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kinkabobba
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Posted: Wed Jul 23rd, 2008 01:43 pm |
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Hello all,
I was just wondering what some of your thoughts are on the following predicament:
I have a play that I've been fortunate enough to workshop with actors over the past semester in college. I am now in the process of editing the play for submission (competitions and/or publication). My primary antagonist is a character who is extremely specific in my mind, from his backstory to his accent (D-list infommerical celebrity far past his peak yet trying desperately to recover...and spanish) yet I want to leave significant room for the interpretation of the character by other directors and other actors.
Using slight variations in wording for the lines which had catored more towards my specific vision of the character, I've seen him performed extremely well this semester embodying the aura of everything from a typical Used Car Salesman to a flamboyantly gay German to a British Special Agent. It seems that all of these characters require slight line tweaking to fit each one in turn.
What's the best way to keep the essence of a character without 'generalizing' the dialogue too much? Is it reasonable to just include a "Production Note" that states that the lines may be reinterpreted to fit the production's interpretation of the character? He's so specific in my mind (and in some cases, on the page) but the dialogue is so much fun that I want it to be played with in as many variations as possible.
Thanks in advance!
A young budding playwright
Last edited on Wed Jul 23rd, 2008 01:47 pm by
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in media res
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Posted: Wed Jul 23rd, 2008 02:44 pm |
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You ask:
"What's the best way to keep the essence of a character without 'generalizing' the dialogue too much? Is it reasonable to just include a "Production Note" that states that the lines may be reinterpreted to fit the production's interpretation of the character?"
Lines will always be interpreted in different ways. This is what every actor, director does with a production. Each interprets it his/her own way. The adage is, "Hamlet went mad because so many bad actors have tired to play him." So, if your words are specific, they will still be interpreted differently in each production. But that is a big difference from having them being re-written.
So write YOUR words, and let the actors and director do THEIR jobs.
If you say lines can be tweaked, at what point does their tweaking become their re-writing, or taking complete liberties with your script? Remember, your lines ARE the character. Your lines ARE the action.
Whether an actor has a different accent, heritage, race is not as important as the lines he/she has to say. In this day and age "Open Casting" is the rule. Whether for good or for bad is for someone else to judge on each individual production. If they cast a bad actor, you are screwed no matter who is cast. If a good actor is cast, you are ahead from the start.
If Hamlet is performed with an accent, no matter. But if he says, "To be or not to live." Well, that is the question.
I'd be curious to see what others have to say.
best,
in media res
P.S. Some scripts are used as scenarios for improv. That is another area of theatre/performance, but I don't think that is what your question is about.
It also sounds as if you had a good time this past semester.Last edited on Wed Jul 23rd, 2008 02:56 pm by in media res
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kinkabobba
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Posted: Wed Jul 23rd, 2008 03:31 pm |
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Thanks for the response!
The problem is really a subtle one. I'm actually not talking so much about the interpretation of what the line means or how to say it; rather, I'm concerned about the subtleties of how something is said depending on how the person (based on their culture or accent) might talk. For example, I found that it's very awkward for my 'spanish' Felix to use too many American contractions. He sounds much more convincing if most words are separated into their orginal parts (especially when he mispronounces or uses the wrong word). However if the character is being played as a fast-talking car salesman sort of fellow, then the words really need to be contractions to keep up his pace. So I guess I'm really thinking more about flow....
Maybe I'm overthinking it.
Here is a sample from the play that I've seen performed successfully with a number of different 'personalities' for Felix, only some words in the lines inevitably become altered (not in meaning, only nuance) to fit the personalities. I am curious how rigid on a cold read you feel an interpretation of him might be, based purely on the dialogue and actions. Setting the scene simply: Felix is attempting to seduce Sybil.
FELIX
Dear, are you chilly?
SYBIL
Yes, a tid bit nibbly.
FELIX
Well I am sorry, but I don’t feel a tit bit nipply, and I am really trying to save money with the heating bill here, green energy and all, you know yes?
SYBIL
(still shivering)
Yes, that’s perfectly fine.
(SYBIL returns to working while
FELIX stares at her with pity)
FELIX
Oh my poor dear doe. I can not leave you in this state. Please, wear my shirt.
(FELIX takes off his shirt,
stands topless, and offers it to her)
SYBIL
No, really I couldn’t, it’s just...not right.
FELIX
Look, I know it is a little unorthodox but it is made from the finest sheep fur in Tibet and it’s as snuggly as a muskrat. Cost me half the royalties from my Huggies commercial to get it...
SYBIL
I really--
FELIX
Now Sybil, you are making me feel extremely vulnerable, and at this point I shall be offended if you do not take it.
SYBIL
Alright!
(SYBIL takes it and puts it on)
FELIX
There’s a good girl.
(FELIX pats her on the head
then returns to desk.
He puts on a new shirt)
To be honest, I am finding it remarkably hot in here. You will not mind, will you Sybil, if I pour a little bit of water over myself? Just to cool off.
SYBIL
It’s your office.
(FELIX dumps his entire water bottle
over his body and moans. He then
proceeds to take off this new shirt
and wring out the water in his mouth)
FELIX
Ohhh. So refreshing, like a mountain spring. Mmm. Delcioso...so delicioso...so...succulentoso.
(beat)
Ah, where are my manners. Would you like any?
SYBIL
No.
FELIX
(putting on a third shirt)
Sybil, now that is a funny name. It’s like syllable without the ‘la’. Like syllable, but missing a, um, what do you call it?
SYBIL
(vaguely amused)
Syllable?
FELIX
Is that what that word means? I honestly never knew. You know I talk a smart game, but really I am just a simple country boy from Chicago.
(FELIX sniffs her hair as he walks by.
She catches him, and he pretends to
be sniffing his own armpits)
I should shower.
SYBIL
Sure.
FELIX
You really think so? You do not enjoy the stench of a man doing what he loves?
SYBIL
Oh, I just think that—
FELIX
You have beautiful hair you know. Like soggy corn flakes—
SYBIL
Thanks, I guess...—
FELIX
Or half cooked Barilla pasta val brego—
SYBIL
What? That’s—
FELIX
Did you ever see the commercials I made for them?
SYBIL
No, I—
FELIX
Ding! Oh, it’s 2 o’clock, time for my tango lesson. Do you mind Sybil?
SYBIL
I’m afraid I don’t dance...
FELIX
Ho ho! Silly silly Sybil, I wasn’t asking you to dance, no no, I would never dream of doing such a calloused, tepidly rich thing such as that. I merely wanted to know if you would find it distracting if I practice while you work.
Thanks again!
Last edited on Wed Jul 23rd, 2008 03:34 pm by
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playwright_bo
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Posted: Wed Jul 23rd, 2008 07:26 pm |
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I enjoyed your writing. Very funny scene.
I for one would put into your play the details that you think are important.
If it is important for the actor playing Felix to know that you intended him to have a spanish accent then write it in there. You will still probably get productions where a director or an actor will want to make him Dutch for some reason.
It is entirely up to you, it is your blue print.
I too enjoy seeing interpretations of my ideas but at the same time a lot of playwrights do not.
In my head in my play Puppet Play, Big D is actually a black man but I do not specify that in his character description because that detail is important to me but in the final analysis it is not important to the play.
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kinkabobba
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Posted: Wed Jul 23rd, 2008 08:29 pm |
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| Thanks for the help!
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