THE PLAY’S THE THING

We briefly discussed scenes when talking about storyboarding.  Now we will look at them in greater depth.

Scenes are the building blocks of a play.   A scene is important not only in relation to itself but in relation to the other scenes in the play.  As in journalism, it is important, when approaching a scene, to ask the 5 W’s: who, what, where, why, and when.   I would also add how to the list.

Who:

Who is in your scene?  The protagonist, antagonist(s), allies, love interest, sidekicks ?  Who you choose to bring into each scene is not an arbitrary decision.  It depends largely on the overall story you’re trying to tell.   Each character must have a clear function within both the scene and the story.  Make sure you have no characters on stage that do not add to a scene and further the story.  And never bring in a character just for exposition or convenience.  Also, when given the choice, don’t talk about what a character did or is doing offstage when you can bring that character and action onstage.    

What:

What is the intention of each character within the scene? What, in other words, does each character want? A scene without clear desires on the part of each character will lie flat, even if you feel like you are filling it with conflict. What is the function of this scene within the overall story? Is it the inciting incident, a confrontation, investigation, revelation, climactic moment, resolution? Labeling your scenes this way, where you can, will help you know how best to place them.

Where:

Where is the scene taking place? Location can have a key effect on the tone of a scene, or the potential outcome. A love scene that happens in a park will obviously be different than one that happens in an apartment. Questions asked in a police station feel different than the same questions asked in a court of law. Equally important is where each scene is placed within the play. Remember, you are “building” a play from slowly escalating elements of cause and effect. The order must not only grow in intensity, but must feel logical and inevitable.

When:

When does the scene take place? In the morning, afternoon, evening? In the present or the past (a flashback scene)? Or does the scene play with a more non-linear, abstract use of time?

In like manner, how do you use time in the entire play? Are all the scenes sequential, or do they bounce around in time? Is the play happening now, or in a particular year in the past? How much time passes between scenes or acts, and how do those time jumps progress your story?     

Why:

In the beginning of your play, you must ask: Why now? Why are you choosing to start the play with the scene that you do? Does this scene contain the inciting incident, or is it a setup for the inciting incident? Either way, answer the question, why is this day different than any other? In the successive scenes, ask yourself why your characters are acting in a particular way. Look at previous scenes. Nothing happens in a vacuum. Characters come into scenes with agendas and needs driven by what they have already experienced in the play.

How:

And finally, how a character expresses his or her needs in a scene can vary enormously – from reticence, to passive aggressiveness, to sarcasm, to silence – all depending on that character’s unique style and personality. And keep in mind that how a character behaves throughout the play may very well change as the character changes.

In scene construction, asking yourself the 5 W’s and 1 H will help you create active vibrant scenes that fit inexorably into the fabric of your play.