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El Análisis de Texto Orgánico

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"Organic Script Analysis knows that a play, like any work of art, is alive."

Se trata de un documento para ayudarte a pensar acerca de lo que se trata El Análisis de Texto Orgánico.

La primera pregunta es: "¿Qué es El Análisisde Texto Orgánico?" El Análisis de Texto Orgánico se basa en el principio de que la vida es espontánea. Si esto es cierto, entonces los pensamientos sobre el texto deben proceder de la propia capacidad de sentir el mundo del libreto, y al personaje. El Análisis de Texto Orgánico es profundamente personal. No hay mecánica, o pensamiento distanciado, o la creencia de que no es un análisis "correcto". El Análisis de Texto Orgánico sabe que un libreto, como cualquier obra de arte, está vivo. Algo del artista que lo creó existe dentro de la estructura. Por lo tanto, una gran pintura está viva, y cada persona que mira ve algo diferente. Esto no quiere decir que todas las opiniones son iguales. Algunas personas ven con mayor claridad. Y, algunos tienen más experiencia en el cuidado.

Si un autor diferente hubiese escrito el mismo libreto, ¿Sería el mismo? ¿Sería "Las Tres Hermanas" de Chejov el mismo libreto si Tennessee Williams lo hubiese escrito? Cada vez que se mira, se ven nuevas y diferentes realidades en el mismo.

En el análisis de la escritura clásica de una obra, hay una gran cantidad de pensamiento, pero sigue siendo mecánico, como si estuviera distanciado y muerto, falta algo en su interpretación. Se propone la idea de que existe una interpretación correcta e ideal que todos queremos hacer. Hay una definición clásica de la tragedia. Sólo puede haber un número de latidos y escenas, los protagonistas están claramente definidos, etc. Si bien existe una verdad en esto, no se puede suponer que siempre es la única verdad. No puedo entrar en profundidad sobre esto aquí. Basta decir que cuando hablamos de las obras de Sófocles, Shakespeare, Chejov, Ibsen y Beckett, o cualquier otra obra, lo que estoy diciendo se aclarará. Podemos discutir si hay una definición diferente de la tragedia en las clásicas y modernas obras de teatro. Cada uno de nosotros va a analizar el libreto de manera diferente, dependiendo de nuestra experiencia de vida, nuestro conocimiento de la vida, y nuestra capacidad para percibir lo que el dramaturgo ha escrito.

Mientras que todo el mundo debe entender y saber lo que el dramaturgo ha escrito, cómo interpretan los acontecimientos, y cómo romper la estructura de la obra puede ser diferente, basado en la inteligencia del actor, experiencia de vida, etc. Obviamente, algunas interpretaciones serán mejores que otras. Y, algunas personas van a analizar la estructura con más claridad y percepción. Esto se basa en su conocimiento, experiencia, talento y capacidad de pensar con claridad acerca de lo que están leyendo, y expresar lo que ellos perciben en una forma coherente. El objetivo es que el análisis le ayuda a ser un mejor actor. No se trata de aprender a analizar correctamente.

Lee el libreto al menos una vez, sin tratar de analizarlo. Léelo para ver si te gusta, si resuena en ti. A veces, uno tiene suerte y comprende intuitivamente una obra de teatro. Puedes incluso disfrutar de la lectura.

Es posible que desees volver a leerlo antes de empezar a hacerte preguntas acerca de ello.

A continuación, te empiezas a hacer preguntas:
  • ¿Me gusta el libreto?

  • ¿Entiendo de lo que se trata la obra?

Para saber esto, usted debe ser capaz de encontrar momentos en la obra, en el que se dice o se hace algo, que determinan lo que piensas de lo que se trata. Por ejemplo, en Hamlet de Shakespeare, la obra normalmente se interpreta como sobre cualquiera de los dos, "ser o no ser", o "algo está podrido en el estado de Dinamarca." Tal vez, podría ser de otra cosa. ¿Cómo qué?

  • ¿Hay algo que estas leyendo que te obsesiona, que no puedes dejar de pensar, algo que dice un personaje, algo que sucede, algo que no sabes por qué sucede?

  • ¿Cuáles son los protagonistas?

  • ¿Por qué son ellos los protagonistas?
  • ¿Puede una obra interpretarse con diferentes personajes siendo los protagonistas? O, ¿hay una estructura clara que determina esto para todos los lectores? ¿Tiene que haber un héroe?
  • ¿La determinación de esto, conduce a, y viene, de lo que crees de lo que la obra se trata? ¿Hay una línea en la obra de teatro que, para ti, es la base de lo que el libreto se trata?

Para ayudarte a entender la obra, y su estructura, más profundamente, dividela en Actos y Escenas.

  • ¿Cuántos actos hay?

