Tiffany Rothman starts off by stating: “When asked how important it is to thoroughly analyze the script, my wonderful and talented acting coach, the actress Lenore Harris, would reply: “Script analysis is the revelatory journey into a time capsule of a playwright, a period and its socio-political history/milieu. Your analysis and research must dig deep to gain insight into the writer’s vision and how the play’s particular culture operates, manipulates affects and triggers people’s actions, lives and relationships in the script.”
For example: A man and a woman have been together all day and up all night, they made love, and he says at the crack of dawn, “The sun is coming up.” He means it literally. He talked through the night into the morning. Playing the woman in the scene, the actress’s analysis of the text could lead to her choice of a decision to trust this man who has spent all day and night working to convince her of his love. Literally the sun is really coming up and the man is the first to say the line, seeing day break.
The actress repeating the line, reveals it with her own complexities. She isn’t saying it literally. None of this is stated but is revealed in the analysis. The life time discipline that your talent is being fed by investigation, imagination, curiosity — specifics of the past, present and future. The script was your world of every imaginable relationship and conceivable situation. The script is the playwright’s vision, version and expose. It can be understood by the characters that exist in the play or not. But you, the actor must understand the truth behind the words, as previously disclosed.”
Lenore also added that in her training with the late master teacher, Paul Mann, “the analysis and research of the script is executed by a powerful connection to the sense, released by vivid belief, graphic images and uncensored subtext of the script. The limitlessness of your imagination stimulates you in ways that are highly physical, non-physical, sensual and always truthful. The analysis brings out your unique talent in service to the script and to your audience”.
In addition, as an Isadora Duncan International Institute dancer, I have always felt that Duncan `s materials are the core for performances. Dr. Jeanne Bresciani, my incredible dance teacher, has indicated :” The parallel of script in theater to choreography in dance is most valid. There are plays with splendid language that are not viable for performances and should be relinquished to silent reading. Likewise , there are dances that contain movements exemplary of technique and physical coordination and condition that are not suited for the stage.
In both cases, they are closer for studies or preparations for the enactment of art but are not the culminating moment itself. They are often works that have spent too long in the classroom of creation or are stunning aspects on one point of focus alone. James Joyce, as an early Modern giant, in his call for beauty is still today not far afield from the requisites for great theater or dance genre – and they are many. He called for the necessity of wholeness, harmony and radiance for the evocation of art – be it in dance, theater or letters.
The script or choreography needs to provide a blueprint to connect the agent on stage to an interior voice and body, make a coherent synthesis of the parts involved in the making and have the capacity to beam the essence of the work forth to something or someone outside – be they odious or intoxicating- in order to fall within the parameters of art worthy of witness.”
Contact Person: Tiffany Rothman
Phone: (917) 318-6041
City: New York
Country: United States