The Art of DramaThe Art of Drama Drama is the word we use when we want to Drama is the word we use when we want to

indicate that we are studying something, like indicate that we are studying something, like plays or screenplays, in the written form when plays or screenplays, in the written form when it is really intended for performance.it is really intended for performance.

The written form of the play or film will give The written form of the play or film will give important instructions to the director or others important instructions to the director or others involved with the production that may not be involved with the production that may not be apparent to the audience during the apparent to the audience during the performance.performance.

Stage DirectionsStage Directions

In a play, these instructions are called stage In a play, these instructions are called stage directions.directions.

They may include;They may include;– References to set and propsReferences to set and props– Directions or actions for actorsDirections or actions for actors– Lighting changesLighting changes

In a film, these may include camera angles In a film, these may include camera angles or changes, as well.or changes, as well.

Difference Between Drama and FictionDifference Between Drama and Fiction

A main difference between drama and A main difference between drama and fiction is that in drama, the action must be fiction is that in drama, the action must be carried out largely by the dialogue and carried out largely by the dialogue and actions of the characters. In fiction, this can actions of the characters. In fiction, this can be helped along by the narrative point of be helped along by the narrative point of view.view.

Similarities Between Drama and FictionSimilarities Between Drama and Fiction There are a number of similarities between There are a number of similarities between

drama and fiction:drama and fiction:– The settings are equally important and likely to be The settings are equally important and likely to be

equally symbolic.equally symbolic.– Characters will have the same general functionsCharacters will have the same general functions

» In a play, the main character is the protagonist, while the In a play, the main character is the protagonist, while the character who opposes the protagonist is the antagonistcharacter who opposes the protagonist is the antagonist

» The characters will have motivation, or an incentive or The characters will have motivation, or an incentive or reason for their behaviorreason for their behavior

» Sometimes the characters will have a flaw or defect, Sometimes the characters will have a flaw or defect, called called hamartiahamartia, and that defect will often lead to the , and that defect will often lead to the character’s downfall.character’s downfall.

Similarities, continuedSimilarities, continued

– Dramas, like works of fiction, will rely heavily Dramas, like works of fiction, will rely heavily on plot to communicate the story and theme.on plot to communicate the story and theme.

» The common pattern of most dramas is depicted in The common pattern of most dramas is depicted in Freytag’s Pyramid, belowFreytag’s Pyramid, below

Freytag’s PyramidFreytag’s Pyramid A German critic, Gustave Freytag, derived his A German critic, Gustave Freytag, derived his

pyramid from Aristotle’s concept of unity.pyramid from Aristotle’s concept of unity.– Basically, a plot will present a problem or Basically, a plot will present a problem or conflictconflict

that will need to be resolved by its end.that will need to be resolved by its end.– The play provides the audience with needed The play provides the audience with needed

information in the beginning of the play, generally information in the beginning of the play, generally called called expositionexposition, and then increase the dramatic , and then increase the dramatic tension with various plot complications.tension with various plot complications.

– As the action rises to its As the action rises to its climaxclimax, the point of , the point of highest tension, the audience anticipates the highest tension, the audience anticipates the resolution.resolution.

Another Version of the PyramidAnother Version of the Pyramid Barbara F. McManus, professor of classics Barbara F. McManus, professor of classics

emerita at the College of New Rochelle, has emerita at the College of New Rochelle, has created an alternate diagram of the pyramid.created an alternate diagram of the pyramid.

Questions for Analyzing a PlotQuestions for Analyzing a Plot ( (Understanding MoviesUnderstanding Movies, pages 332-337), pages 332-337)

What does the What does the expositionexposition include? include? What are the rising What are the rising plot pointsplot points or twists? or twists? What, where, or when is the What, where, or when is the climaxclimax?? How does the film get resolved? Is that How does the film get resolved? Is that

resolutionresolution satisfying to viewers? Why or satisfying to viewers? Why or why not?why not?

Theatre versus FilmTheatre versus Film

Generally speaking, audiences of film need not be Generally speaking, audiences of film need not be as active as audiences in theatre because camera as active as audiences in theatre because camera angles and movement, close-ups and long shots, angles and movement, close-ups and long shots, and editing assistand editing assist film viewers.film viewers.

The actors on film do not interact with audiences, The actors on film do not interact with audiences, as theatre performers may. as theatre performers may.

For example, in film the elements guide the viewer and help the For example, in film the elements guide the viewer and help the viewer interpret the information presented. You will not find this in viewer interpret the information presented. You will not find this in theatre.theatre.