¿Estan los actos estructurados de una manera determinada? Por ejemplo, cada acto de las obras de Chéjov toman lugar en una estación diferente del año? Las obras griegas están en un solo acto. ¿Por qué? Shakespeare tiene cinco actos. Chéjov, Ibsen, etc., tienen cuatro actos. Las obras de teatro del siglo XX tenían tres actos en la primera mitad del siglo, y dos actos a partir de entonces.

¿Es esto orgánico, comercial?

¿Puede el número de actos cambiarse sin destruir la estructura y el significado de la obra? Al empezar a ver la estructura de obras de teatro, ayuda a que las entiendas y a entender cómo los dramaturgos cuentan historias. Por ejemplo, las pausas de Chéjov son momentos activos. Y, Beckett tiene más de seiscientas pausas en su obra, Happy Days.

Por ejemplo, tiendo a analizar obras y a estructurar las escenas como una película. A menudo tengo muchas más escenas de las que parecen ser indicadas por el dramaturgo. Esto ayuda a entender lo que está pasando en cada momento de la obra. No sé por qué empecé a hacer esto. Sin embargo, con la experiencia, entiendo por qué lo hago. Más creo que se podría hacer en más de una forma. En un proceso creativo orgánico, puede haber numerosas posibilidades que podrían ser todas verdaderas y aplicables. No hay, realidades lineales absolutas que todos deben aceptar como la única manera correcta de analizar. Ciertamente, si un personaje muere, él o ella muere. Algunos análisis son mejores que otros, ya que ponen en manifiesto con mayor claridad lo que el autor está tratando de expresar.

Por desgracia, los dramaturgos no siempre saben mejor lo que han escrito. O, lo que están tratando de decir. Puedo dar ejemplos, pero hay que conocer las obras para que los ejemplos tengan un significado real. No voy a entrar en eso en profundidad en esta explicación.

¿Son todos los personajes esenciales a la historia? ¿Por qué? ¿Si no es así, pueden ser cortados? ¿Por qué?

Es cada escena se percibe en la obra esencial de la historia? ¿Por qué? Lo que sucede en cada escena? ¿Por qué es diferente de cualquier otra escena en la obra? Si no es así, ¿se puede cortar? ¿Por qué?

Si reorganizas el número de escenas, o donde están, se puede cambiar la obra? ¿Cambia el significado? ¿Es mejor? ¿Qué estás comunicando por la reestructuración, que crees que ilumina de lo que la obra se trata, para ti?

En última instancia, puede haber una pregunta ardiente que te obsesiona y ​​que te ayuda a descubrir la clave que te dirige hacia el entendimiento que abre la puerta y entras en el mundo de la obra. En el interior, mirando hacia fuera, todo lo que se ve en la pantalla cambia desde este punto de vista profundamente implicado.

Por último, si tienes suerte, cuando haces tu mejor trabajo, no haces nada. La obra, el personaje, te dice qué hacer. Y, vives en otro mundo, a veces, como otra persona.

print  imprimir estas preguntas

For Organic Script Analysis, we will examine how Organic Script Analysis helps you to make your feelings about the play conscious, so that you make choices that help you to become deeply involved in the character's world. OSA is a deeply personal process. There is not a "correct" analysis that every actor wants to make. We will study the plays in more depth, seeing how scenes are structured into moments, thoughts, actions, beats, etc. So, that you learn to see how the play's structure helps you to understand and feel the life.

We will do this by studying two plays that many of you know and may be working on, Uncle Vanya by Chekhov, and Barefoot in the Park by Neil Simon.

 

 

 

 

For Organic Script Analysis, we will be studying what comedy is? What makes a play funny, the language, the behavior, the situation?

I want you to read several of the early comedies ever written, two by Aristophanes' The Frogs, and The Assemblywomen. And, then we will add Chekhov's Uncle Vanya. Chekhov said that all of his plays were comedy. Why? We will discuss the plays, and try to be clear about what comedy is. What are they about? What is the point? Where do you see that the play is a comedy? Is there something that the characters do that makes it clear to you that the play is funny? Most of the time, actors think that a comedy means that nothing is serious or real. But, all good comedy is based on a situation that people find themselves in that is not funny. What makes it funny? Does comedy have a point? How is it different from tragedy? Could a tragedy be made funny? How? I will send a separate email to give you some more thoughts that may help you to think more clearly.

During this Spring 2013 session, I want us to study how writer's use place in their work. I find that many actors have no sense of where they are, nor even think about using their imagination to transform the stage into another place. Yet, it is one of the signs of great playwrights, that as they evolved their plays, they become more and more aware of where the characters are. I think that good actors should do the same, and learn from them. Even in the new space we will be working in, the stage will be more defined than it was before, so that you begin to learn to create a place, not just be bound to using what the room you are in offers you.

