First, the conflict contained in the musical script is the soul of the work to attract the audience. Only by building a perfect framework, providing heart-warming dramatic clues, weaving a complete storyline, and creating intense dramatic conflicts, can a work truly arouse the viewer's ****song, and get the audience's favorite.
Secondly, the script is the most important carrier of a musical, and the other elements of the play are based on each other. The music, dance and songs of a musical work are shown in turn on the basis of the development of the plot. This puts a very high demand on the script: if there is not a good story, can not hold the audience's heart from the beginning, then, even if the music is more beautiful, the dance is more moving, the singing is more outstanding, the choreography is more gorgeous, they can not be well presented on stage.
Third, the script of a musical is the part of the work that takes the most effort. From the initial idea to the final draft, the script is always under constant adjustment and revision. Not only do the playwrights have to keep adjusting the plot according to the previews and even the public performances, but the director and the composer are also very concerned about the changes in the script. Only after the other elements of the musical, such as music and dance, are finalized can the script be staged by the playwright, taking into account the order of the words and the needs of the actual performance.
Fourth, the script is an important means of characterization and plotting, which cannot be replaced by music and dance. In the limited length of the play, the script plays as comprehensive as possible to explain the plot and the relationship between the characters in the play and the development of the drama of the "heavy responsibility", to provide the audience with a clear story clues. At the same time, the merits of the script is directly related to the ability to shape a full, distinctive personality for the audience to remember the artistic image.
2, the creation of the script
Question 2: How to write a play? Script writing foundation: the format of the script
First of all, to make it clear that the script is different from any kind of stylistic form, I often see some of my friends write the script as a novel or biography, which is not right, at least not professional. This is not right, at least not professionally. Scripts have their own format, and writing a script is a technical job in a way.
Writing a screenplay is not a noble artistic creation, it is just a common type of work, playwrights and cleaners are not much different, are very common work, so everyone can write a screenplay, everyone can be a director. Of course, since it's a job type, it has its own norms. These norms may not make you an expert quickly, but they at least make you look like one. Or, not so much that your poor formatting becomes a reason for a reviewer to shoot down your manuscript. Because a reviewer reads three to four scripts a day, and if your script formatting doesn't look professional, he's perfectly justified in flipping through a few pages and tossing your script in the corner to cool off.
Let's start with some common mistakes in script writing:
1: Turning a script into a novel
Just above, I mentioned that some of my friends have turned their scripts into novels, which isn't impossible, but that's a literary script, and it can't be used to guide the filming and production at all. For example, you can spend a few pages in a novel writing about a person's life, background, family composition, or a few pages describing the main character's psychological struggles, but these things can't be expressed on a movie screen. Your script is a screen, and what you want to show is what can be seen and felt directly by the audience on the movie screen. Things like mental activity can't be shown well. Add narration? Sure, unless you can stand the main character's off-screen voice reading pages of a novel in a motionless shot. Movie *frames* express emotions, and your script is movie footage to be written through the camera's point of view, which can cause a second problem.
2: Unnecessary Camera Labeling
If you write the script this way: in elevation 5, with a panner for a liter 70 camera with a 60mm lens, swinging from 8.5m to 2m to focus ............ If you write it this way. Even if you get past the reviewer, your script will be thrown out by the director. You don't need to teach him how to shoot, it's not your business. You don't have to worry about the camera at all when you're writing a script. But what if it's not a script so you don't have to think about the camera? Not really, you need to think about the camera in relation to the camera and not the position. Scripts have their own dedicated camera terms, and using those terms more often can make your script professional, or at least look professional.
1. Angle on: For example, BILL walks out of a convenience store, and the camera is pointed at BILL.
2. Favoring: BILL is in a big square with a lot of people, but the main focus is on BILL.
3. Another angle: A different angle of the camera to show BILL having a good time in the big square. Another angle: a different camera angle to show BILL in a big square having fun.
4. Wilder angle wider angle: first show BILL drinking coke in a corner of the square, then the camera pulls away to show the square where BILL is.
