The most important (and often one of the most neglected) element of writing a human video script is character. Encarta Encyclopedia defines the noun character in a number of ways. One that I think best fits here is this: “The set of qualities that make somebody or something distinctive, especially somebody’s qualities of mind and feeling.” While this definition generally refers to one’s character (who you are when no one is looking) I think it is helpful for us in theatre arts because it shows what is important about character development.
Without character development, everyone is the same. If you had a mother like mine then you might have heard, “If everyone were the same, imagine how boring life would be.” Who didn't hear that growing up? Did you get the same horrifying picture of 6 billion drones all dressed alike and monotonously going about their freakishly similar day? If not, count yourself lucky, it was truly horrifying for poor little me.
What happens all too often is that every "character" in a human video ends up being the same character (usually the “character” is no more than the actor making funny faces or looking constipated). The performers that are afflicted in this way do a fine job of being themselves, but a very poor job of acting. Sometimes they can even have a fantastic grasp of movement and style, but they still lack the essential nature of an actor; they cannot bring their characters to life.
To offset this, the performer usually puts an extraordinary effort into being him or herself. They over-exaggerate every little movement in order to emphasize the fact that they are doing something. This, while it may be stylistically unique and even interesting, does not lead to a dynamic communicative act with the audience.
The second most common defect in character development lies relying too heavily on character transitions. This failing develops out of a fantastic impulse, (to help the audience recognize the changing of characters) but does not even begin to touch the problem (poor character development).
What do I mean by “transitions”? Good question. “Transitions” are the kind of moves I talked about in my post about “Bad Habits”. Moving a hand in front of the face, spinning around or similar moves to show the audience that a character change has taken place. While I know that some advocate the use of these “techniques” let me assure you that they are little more than lazy dramatics. They indicate a lack of thought and a willingness to lean on a ill-conceived crutch rather than on a commitment to artful storytelling.
The impulse to insert these character “transitions” comes from, as I said, seeing the need for character development. This is a good thing. The people who use them are not bad dramatists, in fact quite the opposite. They have seen a deficit and have sought out a solution.
What makes these “transitions” wrong for Human Video is that they do not get to the heart of the problem. It is very similar to the Health Care system in America today. Doctors see a symptom say, back pain, and instead of treating the cause of the problem (recommending a better mattress or shoes) they throw drugs at the problem. Treating the symptom and not the sickness will never heal a person; and in theatre arts, it will never render your product worthy of merit.
So how does one make a distinction between one character and the next without using these transitions? So glad you asked; by treating the condition and not the symptom.
The condition is that the distinction between your characters is not clear. The way to make them more clear is not waving your arms about like a lunatic, but rather making the characters more distinct in your own mind.
What makes a child different from an old man? Posture? Speed of movement? Placement of the eyes? All these things must be taken into account during the process of character development.
Who is your character? What is their name? Do they have a favorite song? These may seem like insignificant details, but I assure you they will help distinguish one character from another in your own mind. When that has been done, your performance of both characters will differ so that the audience can see the difference.
There is a checklist I use in my acting classes and workshops that helps actors with character development. Here is that checklist:
1. Evaluate the role
Determine all the particulars that will give you clues about the character and how they move, act and re-act.
Fabricate what the script does not tell you.
2. Define goals of the characters --
What are the “Objectives”?
• Super objective -- the "Spine"; what character wants for the whole play. Also called the “through-line.” (50)
• Objective -- what the character wants for each scene
• Sub-objectives -- (Sometimes called "beats," or "units") these are changes of mood, intention, subject, etc., in a scene. (50)
3. Explore Character relationships:
All communication has at least two dimensions: the content of the message and the relationship of the message. We not only say things, but we say them in particular ways -- and the WAY we act often tends to develop, clarify, redefine a relationship.
4. Examine the Function that your role fulfills in the play.
Understand how your character relates to the theme and the action of the play.
Is your character:
A protagonist or antagonist?
A major or minor character?
5. Be Sensitive to the subtext.
Being sensitive to the actions and unspoken thoughts going through the mind of your character (what happens between the lines; the underlying emotional motivations for actions, and what your character says to others) can have a dramatic impact on how his or her motivations are interpreted by the audience.
6. Focus on your craft.
Know your role (in the overall production):
Pay attention to your own body, movement and placement.
How do you fit into the over all stage picture?
Make sure that your movement choices add to, and do not detract from,
the overall flow of the scene.
Adapted from: http://act.vtheatre.net/performance.html
Although this checklist speaks of a “text” and most Human videos lack a written “text” you can substitute the song and/or the ideas of the writer of the video. Whether that is you or it is someone you have never met, you are allowed to fill in the gaps. Fabricate whatever is not there for you.
You are an artist. In order to be an artist of merit, you must learn to be creative—to bring into existence that which was not there before.
Human Video
christian drama
church drama
evangelical drama
No comments:
Post a Comment