While the shot above acts as an establishing shot, it is a cluttered image. Lucas uses increasing close-ups to draw viewers’ attentions to the important information.

The Auteur Theory in FilmThe Auteur Theory in Film

In the mid-1950s, the In the mid-1950s, the auteurauteur (French for (French for authorauthor) theory became popular.) theory became popular.

It stressed the dominance of the director in It stressed the dominance of the director in film artfilm art

It holds that whoever is responsible for the It holds that whoever is responsible for the mise en scmise en scèneène—the medium of the story—is —the medium of the story—is the true “author” of the story.the true “author” of the story.

The Role of DirectorThe Role of Director

The talent of the director is still what can The talent of the director is still what can “make or break” a film.“make or break” a film.

Well known directors can request “final Well known directors can request “final cut” privileges, which allows them cut” privileges, which allows them complete aesthetic control of the final complete aesthetic control of the final product that is the film. Without that, product that is the film. Without that, producers can make editing decisions.producers can make editing decisions.

The truest examples of Auteur theory are The truest examples of Auteur theory are writers who secure the rights to direct their writers who secure the rights to direct their own workown work– George Lucas George Lucas – John Patrick Shanley John Patrick Shanley – Andrew NiccolAndrew Niccol– M. Night ShyamalanM. Night Shyamalan

Film directors have more Film directors have more freedom in selection of freedom in selection of settings and décor. It settings and décor. It would be hard to would be hard to reproduce the desert reproduce the desert expanse that makes the C-expanse that makes the C-3PO shots so humorous 3PO shots so humorous and memorable.and memorable.

Directors can use special effects and miniatures to Directors can use special effects and miniatures to create moods and mimic realities.create moods and mimic realities.

It is hard to imagine a theatre production that It is hard to imagine a theatre production that could exploit effects to this degree.could exploit effects to this degree.

The ScreenplayThe Screenplay ScriptScript

– A general term for a written work detailing A general term for a written work detailing story, setting, and dialogue. A script may take story, setting, and dialogue. A script may take the form of a the form of a screenplayscreenplay, , shooting scriptshooting script, , lined lined scriptscript, , continuity scriptcontinuity script, or a , or a spec scriptspec script. A . A script is often sold for a particular price, which script is often sold for a particular price, which is increased to a second price if the script is is increased to a second price if the script is produced as a movie. For example, a sale may produced as a movie. For example, a sale may be described as "$100,000 against $250,000". be described as "$100,000 against $250,000". In this case, the writer is paid $100,000 up In this case, the writer is paid $100,000 up front, and another $150,000 when the movie is front, and another $150,000 when the movie is produced. produced.

ScreenplayScreenplay– A script written to be produced as a movie.A script written to be produced as a movie.

Shooting ScriptShooting Script – The script from which a movie is made. Usually The script from which a movie is made. Usually

contains numbered scenes and technical notes.contains numbered scenes and technical notes.

Lined ScriptLined Script– A copy of the shooting script which is prepared by the A copy of the shooting script which is prepared by the

script supervisor during production to indicate, via script supervisor during production to indicate, via notations and vertical lines drawn directly onto the notations and vertical lines drawn directly onto the script pages, exactly what coverage has been shot. script pages, exactly what coverage has been shot.

Continuity Script, or Continuity ReportContinuity Script, or Continuity Report – A detailed list of the events that occurred during the A detailed list of the events that occurred during the

filming of a scene. Typically recorded are production filming of a scene. Typically recorded are production and crew identification, camera settings, and crew identification, camera settings, environmental conditions, the status of each take, and environmental conditions, the status of each take, and exact details of the action that occurs. By recording all exact details of the action that occurs. By recording all possible sources of variation, the report helps cut possible sources of variation, the report helps cut down continuity error between shots or even during down continuity error between shots or even during reshooting.reshooting.

Spec ScriptSpec Script – A script written before any agreement has been A script written before any agreement has been

entered into ("on spec" or speculation), in hopes of entered into ("on spec" or speculation), in hopes of selling the script to the highest bidder once it has been selling the script to the highest bidder once it has been completedcompleted. .

TreatmentTreatment – An abridged script, it is longer than a An abridged script, it is longer than a synopsissynopsis. .

It consists of a summary of each major scene of It consists of a summary of each major scene of a proposed movie and descriptions of the a proposed movie and descriptions of the significant characters and may even include significant characters and may even include snippets of dialogue. While a complete script is snippets of dialogue. While a complete script is around 100 pages, a treatment is closer to 10around 100 pages, a treatment is closer to 10. .

SynopsisSynopsis– A summary of the major plot points and A summary of the major plot points and

characters of a script, generally in a page or characters of a script, generally in a page or twotwo..

