What is the distinction between the “type of intent” and the “characteristic type of intent”?
The Playwright Purging Page
I have a conceit I’ve used on all my full-length plays. I add a page of text at the end that is my commentary on my play. This allows me to to share my vision of a moment or moments.
When writing, I’ve wrestled with how to focus on some things (like a character) and not others. Recently, I read a writing book that said: The focus will be sharp, not because it is narrow, but because it is specific.
When and how much should one use parentheticals when writing dialogue in a play? I’ve always heard that it’s overreach to do so, but a mentor of mine has suggested I use more of them. Thoughts?
What about the non-main characters?
I feel the part of the Soul technique where I’m most vulnerable has to do with supporting characters. Thoughts?
Theme vs. issue
Is a narrative theme always a deontological statement such as “One should or should not…”?
Who is the main character?
A viewing of the film Sweet Bird of Youth prompts the question: Can a theme serve as a character unto itself?
Live theatre applications
It strikes me that the grok approach could have a useful applications in theatrical text and character analysis, both for the director and the actor.