Hi friends! Let’s continue learning about play analysis. Today is part two of level two: theatrical contract. A theatrical contract is an informal understanding or agreement between the production and the audience. The contract is the establishment of the rules that the production will follow. These rules are established by the production team and the actors based on their reading of the script. Without directly expressing the rules, the contract is formed as the show progresses, but is often established within the first few minutes. Each production has its own unique rules even if it’s the same script.
As the creators of the production, it’s your job to make the rules consistent and clear for the audience. In order to do this you must study the script and its historical conventions to decide what the rules are.
What are theatrical conventions? Conventions are techniques shared by a majority of plays from a period. Examples would be using a chorus in Greek plays, or soliloquies in Elizabethan plays. So as to avoid confusion between terms–a contract applies only to a individual play rather than a group of them. A play may break from traditional conventions of the time.
It is helpful when analyzing plays to use these four categories: realism, non realism, presentational, and representational. The first refers to the way in which production elements (lights, sound, costumes, etc.) are heightened or distorted. The second group of terms refers to the way the characters relate to the audience.
Realism is a style in which what is presented on stage reflects real life. The costumes would be historically accurate, the light could represent the sun, sound design could include birds chirping if the scene is set outside etc. It tries to create a detailed appearance of reality.
Non-realism is a style which uses symbolism, abstraction, and, like I mentioned before, distortion. A musical uses music to heighten or intensify emotion. The production could use intense lighting to heighten the emotional effect or lighting that is seemingly the opposite of what makes sense to distort the emotional effect. Just because the production is non-realistic doesn’t mean all the elements have to be done that way. It’s often in better taste to choose a few elements and/or moments to focus on. For example, Les Misérables is done with realistic costumes, but the characters sing and dance as if that was normal. This is their contract.
Presentational is where one or more characters speak directly to the audience whether by soliloquies, asides, or by song. This is often seen in classical Greek plays, Shakespearean plays as well as in Moliere’s plays. This style is often referred to as breaking the fourth wall.
Once we have identified a presentational contract we need to examine when and how the characters address the audience. Do they step outside the action or do they do so within the action? is it through long soliloquies or short asides?
Representational is where the characters don’t acknowledge the audience–there is an invisible wall between the stage and the audience that only the audience can see through.
Each style will effect the audience’s experience. Representational tends to draw the audience in, make them emotionally identify and sympathize with the characters. They can be whisked away for a few hours. Presentational productions remind us that we are watching a play and therefore creates more emotional distance. Brecht is famous for his views and techniques on this very subject. On the other hand, representational productions can make the audience bond with the sharer which taints their perspective.
Summary-Questions to ask:
- Do any characters in the play overtly address the audience? If so, which?
- When do they address the audience and in what way? Soliloquies, asides, songs?
- How might the audience be affected by the use of direct address?
- Are any of the production elements abstracted, heightened, or distorted in any way? If so, which ones and how so?
- What is the apparent effect of the abstraction?
Thanks for reading! Sorry this was late. I’ve been experiencing problems with my computer. Sadly, I don’t think it will survive, and, unfortunately, I didn’t have it backed up. Woe is me! My Hubby is letting me use his for now. Sigh.
XOXO!
Sources:
Cal Pritner, Scott Walters. Introduction to Play Analysis. Waveland Press, Inc. 2005. Print.
The Struggling Artist 