Formatting a ScreenplayFormatting a Screenplay Most Hollywood films are 120 minutes long; most European Most Hollywood films are 120 minutes long; most European

films are 90 minutes long. films are 90 minutes long.

A page of screenplay—no matter if it is all dialogue, all A page of screenplay—no matter if it is all dialogue, all action, or some combination of the two—equals action, or some combination of the two—equals approximately a minute of screen time. approximately a minute of screen time.

Screenplay FormulaScreenplay Formula– Set-up, Exposition Set-up, Exposition pages 1-30pages 1-30– Plot Point IPlot Point I pages 25-27pages 25-27– ConfrontationConfrontation pages 30-90pages 30-90– Plot Point IIPlot Point II pages 85-90pages 85-90– ResolutionResolution pages 90-120pages 90-120

Formatting a Screenplay, continuedFormatting a Screenplay, continued

Screenwriters do not, in general, have to worry about Screenwriters do not, in general, have to worry about camera angles when writing. The directors will read the camera angles when writing. The directors will read the script or screenplay and then decide how to film it.script or screenplay and then decide how to film it.

Screenwriters need only introduce the scenes by stating Screenwriters need only introduce the scenes by stating whether the scene takes place inside (INT.) or outside whether the scene takes place inside (INT.) or outside (EXT.), where specifically it take place, and when (usually (EXT.), where specifically it take place, and when (usually either DAY or NIGHT). These scenic cues start at the left either DAY or NIGHT). These scenic cues start at the left margin.margin.

Formatting a Screenplay, continuedFormatting a Screenplay, continued After introducing the scene’s location, double-space and After introducing the scene’s location, double-space and

then give a description of characters or places can follow. then give a description of characters or places can follow. This should not be more than a few lines long. This begins This should not be more than a few lines long. This begins at the left margin, as well.at the left margin, as well.

Characters’ names are capitalized in the description as they Characters’ names are capitalized in the description as they are introduced.are introduced.

Once characters speak, their names, all capitalized, Once characters speak, their names, all capitalized, followed by their dialogue, is centered on the page.followed by their dialogue, is centered on the page.

Formatting a Screenplay, continuedFormatting a Screenplay, continued

Stage directions should appear in parentheses under the Stage directions should appear in parentheses under the speaking character’s name, single-spaced.speaking character’s name, single-spaced.

Sound effects or music effects should be capitalized within Sound effects or music effects should be capitalized within any descriptions.any descriptions.

Common Terms Common Terms TermTerm MeaningMeaning

ANGLE ON ANGLE ON (the subject of the shot)(the subject of the shot)

A person, place, or thingA person, place, or thingANGLE ON BILL leaving his ANGLE ON BILL leaving his apartment buildingapartment building

FAVORING FAVORING (subject of the shot)(subject of the shot)

Also a person, place, or thingAlso a person, place, or thingFAVORING BILL as he leaves FAVORING BILL as he leaves his apartmenthis apartment

ANOTHER ANGLEANOTHER ANGLE A variation of a SHOTA variation of a SHOTANOTHER ANGLE of Bill ANOTHER ANGLE of Bill walking out of his apartmentwalking out of his apartment

WIDER ANGLEWIDER ANGLE A change of focus in a sceneA change of focus in a sceneYou go from an ANGLE ON You go from an ANGLE ON Bill to a WIDER ANGLE which Bill to a WIDER ANGLE which now includes Bill and his now includes Bill and his surroundingssurroundings

NEW ANGLENEW ANGLE Another variation on a shot, Another variation on a shot, often used to “break up the often used to “break up the page” for a more “cinematic page” for a more “cinematic look”look”A NEW ANGLE of Bill and A NEW ANGLE of Bill and Jane dancing at a party Jane dancing at a party

POVPOV A person’s POINT OF VIEW, A person’s POINT OF VIEW, how something looks to him/herhow something looks to him/herANGLE ON Bill, dancing with ANGLE ON Bill, dancing with Jane, and from JANE’S POV Jane, and from JANE’S POV Bill is smiling.Bill is smiling.

