire is - to deny that Jacob has committed suicide
  • UA-S1: Where Sarah gives comfort.
          Sarah desires - to comfort her neighbor's pain.
    • UA-S2: Where Sarah realizes Jacob might have killed himself.
            Sarah's desire is - to save Jacob's life.
• Scene IV (after Sarah exits)
  • UA-Rachel: Where Rachel faces the horror of the night's events.
          Rachel's desire is - to drive out the memory of the night's events.

The Units of Action (Desires, Intentions) are not firmly cast in cement. We made them up, based upon our thoughts and interpretations of the lines of text (dialog). The Units of Action are pliable. We can change and refine them - and we should change and refine them - during the rehearsal process, as we gain more depth and insight into the play, the characters and the characters' relationships.For instance, say that during rehearsals, we decide that Rachel is quite happy that Jacob committed suicide (a bit far-fetched, but possible since at the end of the play - after Sarah's scream - the playwrite does not indicate any specific reaction from Rachel.)

(Sarah takes her coat and goes out. There is a long pause while Rachel returns to the chair and sits.

(Sarah screams from off stage.)

Slow fade out.  

We might change our idea of Rachels intention at the end of the play from:

• Scene IV (after Sarah exits)
  • UA-Rachel: Where Rachel faces the horror of the night's events.
          Rachel's desire is to drive out the memory of the night's events.

to:

• Scene IV (after Sarah exits)
  • UA-Rachel: Where Rachel realizes the night's events will make her sole owner of the farm.
          Rachel's desire is to enjoy her new-found financial and personal freedom.

An interpretation which is probably not consistent with the original intent of the author, but which can possibly be justified by the dialog.

When you are working on a script, your job as an actor is to determine all of the Units of Action for your character. Sometimes you will determine the Units of Action by yourself, sometimes you will work in collaboration with the director and sometimes the director will simply tell you what intention (Unit of Action) you should play.

Say a directors "helpfully" says "At this point in the script, you are terrified." Well "terrified" is an emotion (the extremely hightened emotion of fear.) As I mentioned above, You cannot act an emotion. Emotions are internal experiences. One needs to perform actions which outwardly    express the internal experience of "being terrified". And as I mentioned above, there are countless ways of expressing fear (or in this case, terror). What do you do? Ask yourself this question:

Let's say that based on your interpretation of the text, and considering your direction from the director, ..." you are terrified.", you decide a desire of "to hide myself from the danger" would be consistent with the situation, the character and outwardly express the director's desire for you to express terror.

Your "terror actions" could be: to hide by crouching low, to hide by scrambling away from the danger, to hide by ducking under or behind things, to hide by covering your face with your hands, to hide by turning your back toward the danger - or whatever actions you think of to accomplish your intention "to hide myself from the danger".

Vocally, you might say your lines or make noises in a frantic stage "whisper" (to hide your words by speaking softly), or unintellibably (to hide meaning), or with your hands over your mouth (to hide words behind your hands), or any number of other ways you think of "to hide" your words.

Determining your Units of Action (Intentions) helps you determine what actions you might perform.