About This Course

Building the character, environment, history and relationships from the scripted dialogue

The basis of an amazing performance is the actor's understanding of the whole story. When an actor learns to embody not just their role but the story, they learn how to bring greater depth to their performance. You will be guided through the steps of how to look at a script and work with it, from the first reading through to performance. Actively work with one script and one role throughout the course. No self taping required.

Cost

Reviews

5 star rating

Great Guide

Hugh Macdonald

I really liked that all the different types of script analysis are covered by the exercises. It methodically takes you through them step by step and if you d...

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I really liked that all the different types of script analysis are covered by the exercises. It methodically takes you through them step by step and if you do them fully you will have all the raw material you need to work with to develop a role. It will enrich your understanding of the story, help you investigate and make discoveries about your character, and help clarify how you can relate to the characters and themes. And it will give you the tools to approach individual scenes, dialogue and subtext. A good thorough program you can put to direct use.

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5 star rating

Fantastic!

Dante Lopez

I am impressed with this course. I was very skeptical but now I even think it can be more powerful than I thought.

I am impressed with this course. I was very skeptical but now I even think it can be more powerful than I thought.

Read Less

Course curriculum

  • 1

    Intro

    • Welcome
  • 2

    Getting Started

    • Course Goals

    • Choosing your Play

    • Important Note

    • Downloadable Exercise Checklist
  • 3

    Beginning the Play

    • Lesson 1: The Creative Reading

    • Exercise: The Creative Reading Explanation

    • Reflection: The Creative Reading
  • 4

    Mining the Script for the Story

    • Lesson 2: The External Plane

    • Naomi Harris on Reading the Script

    • Exercise: The External Plane Explanation

    • The External Plane Example

    • Reflection: The External Plane

    • How to Submit The External Plane Exercise

    • Lesson 3: The Plane of the Social Situation

    • Matthew McConaughey on Reading the Script

    • Exercise: The Plane of the Social Situation Explanation

    • Reflection: The Plane of the Social Situation

    • How to Submit The Plane of the Social Situation Exercise

    • Lesson 4: The Literary and the Aesthetic Planes

    • Anthony Hopkins on Reading the Script

    • Exercise: The Literary and the Aesthetic Planes Explanation

    • Reflection: The Literary and the Aesthetic Planes

    • How to Submit The Literary and the Aesthetic Planes Exercise
  • 5

    Mining the Script for the Character

    • Lesson 5: The Psychological Plane

    • Viola Davis on the Craft of Acting

    • Exercise: The Psychological Planes Explanation

    • Reflection: The Psychological Plane

    • How to Submit The Psychological Plane Exercise

    • Lesson 6: The Physical Plane

    • Stephen Adly Guirgis on Philip Seymour Hoffman

    • Exercise: The Physical Plane Explanation

    • Reflection: The Physical Plane

    • How to Submit The Physical Plane Exercise

    • Lesson 7: The Plane of Personal Creative Feelings

    • Chadwick Boseman On Filling in the Gaps of the Script

    • Exercise: The Plane of Personal Creative Feelings Explanation

    • Reflection: The Plane of Personal Creative Feelings

    • How to Submit The Plane of Personal Creative Feelings Exercise
  • 6

    Deconstructing the Scene

    • Lesson 8: The Given Circumstances

    • Exercise: The Given Circumstances Explanation

    • How to Submit The Given Circumstances Exercise

    • Lesson 9: Moving the Scene Forward

    • Practice Exercise: Finding the Bits

    • Who's Afraid of Virginia Woolf? Scene

    • Who's Afraid of Virginia Woolf? Scene with suggested Bits

    • The Silence of the Lambs Scene

    • The Silence of the Lambs Scene with suggested Bits

    • Exercise: Moving the Scene Forward Explanation

    • How to Submit Moving the Scene Forward Exercise
  • 7

    Deconstructing the Dialogue

    • Lesson 10: Finding the Moments

    • Practice Exercise: Finding the Mini Objectives and Actions

    • Who's Afraid of Virginia Woolf Scene Portion

    • Who's Afraid of Virginia Woolf? Mini Objectives and Actions Example 1

    • Who's Afraid of Virginia Woolf? Mini Objectives and Actions Example 2

    • Notes on Mini Objectives and Actions Examples 1 and 2

    • Exercise: Finding the Moments Explanation

    • How to Submit Finding the Moments Exercise
  • 8

    Conclusion

    • Course Summary

    • All Planes