SCRIPT ANALYSIS THE PRACTICAL AESTHETICS WAY
Analysing a script, scene by scene, can help you identify what your job is and where your character fits into the story. Teacher and author Melissa Bruder offers valuable insights into how to make this work for you.
Once in a blue moon, the stars align and an actor will start to feel exactly what their character is experiencing as the scene unfolds. Occasionally the character’s journey is so close to the actor’s that it seems unnecessary to analyse or intellectualise it. These moments are rare and wonderful. But what about the rest of the time when you’re not “feeling it?” A strong script analysis is a great habit for actors and can help you out of a jam when you get stuck.
The acting technique of Practical Aesthetics was created in the 1980s by author David Mamet and actor William H. Macy, and I was fortunate to study and work with both. It’s made up of two separate sets of skills: preparation − the work you do before you act the scene, i.e. script analysis; and improvisation − the moment-to-moment skills required to be present while performing the scene. The idea is to prepare in advance so you’re free to improvise in the moment.
Every artist has an inner voice when they first read a script: “Ah, I know exactly what this scene is about/how that line should be delivered.” So why bother analysing the script? Why not trust your instincts or wing it?
As important as first instincts are, it’s the actual process of analysis that’s so valuable. This is an opportunity to explore the myriad choices and arrive at a deep and well-considered version of the character which is uniquely yours, reflecting your individual taste as a performer. Analysing the script for your character scene by scene, can help you clearly identify what your job is and where your character fits into the story. Your choice of action, and commitment to it are what bring the character to life. A good analysis also helps you avoid clichéd choices which could have casting directors and audiences clicking to the next option.
The purpose of script analysis is to boil each scene down to a single psychological objective with various tactical approaches, which will keep you working off your partner to succeed throughout the entire scene. (The terms ‘action’, ‘objective’ and ‘intention’ are basically interchangeable here.) The action/objective can be planned, but exactly how you pursue it is largely unknown, based on your scene partner’s behaviour.
Sanford Meisner said: “…Acting is the reality of doing.” Why not give yourself a specific, do-able task — a simple mantra — if you will so that when your attention wanders mid-scene or falls back on yourself, you can get back on track?
At best, analysis allows you to remind yourself of your intention/stakes, then focus on the other actor/s in the scene, press ‘play’, and allow the scene to unfold organically. When your homework’s done it’s time to let go of all your prep, turn off the thinking brain, commit … and play!
10 ways to make the most of script analysis
1. Read the scene over and over again. Notice every small detail, no matter how anomalous, as it could be the key. Examine the facts like a detective.
2. Clearly state what your character ideally wants the other(s) in the scene to do — for example, “The character wants her brother to agree to check into rehab now.”
3. Find a psychological action/objective that gives you a strategic way to get the character what they want. Continuing on from above, you could get them to: a. take responsibility; b. grow up; or c. accept your help. Three different options/interpretations creating vastly different characters.
4. Consider various tactics you could use to get that action, without necessarily ascribing them to certain lines − implore, demand, enlighten and so on. There can be many ways to pursue your action.
5. Identify the scene’s emotional stakes so you can personally invest in the action with your own real or imaginary ‘as if’. In William H. Macy’s words, “You don’t need to deliver a pizza with a semi-trailer!” Is more more, or is less more?
6. Check that your analysis is in line with the writer’s intentions, is fun/compelling for you to do and worded in language that fires you up.
7. Make sure your action is achievable in the scene — you could change the person in front of you or make them waver, even if your character never gets what they want (they rarely do!).
8. Assume you’re going to succeed at your objective. Never give up on your action by anticipating the end/failure too early. The audience desperately wants to see you committed right to the end of the scene.
9. Let go of how you thought the scene should look and commit to a far more risky, fun and achievable task − playing your action to actually change the other person.
10. Stay open to collaboration with your fellow actors, directors and DOPs. Things often change drastically on the day.
Once you have a working analysis for the scene, you get to live it out each performance as if for the first time, re-investing, riding the wave, listening and responding to all of the subtle nuances received in the moment, night after night and take after take. What fun for the actor and the audience!
Melissa Bruder is a native New Yorker and co-founder of the Atlantic Theater Company / Atlantic Acting School. She is co-author of A Practical Handbook for the Actor. She has been living in Australia for over 25 years, training actors with Practical Aesthetics Australia and coaching in the film and television industry.