We will study the works of Shakespeare, Chekhov, and Ibsen. Read, Midsummer Nights Dream, Hamlet, Macbeth, The Seagull, A Doll's House, and, if you have time, The Cherry Orchard.

Do you notice how the place affects the characters lives? Does it make a difference? Is weather important? Why? Does each act have a different place, a different weather, a different feeling? Does it make you want to imagine where you are? Can you imagine it, not just in your mind, but in your feelings, your senses?

Learning how to read a play, and understand what play structure is, helps you to feel what you are reading, and this will help you to become more deeply involved in the character's world. The more you see when you read, the easier it becomes to discover realities that involve you in the character's world.

We are not dealing with correct analysis. Organic Script Analysis is deeply personal. Actors and directors may see different realities in the play.

For the Organic Script Analysis, we will be studying Chekhov's The Cherry Orchard. Is it a comedy or a tragedy? What makes a play a comedy or tragedy. Is there a difference between classical plays and modern plays like this one? There are other plays of his that you can read, too, like The Seagull, and Uncle Vanya. But, I will use Cherry Orchard as the main focus of our discussions. There are many versions of the play in English. We may examine some of the differences in how different writers adapt the play. I will make available my play, Adams' Apples, which is a modern version of this play. We will be breaking them down into scenes and beats, so as to help you understand how understanding structure helps you to make clearer choices, helping you to become involved.

Read the play at least once before you start to try to analyze it.

Why is Chekhov considered to be a great playwright? And, one of the founders of modern theater. Why is his work universal? What is the play about? Is the title important? When does it take place? Where? Are the circumstances surrounding the characters' lives important to who they are? And, what happens in the play?

Then, break it down into scenes. Why is each scene in the play? Normally, if it's there, something happens in each scene that doesn't happen anywhere else.

Who are the main characters? Why? Are there protaganists and antagonists? Who are the supporting characters? Are there characters who are unnecessary to the play?

Learning how to read a play, and understand what play structure is, helps you to feel what you are reading, and this will help you to become more deeply involved in the character's world. The more you see when you read, the easier it becomes to discover realities that involve you in the character's world.

We are not dealing with correct analysis. Organic Script Analysis is deeply personal. Actors and directors may see different realities in the play.

For the Organic Script Analysis, we will be studying Eugene O'Neill. Read Long Days Journey Into Night, and The Moon for the Misbegotten. There are other plays of his that you can read, too. But, I will use these two as the main focus of our discussions. We will be breaking them down into scenes and beats, so as to help you understand how understanding structure helps you to make clearer choices, helping you to become involved. I also want you to look at what verse is, and how to help think about it.

We will be studying them in depth. Read each one at least once before you start to try to analyze it.

Why is Eugene O'Neill considered to be a great playwright? Is his work American, and/or universal? Why? What is the play about? Is the title important? When does it take place? Where? Are the circumstances surrounding the characters' lives important to who they are? And, what happens in the play?

Then, break it down into scenes. Why is each scene in the play? Normally, if it's there, something happens in each scene that doesn't happen anywhere else.

Who are the main characters? Why? Are there protaganists and antagonists? Who are the supporting characters? Are there characters who are unnecessary to the play?

Learning how to read a play, and understand what play structure is, helps you to feel what you are reading, and this will help you to become more deeply involved in the character's world. The more you see when you read, the easier it becomes to discover realities that involve you in the character's world.

We are not dealing with correct analysis. Organic Script Analysis is deeply personal. Actors and directors may see different realities in the play.

For the Organic Script Analysis, we will be studying style. What is style? The dictionary defines style as (a way of expressing something (in language or art or music etc.) that is characteristic of a particular person or group of people or period; "all the reporters were expected to adopt the style of the newspaper"). Is style incompatible with being real? We will study Lysistrata by Aristophanes, Tis a Pity She's a Whore by John Ford, Mother Courage by Bertholt Brecht, Paradise Lost by Clifford Odets, and perhaps, one or two other plays that I think make interesting comparisons.

We will be studying them in depth. Read each one at least once before you start to try to analyze it.

What is the play about? Is the title important? When does it take place? Where? Are the circumstances surrounding the characters' lives important to who they are? And, what happens in the play? Is anything about the way it is written make it a play that has a "style"? If you had to act it, do you need some special ability?

Then, break it down into scenes. Why is each scene in the play? Normally, if it's there, something happens in each scene that doesn't happen anywhere else.

Who are the main characters? Why? Are there protaganists and antagonists? Who are the supporting characters? Are there characters who are unnecessary to the play?

Learning how to read a play, and understand what play structure is, helps you to feel what you are reading, and this will help you to become more deeply involved in the character's world. The more you see when you read, the easier it becomes to discover realities that involve you in the character's world.

We are not dealing with correct analysis. Organic Script Analysis is deeply personal. Actors and directors may see different realities in the play.

