# Technical Script Analysis Info



## KGustafson (Jul 31, 2011)

Hello all.

I am a new Technical Theatre teacher in Albuquerque, NM. I am interested in really teaching my students some basic technical script analysis skills and wondered if anyone had any resources they would share or recommend? Thank you in advance.

Karn


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## EustaceM (Aug 3, 2011)

A good way to start is by giving students a script and having them notate required props, and lighting as stated in the script itself and notate things that should be required but not stated. Such as if a scene has actors smoking, an ashtray is stated as a prop but is required is an example. Such activities can help students think more about what is required for a production.


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## tolienbosheit (Aug 3, 2011)

I agree with EustaceM. Choose one aspect of the production and have student analyze a script for it. I would break it up into a couple sections, personally. For each item/effect the student should justify of why they think a production would need that. This can range from a line reference to a well thought out short paragraph defense of their choice. I have a couple different analysis outlines that various teachers have provided me for class assignments I could pass along if you PM me, but they generally follow this pattern:

1) What does the dialogue of the script specifically call for? These points can generally be just a check-off list as you evaluate the student's work and doesn't require more than a page/line reference.

2) What do you infer is needed (not explicitly stated in dialogue)? These are things mentioned either in stage directions or that would accompany an item/point mentioned directly in the script. These may require a line reference and a short defense of the item/effect. An example if we're looking at sound design analysis: If a character mentions a flash of lightning just occurred, you could infer that there should be a rumble of thunder occurring around the same time.Also, just to be clear, the reason I have been taught stage directions go in this category, as opposed to the first, is because many acting scripts have the first productions props, blocking, and effects mentioned in the stage direction in addition whatever the playwright wrote. This makes it very hard to distinguish what the playwright wanted in the stage directions, however the dialogue is generally untouched and there for a better source for specific requirements.
​3) What do you think would be needed/enhance the production (not explicitly stated nor inferred...artistic license/intuition). This is where students can begin to think outside of the box. This is the hardest section and requires the most defense of an item/effect. However, this is also the most important section when it comes to training young designers I believe. This forces them to think about the production as a whole and what they would like to do artistically with it. A lighting example: In the play _Picnic_, by William Inge, the action takes place from Labor Day morning and on into the next morning. Through reading the action and arc of the play, it would make sense artistically to have a sunset slowly occurring on a cyclorama towards the end of Act II, or a sunrise during Act III, Scene II - neither effect is required nor referenced, but it might help the production.


As an undergrad, these analyses are an early portion of a design project. It is always interesting, for me at least, to see what other students come up with while analyzing a script and then later seeing their theoretical design concepts.

Hope this helped,
~Aaron


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