Community Theater Green Room Discussion Board: Spine of a play

Author

Message

pdavis69
Celebrity

Joined: 3/26/06
Location: United States
Online Status: Offline
Posts: 437

Posted: 12/03/07 at 12:50pm

It has been my experience that like so many things in life if you try to disect something and study it, it will eventually rot and start to stink. Admittedly my speciality is farce work and good fun comedies. I once worked with an actor who couldn't have fun with a part because he didn't understand the motivation for a single line. "Why would I ever say that?" kept popping out of his mouth and "because it's funny and the audience will laugh" was not enough explanation. He kept pointing out that in real life he would never say such a dumb line, and I guess that is one of the big reasons no one has ever written a smash comedy about his life.

Patrick L. Davis
Fort Findlay Playhouse

IP Logged

theactordavid
Lead
Lead

Joined: 5/29/06
Location: United States
Online Status: Offline
Posts: 44

Posted: 12/03/07 at 1:11pm

Ooohh... it sounds like a good one could be written. Of course, he still wouldn't find it funny. "Why would I say that? I never say that."

I always spend a few preliminary rehearsals in read-through, with the goal of getting to understanding. If an actor does not understand why his character says or does something, then he doesn't understand the character, or the story, or both.

Admittedly, you can intellectualize the intuitive and emotional connection to a character and story right out of a production. And you will never fully nail everything (or you should hope not to) so there is still some "life" left in it. But without some understanding, you're left with little beyond a cold read, which can be fun but ultimately lead to a disconnect in some way.

As was mentioned earlier, the opening moment of a play is the ending moment of all that came before (i.e. backstory) and the last moment is the beginning of the rest of the characters' lives (the forestory), for those that survive anyway. Think about how many people you have met, and upon learning a little more about them - their backstory revealed slowly over days and beers - your first impression changes. We now understand why they act that way, have their beliefs, speak their way, etc.

When you get to know your character enough so that your role makes sense, you're almost there.

IP Logged

jayzehr
Celebrity

Joined: 8/11/05
Location: United States
Online Status: Offline
Posts: 537

Posted: 12/03/07 at 2:43pm

I have to largely agree with Patrick.

IP Logged

Director7
Walk-On
Walk-On

Joined: 12/20/06
Online Status: Offline
Posts: 0

Posted: 12/05/07 at 4:39pm

It sounds like the actor cited above, who kept questioning why his character would say something, did not understand the character, a particular circumstance, the world of the play or any combination of these. That's where analysis comes in handy, for me. I am more readily able to point certain things out. (Of course there are those actors who may be totally resistant for another reason.)

IP Logged

pdavis69
Celebrity

Joined: 3/26/06
Location: United States
Online Status: Offline
Posts: 437

Posted: 12/07/07 at 9:34am

Nope, the actor above just didn't understand funny.

Patrick L. Davis
Fort Findlay Playhouse

IP Logged

Director7
Walk-On
Walk-On

Joined: 12/20/06
Online Status: Offline
Posts: 0

Posted: 12/07/07 at 4:14pm

Perhaps. (The question of casting then comes up.) However, with good understanding of the script, even actors with less of a sense of comedy may be lead a little closer to realization of the script, in my experience. (That and being coached in comedic technique. It does take more time and the results may be lesser than otherwise; that is why casting is so important.)

IP Logged

tristanrobin
Celebrity

Joined: 4/25/05
Location: United States
Online Status: Offline
Posts: 704

Posted: 2/22/11 at 9:41pm

Interesting.

I just started doing research for a production of Proof.

Searching out other opinions on the spine of the play, the first google link was right here to the ol' Green Room Discussion Board.

Clap

http://tristanrobin.blogspot.com

IP Logged

avcastner
Star
Star

Joined: 12/21/06
Location: United States
Online Status: Offline
Posts: 85

Posted: 11/12/12 at 8:57pm

I remember being in Dramatic Writing and Analysis in college and having to come up with the spine of a play--bunch of hogwash.

Now, when I was taught the _Backwards and Forwards_ method by David Ball for script analysis, light bulbs went on. Remember everything that happens in a play happened because something caused it to happen. Work backwards in the script to discover the causes, and then you can find out why it happened. Know the "why," the "what," and the "who," and you can help your actors become the characters.

IP Logged

PaulyWally
Player
Player

Joined: 2/03/11
Location: United States
Online Status: Offline
Posts: 28

Posted: 12/06/12 at 10:03pm

Not to beat on an old thread, but I also vote "yes" for discovering the spine of a play (spine, theme, thesis, super-objective, whatever-you-choose-to-call-it).

I agree that some plays need a bit of digging, and others not so much. But the "spine" is what gives the play form. And every great work of art has a form. I believe it is the director's job to communicate that form to the audience. From there, it is up to the audience member to interpret the details within that form.

In any good play, the playwright has taken the time and energy to write that form out. Why ignore it? I liken it to actors that insist they only need to paraphrase their characters lines and improvise as much as they like. The writer knows the characters better than anyone else ever will. To think otherwise is disrespectful to the script, and subsequently, the playwright.

Remember that it is our job to present an existing piece of work. Not strip it of its components because we may find the job to be "overkill".

