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
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.
|Line 1: “I just can’t …”||To understand Corie’s motives||Corie’s unknown motives, Corie’s anger, my own frustration||To get her to explain herself||In a judgmental way||5|
|Line 5: “Me? Me?”||To understand Corie’s view of me||Corie’s complete honesty, my drunkenness, my exhaustion||To get her to explain herself||In a defensive way||6|
|Line 17: “Right. I was stoned.”||To prove I am not proper and dignified||Corie’s previous beliefs of me, insecurity about my ‘stuffiness’||To get her to take my view||In a cocky way||6|
|Line 22: “All the time…”||To make her view seem foolish||Corie’s previous beliefs of me||To belittle Corie’s beliefs||In a sarcastic way||5|
|Line 29: “I’m not going to listen…”||To escape the argument by going to bed||Corie wants to have the fight, she is standing in my way||To deflect Corie||In a nonchalant way||6|
|Line 34: “That gets me absolutely…”||To end the conversation||Corie wants to have the fight||To correct Corie||In a defensive way||6|
|Line 36: “Not in the middle…”||To suppress the situation||Corie’s overreaction||To clear up the argument||In a concerned way||7|
|Line 43: “It’s 2:15…”||To end the conversation||Corie wants to have the fight||To deflect Corie||In an annoyed way||6|
|Line 44: “You won’t dicuss it…”||To finally combat back at Corie||Corie’s stubbornness||To make her regret what she’s been saying||In a sincere way||8|
|Line 49: “Oh, listen”||To resolve the argument||The things that were said in the argument, my own feelings of anger||To comfort her||In an apologetic way||8|
|Line 50: “Don’t touch me…”||To give up on the argument||Corie’s ‘hysterical’ behavior||To indulge her||In an annoyed way||6|
|Line 56: “Don’t you tell me when…”||To clear up what she said||Corie’s stubborn attitude||To make her aware of how serious what she is saying is||In a concerned way||7|
|Line 60: “Of course I’m serious…”||To not get divorced with Corie||Corie leaving for bed, time – I should really be in bed!||To get her to change her mind||In a scrambling way||9|
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