All the world's a stage,
And all the men and women merely players;
And one man in his time plays many parts,
His acts being seven stages.
Willkommen! And bienvenue! Welcome!
Fremder, étranger, stranger
Glücklich zu sehen
Je suis enchanté
Happy to see you
Bleibe, reste, stay
Willkommen! And bienvenue! Welcome!
Exit, pursued by a bear.But not before you notice the deadline of 19th June 2019.
It is a very nice idea, though I wish it allowed for prose about plays, or a story influenced by the famous quote.
Even so, I am sure there will be interesting creations, just not by myself (I can't do plays) :)
Who is this mysteriously prompt stranger?!? ;)
b]Best Play:[/b]I kept getting confused with JudasFm's script trying to differentiate stage directions from speech, which broke the atmosphere for me.
... to avoid missing the *GASP* 3 day deadline for voting.
JudasFm: Your formating didn't work out too great. Like Baron, I had problems recognizing stage directions for what they are. Honestly, I wonder why such a format (with centered text too) is used for film scripts. I think it's incredibly difficult to read.
HIKARI
He alone?
TAIYOU
Yeah.
Taiyou slams the door shut behind them and leans against it. Kawamoto jumps and spins around.TAIYOU
(CONT'D)
Problem?
I think you had slightly too many, or too detailed, unnecessary stage directions. They often didn't read like something in a play but what the director would tell to his actors. For example: Kawamoto stares at him. His world's starting to fall down around him. such a reference to the emotional state of a character seemed slightly out of place, especially considering that this is pretty clear from the dialogue itself.
The whole time reading your text, I wondered if the title was supposed to refer to the whole play or just this scene. Considering your plot seems to be a fairly generic murder mystery, "Confession" seems like a weird title - but scenes usualy don't get titles at all, so...
Best Plot: Mandle, I liked JudasFm's too but I just got the impression because this scene was near to the end and the mystery didn't seem that deep, that the scenes before would contain a lot of padding.
To a certain extent, it depends on the writer - some will include more than others - but this really is how it's done in scripts, both theater and screenplay, and in a real script, you would actually expect to see more of this
QuoteBest Plot: Mandle, I liked JudasFm's too but I just got the impression because this scene was near to the end and the mystery didn't seem that deep, that the scenes before would contain a lot of padding.
Well, it doesn't make any difference to the result so I guess it doesn't matter, but I feel it's pretty harsh that you seemed to base this decision on scenes you never even read.
Actually, in my experiance that's not the case. As a matter of fact, that's one of the differences between a play and a movie script: For some reason, movie scripts contain a lot of comentary on a character's state of mind and inner turmoil, while in theater that usually is left to the director.
[...]all stage directions of the very emotional last scene of Romeo and Juliett, the one where everyone kills themselves. There's not a single reference to how a character feels, because this is all in the spoken text, nor is there any description of what a fight looks like, because that is of no importance for the way the story progresses. It's important that people fight, not how.
It's probably something to do with the fact that shooting schedules can be (and usually are) hellish; there just isn't time for the director to think up thoughts and emotions. Plus, you're shooting in completely random order, and very often only for about 5-10 seconds at a time, so the actors need to know instantly what's going through their character's head at that point in the script 8-)
It's probably something to do with the fact that shooting schedules can be (and usually are) hellish; there just isn't time for the director to think up thoughts and emotions. Plus, you're shooting in completely random order, and very often only for about 5-10 seconds at a time, so the actors need to know instantly what's going through their character's head at that point in the script 8-)
That might be. I always assumed it had something to do with the fact that you get one movie out of a film script but infinite (different) perfomances out of a play script, leading to the need for the author to accertain his or her vision more thoroughly.
One movie, a zillion different takes and camera angles :-D
With all that in mind, the director can't exactly call CUT halfway through a take just to give the actors direction :P
I liked Mandle's part 1 a lot, but I think part 2 was rather meh. I don't like special effects in theater, most of the time they look ridiculous and I didn't get what this was about anyway.