Introduction to Acting – Spring 2019 Script Analysis Instructions

Introduction to Acting – Spring 2019 Script Analysis Instructions

Complete a thorough, Stanislavski-based analysis of your Finalpalooza scene with the following contents: Play Title

Playwright Name Character Name (please complete this assignment from your own character’s perspective) Scene Number, Act Number (if this information is not available, page numbers are fine) Given Circumstances – please remember to be as thorough as possible; hit all elements of CROWW! Beat Breadown:

1) Line of dialogue where a new beat begins

2) Your character’s objective – what are you trying to achieve? Be specific.

3) Your obstacles (internal and external) in the beat

4) Your action in the beat – make sure to follow all the rules of what makes a strong action! No “to pursue the American dream!”

5) Your tactic for the beat (“in a ____________ way” or use an adjective)

6) The cost (how high the stakes are, on a scale of 1-10) for each beat. How important is it that your character achieves their objective in this moment? If it’s a life-or-death thing, the cost will be a 10. If it has absolutely no bearing on your life, it’s a 1. Most of these scenes fall in the middle, but remember that high stakes are always more interesting to watch because the character really has to fight for something!

See the following page for an example of what I’ll be looking for!

Introduction to Acting – Spring 2019 Final Scene Script Analysis Example

Play: Barefoot in the Park by Neil Simon

Character: Paul

Scene: Act 2, Scene 2

Given Circumstances: It’s the early 1960s. Paul and Corie are newly married (about a week and a half) and have just gotten back from a dinner with their neighbor Velasco and Corie’s mother, Ethel. Paul is a lawyer and he is working on his first couple cases so he does not want many distractions and wants to be able to focus on his work. Corie is a free-thinking fixer who operates with wild abandon, much to Paul’s chagrin. Corie invites Velasco to dinner with them to introduce to Ethel, who is single. They go all the way to Staten Island to eat at a restaurant Velasco says is good but the others do not really enjoy and have many drinks at dinner. When they get back, Ethel says she is going to go home but Velasco insists he take her home, which Paul and Ethel are not too sure about but Corie urges Ethel to leave with Velasco. Velasco and Ethel depart and Paul and Corie are left in their small Manhattan apartment (located at the top of several steep flights of stairs) late at night and that is where the scene begins. They have both been drinking.

Lines/PageObjectiveObstacleActionTacticCost (1-10)
Line 1: “I just can’t …”To understand Corie’s motivesCorie’s unknown motives, Corie’s anger, my own frustrationTo get her to explain herselfIn a judgmental way5
Line 5: “Me? Me?”To understand Corie’s view of meCorie’s complete honesty, my drunkenness, my exhaustionTo get her to explain herselfIn a defensive way6
Line 17: “Right. I was stoned.”To prove I am not proper and dignifiedCorie’s previous beliefs of me, insecurity about my ‘stuffiness’To get her to take my viewIn a cocky way6
Line 22: “All the time…”To make her view seem foolishCorie’s previous beliefs of meTo belittle Corie’s beliefsIn a sarcastic way5
Line 29: “I’m not going to listen…”To escape the argument by going to bedCorie wants to have the fight, she is standing in my wayTo deflect CorieIn a nonchalant way6
Line 34: “That gets me absolutely…”To end the conversationCorie wants to have the fightTo correct CorieIn a defensive way6
Line 36: “Not in the middle…”To suppress the situationCorie’s overreactionTo clear up the argumentIn a concerned way7
Line 43: “It’s 2:15…”To end the conversationCorie wants to have the fightTo deflect CorieIn an annoyed way6
Line 44: “You won’t dicuss it…”To finally combat back at CorieCorie’s stubbornnessTo make her regret what she’s been sayingIn a sincere way8
Line 49: “Oh, listen”To resolve the argumentThe things that were said in the argument, my own feelings of angerTo comfort herIn an apologetic way8
Line 50: “Don’t touch me…”To give up on the argumentCorie’s ‘hysterical’ behaviorTo indulge herIn an annoyed way6
Line 56: “Don’t you tell me when…”To clear up what she saidCorie’s stubborn attitudeTo make her aware of how serious what she is saying isIn a concerned way7
Line 60: “Of course I’m serious…”To not get divorced with CorieCorie leaving for bed, time – I should really be in bed!To get her to change her mindIn a scrambling way9
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