Script Analysis.There are several different ways to approach script analysis, particularly structural, metaphorical, and contextual. This section will look at the structural elements of script analysis, so the plot, the characters, the action. The page on Research for Production will go over the various contexts that you need to look at for a production, as well as the types of research that can be done and metaphorical approaches to the text.
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Methods
The structural analysis really breaks down the framework of the play so a director and dramaturg can see how the individual pieces fit together to create the whole. There are dozens of ways to approach script analysis in general, so this page will cover just a few structural analysis methods, including:
- scene breakdown
- plot bead
- spatial analysis
- scene breakdown
- plot bead
- spatial analysis
Scene Breakdown
The scene breakdown includes a summary of the action and a list of the characters that are present during each scene, as well as the location and time of day each scene takes place in. When creating a scene breakdown, a dramaturg has to decide what is important enough to be included, as not every event is written in the breakdown. A dramaturg would ask if the action is pertinent to the movement of the plot or to the development of a particular character. During this process a dramaturg also has to be aware of the language they are using in the scene breakdown. They must write each event in language that does not lead a director to make a specific decision. For example, a dramaturg would most like write, “Grimaldi kills Bergetto” rather than “Grimaldi murders Bergetto”. They must be aware of the specific associations that are made with words. Murder often implies intent to kill a certain person and forethought or plotting to do so. Although the director may choose to say that it is a murder, or even the dramaturg believes that to be the case, the scene breakdown should use unbiased language.
Example of a Scene Breakdown (Shakespeare's The Tempest)
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ACT
1 1 2 |
SCENE
1 2 1 |
LOCATION
On the beach The island; by Prospero's cell Another part of the island |
CHARACTERS
Master Boatswain Alonso Sebastian Antonio Ferdinand Gonzalo Prospero Miranda Ariel Caliban Ferdinand Alonso Sebastian Antonio Gonzalo Adrian Francisco Ariel |
ACTION
Characters fight for their lives as the boat is shipwrecked Prospero and Miranda watch shipwreck Prospero tells Miranda story of who she is and about Antonio’s usurping of his dukedom Prospero tells Ariel he will free him in two or three days Miranda and Ferdinand meet Prospero threatens Caliban Alonso, Sebastian, Antonio and Gonzalo look for Ferdinand Ariel puts a spell on Gonzalo and Adrian to sleep Alonso goes to sleep Antonio tries to convince Sebastian to kill his brother to become king Gonzalo becomes suspicious of a plot |
Plot Bead
The plot bead includes even fewer events than the scene breakdown. It is a visual representation of the play and it shows the skeletal structure of the text. This allows directors and dramaturgs to see how actions work with (or against) one another and the movement of the play. A plot bead also allows patterns in the play to become apparent. If a dramaturg is interesting in seeing the connection between certain characters or ideas, then they may visually identify the moments that include those characters or ideas so they can see if a pattern in fact exists. Each dramaturg has their own way of creating plot beads. Some only use circles, some use other shapes, some use colours, some use symbols. It is important for a dramaturg and a director to develop a relationship and communicate so that the director has a clear understanding of the work the dramaturge is doing. Plot beads are also very helpful when looking to create a production script. If an event has not been included in the plot bead that indicates that it may be something that could be cut. For events on the plot bead, dramaturgs can see what holes would be created if a character were eliminated or if a specific event is removed. They can see if that affects the movement of the play and if the removal of one thing requires the removal of something else as well.
Sample Plot Bead (The Golden Age by Louis Nowra)
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Part One
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Part Two
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Spatial Analysis
The spatial analysis of a play looks closely at the locations that exist in the play. It includes a list of all of the places that are in the play. For each of those locations, a dramaturg then asks, “What is this a place of?” A dramaturg would look at the events that occur in each place and see what type of event is it. Once the chart has been created a dramaturg can see if there are patterns that exist or dualities within specific spaces. A dramaturg would then decide what type of space would be required on stage. If there is only one location, then often this is a literal space, such as a living room. A dramaturg would also look at the playwright’s note (if one exists) at the beginning of the text for clues. There are two other options for types of space. The theatre space could be metaphorical. This often occurs when dualities exist in spaces, if a façade is meant to be “put on” in some way or if there are several locations that all must exist in the stage physical space. The choice to have a metaphorical set is also a choice that a director can make, but a dramaturg looks to see if that choice is present within the text. The third option for a type of stage space is magical. (It is commonly known as the “magic circle”.) This type of stage space implies that the physical space is more than one world. Usually only one area of the stage is considered part of the circle, so this type of stage space can exist within the other two, although it is usually only associated with metaphorical stage spaces.
Spatial Analysis Examples
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Twelfth Night
LOCATION Beach by shipwreck Orsino’s court Olivia’s palace In a dark room In the streets of a city Hedda Gabler LOCATION Hedda’s house Good Person of Szechwan LOCATION In the street Shen Teh’s house Tobacco shop Tobacco factory Courtroom |
PLACE OF Loss, separation Power, men Love, sadness Torture, seclusion Confusion, fighting PLACE OF Observance, marriage Love, honour Tragedy, loss Seclusion, loneliness Struggle, pain Imprisonment PLACE OF Barrenness, closure Hospitality, pleasure Charity, struggle Productivity, wealth Justice, exposure |
TYPE OF SPACE (ON STAGE) Metaphorical space TYPE OF SPACE (ON STAGE) Literal space TYPE OF SPACE (ON STAGE) Magic Circle space |