IP Logged

Directing
Community Theater Green Room Discussion Board :Producing Theater :Directing

Author	Message
pdavis69 Celebrity Joined: 3/26/06 Location: United States Online Status: Offline Posts: 437	Posted: 12/03/07 at 12:50pm
	It has been my experience that like so many things in life if you try to disect something and study it, it will eventually rot and start to stink. Admittedly my speciality is farce work and good fun comedies. I once worked with an actor who couldn't have fun with a part because he didn't understand the motivation for a single line. "Why would I ever say that?" kept popping out of his mouth and "because it's funny and the audience will laugh" was not enough explanation. He kept pointing out that in real life he would never say such a dumb line, and I guess that is one of the big reasons no one has ever written a smash comedy about his life.
	Patrick L. Davis Fort Findlay Playhouse
	IP Logged

theactordavid Lead Joined: 5/29/06 Location: United States Online Status: Offline Posts: 44	Posted: 12/03/07 at 1:11pm
	Ooohh... it sounds like a good one could be written. Of course, he still wouldn't find it funny. "Why would I say that? I never say that." I always spend a few preliminary rehearsals in read-through, with the goal of getting to understanding. If an actor does not understand why his character says or does something, then he doesn't understand the character, or the story, or both. Admittedly, you can intellectualize the intuitive and emotional connection to a character and story right out of a production. And you will never fully nail everything (or you should hope not to) so there is still some "life" left in it. But without some understanding, you're left with little beyond a cold read, which can be fun but ultimately lead to a disconnect in some way. As was mentioned earlier, the opening moment of a play is the ending moment of all that came before (i.e. backstory) and the last moment is the beginning of the rest of the characters' lives (the forestory), for those that survive anyway. Think about how many people you have met, and upon learning a little more about them - their backstory revealed slowly over days and beers - your first impression changes. We now understand why they act that way, have their beliefs, speak their way, etc. When you get to know your character enough so that your role makes sense, you're almost there.
	IP Logged

jayzehr Celebrity Joined: 8/11/05 Location: United States Online Status: Offline Posts: 537	Posted: 12/03/07 at 2:43pm
	I have to largely agree with Patrick.
	IP Logged

Director7 Walk-On Joined: 12/20/06 Online Status: Offline Posts: 0	Posted: 12/05/07 at 4:39pm
	It sounds like the actor cited above, who kept questioning why his character would say something, did not understand the character, a particular circumstance, the world of the play or any combination of these. That's where analysis comes in handy, for me. I am more readily able to point certain things out. (Of course there are those actors who may be totally resistant for another reason.)
	IP Logged

pdavis69 Celebrity Joined: 3/26/06 Location: United States Online Status: Offline Posts: 437	Posted: 12/07/07 at 9:34am
	Nope, the actor above just didn't understand funny.
	Patrick L. Davis Fort Findlay Playhouse
	IP Logged

Director7 Walk-On Joined: 12/20/06 Online Status: Offline Posts: 0	Posted: 12/07/07 at 4:14pm
	Perhaps. (The question of casting then comes up.) However, with good understanding of the script, even actors with less of a sense of comedy may be lead a little closer to realization of the script, in my experience. (That and being coached in comedic technique. It does take more time and the results may be lesser than otherwise; that is why casting is so important.)
	IP Logged

tristanrobin Celebrity Joined: 4/25/05 Location: United States Online Status: Offline Posts: 704	Posted: 2/22/11 at 9:41pm
	Interesting. I just started doing research for a production of Proof. Searching out other opinions on the spine of the play, the first google link was right here to the ol' Green Room Discussion Board.
	http://tristanrobin.blogspot.com
	IP Logged

avcastner Star Joined: 12/21/06 Location: United States Online Status: Offline Posts: 85	Posted: 11/12/12 at 8:57pm
	I remember being in Dramatic Writing and Analysis in college and having to come up with the spine of a play--bunch of hogwash. Now, when I was taught the _Backwards and Forwards_ method by David Ball for script analysis, light bulbs went on. Remember everything that happens in a play happened because something caused it to happen. Work backwards in the script to discover the causes, and then you can find out why it happened. Know the "why," the "what," and the "who," and you can help your actors become the characters.
	IP Logged

PaulyWally Player Joined: 2/03/11 Location: United States Online Status: Offline Posts: 28	Posted: 12/06/12 at 10:03pm
	Not to beat on an old thread, but I also vote "yes" for discovering the spine of a play (spine, theme, thesis, super-objective, whatever-you-choose-to-call-it). I agree that some plays need a bit of digging, and others not so much. But the "spine" is what gives the play form. And every great work of art has a form. I believe it is the director's job to communicate that form to the audience. From there, it is up to the audience member to interpret the details within that form. In any good play, the playwright has taken the time and energy to write that form out. Why ignore it? I liken it to actors that insist they only need to paraphrase their characters lines and improvise as much as they like. The writer knows the characters better than anyone else ever will. To think otherwise is disrespectful to the script, and subsequently, the playwright. Remember that it is our job to present an existing piece of work. Not strip it of its components because we may find the job to be "overkill".
	IP Logged

Topic: Spine of a play
	<< Prev Page of 3