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ANALYSIS #1 & 2
NINE ESSENTIAL QUESTIONS

Class Notes/Links Mrs. Jacque Shackelford Instructor, Speech & Theatre Phone: (903) 510-2207 e-Mail: jsha1@tjc.edu Office: WCA-C Courses: Spring 2010 Drama 1310: Introduction to Theatre Drama 1310 Syllybus Drama 1310 MWF Calendar Drama 1310 TR Calendar 1310 Test Material #1 Unit 1: Review 1 Art in Theatre 1310 Test Material #2 10 Story Elements 6 Elements Playwright's Process Drama 1310 Handout #1 Drama 1310 Handout #2 Tragedy or Comedy Review 1310 Test Material #3 The Producer The Director The Actor The Designers (Test 4) The Scene Design ------------------------- Acting I: Drama 1352 1. Acting I Calendars (PDF) 2. So you want to act for a living? 3. Handbook for Acting I (PDF) 4. Analysis #1 & 2: Nine Essential Questions 5. Acting Analysis: assignment Duo (PDF) 6. Play Reports (PDF) 7. Memory 8. Duo worksheet (PDF) 9. Stanislavski's Actor's Tools 10. Theater Schools 11. Worsheet: Character History (PDF) 12. Acting I-Check List (PDF) 13. Are you a procrastinator? ------------------------- Drama 1351 Section 1 ------------------------ Drama 1341 Costuming 1 Syllabus ------------------------ Drama 1342 Costuming I Handbook (PDF) Costuming I Calendar (PDF) ------------------------- Business and Professional Speech 1321: Handbook/Syllabus (PDF) ------------------------- *Note: you must have the Free Adobe Acrobat Reader Software that lets you view and print Adobe Portable Document Format (PDF) files. Class Notes/Links

INSTRUCTIONS

THIS ANALYSIS IS A RATHER WELL KNOWN FORM KNOWN AS THE NINE ESSENTIAL QUESTIONS

And Now for a little Stanislavsky...

This is the first analysis explanation. Read it before you do the analysis form.

I. DEFINE THE GIVEN CIRCUMSTANCES

The "given circumstances" are the world in which the play takes place.

1. No moment exists for itself. It grows out of other moments that went before and sometimes are expected to come after it. The more you understand about the characters interaction to that world, the more concrete the performance. In the 50's air conditioning was rare. What difference does that make in the play 12 angry men?

2. To understand that world.... ask the right questions. (The 9 essential questions of Stanislavski.)

a. Who am I? Make it as complete as possible, invent to fill in the blanks.

b. Where am I? Do you see, hear , smell all about the place that you are? Describe it. How do you (Your character) feel about it? Is it familiar? What is your history with this place?

c. What time is it? Year? time of day? how does it feel? For instance, the first day of Real Fall? Christmas? How does your character respond to it?

d. What surrounds me? What can I see in this space? These may be living persons and/or inanimate objects. Remember that sometimes inanimate objects also remind us of people. Almost all the objects in your life have a history with you.

e. What are the given circumstances? Exactly what do you know about the situation that you are in right now, in detail. Past, present and future.

f. What is my relationship? To the people and even to the inanimate objects that are around me.

g. What do I want? Overall objectives, character objectives by line and scene.

h. What's in my way? What is stopping me from completing the objectives. The stronger and more specific this choice or choices is will determine the strength and interest of your character. If nothing is in your way, get your objective and get off the stage. Or find an obstacle.

i. What will I do to get what I want? This is both physical and emotional. How important is it to you? Will you kill for it? Will you pay money to accomplish it? If so,. how much? What lengths will you reach for this goal?

The following questions/ pointers are not part of the Stanislavski 9 Essential questions but may help you find your character.

J. Who am I talking to? Make a history for the two of you. Fill it with details.

k. What happened to me the moment before this scene happened. Even though this may be the first scene in the play, something happened to your character in the moment before the play started. Something that brought him here. Actors frequently find it helpful to have the first line be the answer to an unspoken question.

L. What is your view of the world? State it in one sentence if possible. This helps you establish a value system for your character. "People are basically trustworthy." or "All men are slime" tell us something about the philosopher and how they interact with other people. This belief is not something that you can play, it must be anchored in action. But it affects how you respond to lots of things.

3. Don't work for emotion. Let it be the natural result of what happens in the scene and to the character. It is perfectly all right if you do not have the same emotional response each time you do the scene. This is called "playing the moment" or "staying in the moment" and is a product of doing the right things.

4. Don't make choices that are boring to play or watch, even if you believe they are natural. Why would anyone want to watch a boring performance? We are attracted to energy and levels. The more complex the choices, the more real the performance seems. Real people have conflicted choices.

5. The more specific the choices, the better. Don't be afraid to risk, take a chance. Don't be afraid to create. That's what it is all about.

6. Enjoy the creating. It is fun. That's why they call them plays.

ANALYSIS FOR CLOSE TO TYPE

THE 9 ESSENTIAL QUESTIONS FOR SCENES #1 &#2

This analysis of your role just be given to the instructor before the scene can be presented for credit. ANSWER FULLY.

NAME OF ACTOR.............................................................

NAME OF PLAY.................................................................

NAME OF ROLE...............................................................

NAME OF AUTHOR.........................................................

WHO AM I?

WHAT TIME IS IT?

WHERE AM I?

WHAT SURROUNDS ME?

WHAT ARE THE GIVEN CIRCUMSTANCES?

WHAT IS MY RELATIONSHIP?

WHAT DO I WANT?

WHAT'S IN MY WAY?

WHAT DO I DO TO GET WHAT I WANT?

FAR FROM TYPE CHARACTER ANALYSIS

SCENE #3

NAME...................................................................

CHARACTER.........................................................

PLAY.......................................................................

SITUATION (TWO SENTENCE MAXIMUM)

AGE OF CHARACTER....... SOCIAL STATUS...............

OCCUPATION...............

WHY IS THIS A "FAR FROM TYPE" ROLE FOR YOU?

HOW DO YOU PLAN TO DEAL WITH THE CHALLANGES OF THE DIFFERENCE?

WHO IS (S)HE SPEAKING TO ?

WHAT DO THEY MEAN TO EACH OTHER?

WHAT HAPPENED JUST BEFORE THIS SCENE?

WHO DO YOU LOVE AND WHY?

WHAT IS YOUR OBJECTIVE?

WHAT IS THE OBSTACLE(S) TO THAT GOAL?

HOW CAN YOU MAXIMIZE THE WAY YOU FEEL TO MAKE THE CHOICES MOST ACTIVE (RAISE THE STAKES)?