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