For the Organic Script Analysis, we will be studying plays to understand the difference between pathos and tragedy. Most dramas are pathos. Pathos is an element in experience or in artistic representation evoking pity or compassion.

2 : an emotion of sympathetic pity. Rather than being true tragedy. Tragedy is a serious drama typically describing a conflict between the protagonist and a superior force (as destiny) and having a sorrowful or disastrous conclusion that elicits pity or terror c: the literary genre of tragic dramas. We will study Oedipus Rex by Sophocles, Death of a Salesman by Arthur Miller, Miss Julie by Strindberg, Hedda Gabler by Ibsen, and The Seagull by Chekov.

We will be comparing them, breaking them down into scenes and beats, so as to help you understand how understanding structure helps you to make clearer choices, helping you to become involved. I also want you to look at what verse is, and how to help think about it.

We will be studying them in depth. Read each one at least once before you start to try to analyze it.

What is the play about? Is the title important? When does it take place? Where? Are the circumstances surrounding the characters' lives important to who they are? And, what happens in the play?

hen, break it down into scenes. Why is each scene in the play? Normally, if it's there, something happens in each scene that doesn't happen anywhere else.

Who are the main characters? Why? Are there protaganists and antagonists? Who are the supporting characters? Are there characters who are unnecessary to the play?

Learning how to read a play, and understand what play structure is, helps you to feel what you are reading, and this will help you to become more deeply involved in the character's world. The more you see when you read, the easier it becomes to discover realities that involve you in the character's world.

We are not dealing with correct analysis. Organic Script Analysis is deeply personal. Actors and directors may see different realities in the play.

For the Organic Script Analysis, we will be studying Neil Simon's Barefoot in the Park, and Shakespeare's Midsummer Nights Dream. We will be breaking them down into scenes and beats, so as to help you understand how understanding structure helps you to make clearer choices, helping you to become involved. I also want you to look at what verse is, and how to help think about it.

We will be studying them in depth. Read each one at least once before you start to try to analyze it.

What is the play about? Is the title important? When does it take place? Where? Are the circumstances surrounding the characters' lives important to who they are? And, what happens in the play?

Then, break it down into scenes. Why is each scene in the play? Normally, if it's there, something happens in each scene that doesn't happen anywhere else.

Who are the main characters? Why? Are there protaganists and antagonists? Who are the supporting characters? Are there characters who are unnecessary to the play?

Learning how to read a play, and understand what play structure is, helps you to feel what you are reading, and this will help you to become more deeply involved in the character's world. The more you see when you read, the easier it becomes to discover realities that involve you in the character's world.

We are not dealing with correct analysis. Organic Script Analysis is deeply personal. Actors and directors may see different realities in the play.

For the Organic Script Analysis, we will be studying Neil Simon's Barefoot in the Park, and Shakespeare's Midsummer Nights Dream. We will be breaking them down into scenes and beats, so as to help you understand how understanding structure helps you to make clearer choices, helping you to become involved. I also want you to look at what verse is, and how to help think about it.

We will be studying them in depth. Read each one at least once before you start to try to analyze it.

What is the play about? Is the title important? When does it take place? Where? Are the circumstances surrounding the characters' lives important to who they are? And, what happens in the play?

Then, break it down into scenes. Why is each scene in the play? Normally, if it's there, something happens in each scene that doesn't happen anywhere else.

Who are the main characters? Why? Are there protaganists and antagonists? Who are the supporting characters? Are there characters who are unnecessary to the play?

Learning how to read a play, and understand what play structure is, helps you to feel what you are reading, and this will help you to become more deeply involved in the character's world. The more you see when you read, the easier it becomes to discover realities that involve you in the character's world.

We are not dealing with correct analysis. Organic Script Analysis is deeply personal. Actors and directors may see different realities in the play.

For the Organic Script Analysis, we will be studying Beckett's Happy Days, and Sophocles Oedipus Rex, as they are both great plays, one of them ancient, and the other still so modern, it is ahead of what most living writers are writing.

We will be studying them in depth. Read each one at least once before you start to try to analyze it.

What is the play about? Is the title important? When does it take place? Where? Are the circumstances surrounding the characters' lives important to who they are? And, what happens in the play?

Then, break it down into scenes. Why is each scene in the play? Normally, if it's there, something happens in each scene that doesn't happen anywhere else.

Who are the main characters? Why? Are there protaganists and antagonists? Who are the supporting characters? Are there characters who are unnecessary to the play?

Learning how to read a play, and understand what play structure is, helps you to feel what you are reading, and this will help you to become more deeply involved in the character's world. The more you see when you read, the easier it becomes to discover realities that involve you in the character's world.

We are not dealing with correct analysis. Organic Script Analysis is deeply personal. Actors and directors may see different realities in the play.