Objective: Students will analyze script, characters and mark for beats/objectives.
Bell work:
Classwork:
Beats break up units. A beat is the smallest structural division of your script. Generally, I notate them as a little tick, like so: / It can be loosely thought of as an exchange of action and reaction, but I like to think of beats in terms of when they change. Beats can shift when there is a change in subject, which is slightly different than when there is a change of topic, and therefore a unit change. (Although every time there is a unit change, there is also a beat change. The reverse does not necessarily apply). So for example, if a couple is fighting about the possibility of the wife’s father moving in, a shift of subject from the father’s grouchy personality to the lack of available space might signal a beat change. It is still part of the fight about the father, so the topic is still the same. If, however, the argument suddenly exposed the husband’s secret affair, that would probably be a unit change.
An easy way to test if there should be a beat change is to ask whether someone’s tactics have changed (more on tactics below). If the answer is yes, it is probably a beat change. In the example above, the shift in subject could actually be described as a tactic shift: the husband stopped complaining about the father’s personality and appealed to his wife’s practical understanding of living space.
Objectives and Super-objectives
This is, to put it simply, what the character wants. It is important to be clear about these because you will be fighting for them in some way or another every moment you are on stage or film. Objectives generally refer to a character’s desire within the scene. If you are looking for the big picture, a super-objective describes the character’s core desire that carries him or her through the script (and presumably beyond). A super-objective can be structured as “I need _______ by/through ________” When choosing the language of a super-objective, I always think in terms of simplifying fractions, because even math can relate to theatre if you want it hard enough. Keep asking what is underneath until you find the most basic human desire that drives your character (acceptance, control, and safety are common examples). The second half of the equation is your character’s modus operandi. Again, choose strong, active language. “I need control through alienation.”
While a super-objective rarely changes through the script, objectives change all the time. Often, an objective will carry through a scene, unless something drastic happens to change it. Strong objectives relate to the other person in the scene. “I want him to admit he’s wrong” is not as actable as “I want to wring a confession from him.”
Tactics
Tactics are the strategies a character uses to achieve his or her objective. As with objectives, tactics should relate directly to the other person, and be extremely specific. “I want to wring a confession from him by accusing him of murder.” Make a challenge of it. “Accusing” is active and direct, but is there a more evocative word, or one more specific to your action? What about denounce, slander or impeach? Make it personal.
Obstacles
Obstacles are pretty self-explanatory: they are the roadblocks. They get in the way of the character achieving his or her objective. Obstacles can be external or internal. An external obstacle comes from the environment—other characters, circumstances, or material impediments. Internal obstacles stem from the character’s own shortcomings, insecurities and psyche.
Homework:
- Students completed character analysis sheet in google classroom (see Day 15)
Classwork:
Beats break up units. A beat is the smallest structural division of your script. Generally, I notate them as a little tick, like so: / It can be loosely thought of as an exchange of action and reaction, but I like to think of beats in terms of when they change. Beats can shift when there is a change in subject, which is slightly different than when there is a change of topic, and therefore a unit change. (Although every time there is a unit change, there is also a beat change. The reverse does not necessarily apply). So for example, if a couple is fighting about the possibility of the wife’s father moving in, a shift of subject from the father’s grouchy personality to the lack of available space might signal a beat change. It is still part of the fight about the father, so the topic is still the same. If, however, the argument suddenly exposed the husband’s secret affair, that would probably be a unit change.
An easy way to test if there should be a beat change is to ask whether someone’s tactics have changed (more on tactics below). If the answer is yes, it is probably a beat change. In the example above, the shift in subject could actually be described as a tactic shift: the husband stopped complaining about the father’s personality and appealed to his wife’s practical understanding of living space.
Objectives and Super-objectives
This is, to put it simply, what the character wants. It is important to be clear about these because you will be fighting for them in some way or another every moment you are on stage or film. Objectives generally refer to a character’s desire within the scene. If you are looking for the big picture, a super-objective describes the character’s core desire that carries him or her through the script (and presumably beyond). A super-objective can be structured as “I need _______ by/through ________” When choosing the language of a super-objective, I always think in terms of simplifying fractions, because even math can relate to theatre if you want it hard enough. Keep asking what is underneath until you find the most basic human desire that drives your character (acceptance, control, and safety are common examples). The second half of the equation is your character’s modus operandi. Again, choose strong, active language. “I need control through alienation.”
While a super-objective rarely changes through the script, objectives change all the time. Often, an objective will carry through a scene, unless something drastic happens to change it. Strong objectives relate to the other person in the scene. “I want him to admit he’s wrong” is not as actable as “I want to wring a confession from him.”
Tactics
Tactics are the strategies a character uses to achieve his or her objective. As with objectives, tactics should relate directly to the other person, and be extremely specific. “I want to wring a confession from him by accusing him of murder.” Make a challenge of it. “Accusing” is active and direct, but is there a more evocative word, or one more specific to your action? What about denounce, slander or impeach? Make it personal.
Obstacles
Obstacles are pretty self-explanatory: they are the roadblocks. They get in the way of the character achieving his or her objective. Obstacles can be external or internal. An external obstacle comes from the environment—other characters, circumstances, or material impediments. Internal obstacles stem from the character’s own shortcomings, insecurities and psyche.
- Students marked scripts for beats and objectives.
- For additional help, read this handout on beats.
- Students got up on their feet and practiced movement with beats and objectives in mind.
Homework:
- Memorize scripts!