REVERSE ANGLEREVERSE ANGLE A change in perspective, A change in perspective, usually the opposite of the usually the opposite of the POV shotPOV shotBill’s POV as he looks at Jane, Bill’s POV as he looks at Jane, and a REVERSE ANGLE of and a REVERSE ANGLE of Jane looking at BillJane looking at Bill

OVER THE SHOULDER OVER THE SHOULDER SHOTSHOT

Often used for POV and Often used for POV and REVERSE ANGLE shots.REVERSE ANGLE shots.We see Bill’s shoulder and We see Bill’s shoulder and head in an OVER THE head in an OVER THE SHOULDER shot of Jane SHOULDER shot of Jane

MOVING SHOTMOVING SHOT Focuses on the movement of a Focuses on the movement of a shotshotA MOVING SHOT of the jeep A MOVING SHOT of the jeep racing across the desert. racing across the desert. A MOVING SHOT of Bill A MOVING SHOT of Bill walking toward Jane.walking toward Jane.

CLOSE SHOTCLOSE SHOT A close-up.Use sparingly for A close-up.Use sparingly for emphasis.emphasis.A CLOSE SHOT of Bill, A CLOSE SHOT of Bill, ecstatic, as he stares at Jane.ecstatic, as he stares at Jane.

INSERTINSERT A close shot of “something,” A close shot of “something,” like a photograph, newspaper like a photograph, newspaper headline, or gun.headline, or gun.INSERT of faded photograph, INSERT of faded photograph, showing Bill and Jane’s showing Bill and Jane’s weddingwedding

FADE INFADE INDISSOLVE INDISSOLVE IN

Ways to begin a screenplay or Ways to begin a screenplay or a scenea sceneFADE IN:FADE IN:

ANGLE ON Bill putting on ANGLE ON Bill putting on dress shoesdress shoes

CUT TOCUT TOFADE OUTFADE OUTDISSOLVE TODISSOLVE TO

Ways to end a screenplay or a Ways to end a screenplay or a scenesceneCUT TO:CUT TO:

JANE opening closet, sorting JANE opening closet, sorting through clothing, and pulling through clothing, and pulling out a flowered dressout a flowered dress

Screenplay FactsScreenplay Facts Over 15,000 screenplays are registered with the Writers Guild of Over 15,000 screenplays are registered with the Writers Guild of

America each year.America each year. About 80 to 90 feature films are made by studios and independent About 80 to 90 feature films are made by studios and independent

production companies each year.production companies each year. A literary agent gets a ten percent commission on anything he/she A literary agent gets a ten percent commission on anything he/she

sellssells Prices for a screenplay vary from $400,000 to the Writers Guild Prices for a screenplay vary from $400,000 to the Writers Guild

minimum.minimum.– A high budget movie that costs over $1 million to make earns A high budget movie that costs over $1 million to make earns

about $20,000 for the writer(s)about $20,000 for the writer(s)– A low-budget film earns a little over $10,000A low-budget film earns a little over $10,000

If someone If someone optionsoptions a film, they pay the writer 5-10 percent of the a film, they pay the writer 5-10 percent of the agreed upon price. If the option is picked up, then the writer agreed upon price. If the option is picked up, then the writer receives the rest on the first day of shooting.receives the rest on the first day of shooting.

More Questions for AnalysisMore Questions for Analysis In addition to the questions provided int eh In addition to the questions provided int eh

Fiction section, with drama you might ask Fiction section, with drama you might ask yourself:yourself:– How do the stage/filming directions contribute How do the stage/filming directions contribute

to your understanding of the work? How do to your understanding of the work? How do they go beyond what you would see if you were they go beyond what you would see if you were watching the work being performed? watching the work being performed?

– How are the settings or props adding to the play How are the settings or props adding to the play or its theme?or its theme?

– How is the plot structured? Is it following the How is the plot structured? Is it following the classical structure, or has its chronology been classical structure, or has its chronology been manipulated with flashbacks or flashforwards? manipulated with flashbacks or flashforwards?

SourcesSources Field, Syd. Field, Syd. Screenplay: The Foundations of Screenplay: The Foundations of

ScreenwritingScreenwriting. New York: Dell Publishing, . New York: Dell Publishing, 1994.1994. Henderson, Gloria and William Day and Sandra Henderson, Gloria and William Day and Sandra

Waller. Waller. Literature and OurselvesLiterature and Ourselves. New York: . New York: HarperCollins College Publishers, 1994.HarperCollins College Publishers, 1994.

Giannetti, Louis. Giannetti, Louis. Understanding MoviesUnderstanding Movies. . Englewood Cliffs, New Jersey: Prentice Hall, Englewood Cliffs, New Jersey: Prentice Hall, 1999.1999.

Internet Movie DatabaseInternet Movie Database. http:// . http:// www.imdb.comwww.imdb.com Niccol, Andrew. Niccol, Andrew. GattacaGattaca. Dir. Andrew Niccol. . Dir. Andrew Niccol.

Sony Pictures, 1994.Sony Pictures, 1994.