5. New angle: show BILL drinking coke in a different angle, so that the camera is rich.
6. POV point of view: look at things from BILL's point of view. It is the first person point of view.
7. Reverse angle: BILL and SALLY dancing together, first shoot BILL see SALLY, then shoot SALLY see BILL, usually the two POV reverse each other.
8. Over shoulder angle: the camera crosses BILL's shoulder to see SALLY, BILL's shoulder can divide the picture naturally, very common type.
9. Moving shot: Including follow-up shots, shifting, following, etc., anyway, the camera is moving, as for how to move, is not a problem to consider now.
10.Two shot double shot: BILL and SALLY in the side of the drink of cola while talking, this kind of lens camera do not move freely, to prevent the "axis". BILL and SALLY two people connected to an axis, the camera can only be in the axis of the side of the movement, if you cross the axis, in the picture BILL and SALLY's position on the left and right will be swapped, causing the audience to visual logic confusion.
11. Close shot Close up: emphasize the beautiful eyes of SALLY, but generally less used for good.
12. Insert insert shot: a close up of something, such as when it's late in the day, SA...... >>
Question 3: How to write a drama script How to write a drama script?
First of all, like any other script, the plant must have a complete story, or a clearer idea.
Then you must understand in your mind that a drama is a piece of work that describes the action on the stage and the dialog of the actors as the main means of expression, so the writing must be centered on the activities on the stage, with the dialog as the main focus.
Then there are generally two ways to write a drama, one is according to the unit of the act, and the other is according to the unit of the scene. These two divisions depend on whether your work is in length or in paragraphs, if it is large, it is the act, if it is a small paragraph, it is the scene.
The last point is extremely important, writing a play is actually writing a conflict, you need to show the conflict is very big! That way your work is attractive.
Question 4: Junior high school performances need a musical, how to write a script 5 points Plot Summary: This play is a one-act play. ***Divided into three scenes. Lilac is a girl who has just graduated from college. Like most graduates is confused in choosing a job. She is lost in her parents' arrangement and her classmates' invitation. In order to soothe her pent-up feelings, she comes to a big mountain ditch. While playing with the mountain children, she was touched by their simplicity and thirst for knowledge. So she said goodbye to her parents, declined the invitation of her best friend, and made the decision to stay in the mountains to recognize the teaching. Clove became the first young teacher to stay in the mountains, and she was touched by all the people in the mountains and the lilacs blooming in the hills. However, in her fourth year of teaching, Clove was engulfed by a merciless water demon during a flash flood! The people of the mountain did not cry and howl, but just let "lilac flowers" this melancholy song sung in the mountains 。。。。。。
Stage design: the entire stage with a written style background. The tone is hesitant but not sad.
Scene 1
Scene: Sad music plays. Lilac appears in the spotlight after the narration.
Narrator: In the May of these years, when the lilacs bloomed all over the mountains, there were always many young college students coming to this big mountain. They sing melancholy songs and weave the lilacs into a beautiful wreath, then sit around the hill and listen to the mountain people tell the story of the lilac 。。。。。
The lilacs appeared in the center of the stage: many of them have had dreams, but often they are just young and foolish. A lot of people also dare to face reality, although the reality is always cruel. I don't want to divide life into two parts: dream and reality. But I think a person must find a career for which he can give all his passion and even his life. Four years ago I went to college as I had hoped. And now I'm going to find the part that really belongs to me in the reality, dream and all the life!
Music up.
On the other side of the stage, Clove's parents appeared in the spotlight:
Clove's parents: Clove, Clove.
Clove's parents: Clove, Clove.
Ding mother: Xiang Xiang, your father and I miss you, this time in the school life is okay?
Ding: Mom, I'm fine.
Ding: Mom, I'm fine.
Ding's father: Xiang-er.
Ding's father: Xiang'er, mom and dad are fine.
Ding: Mom and Dad are fine, but I'm just thinking about you!
Ding: Dad, look at what you said.
Ding's mother: "I'm sure you'll be happy to see me. Xiangxiang, this is the year of graduation. I think four years ago, I had to worry about whether you could go to college or not, and now I'm worrying about your job.
Ding: Mom, you don't have to be anxious. I'm a college student, I can definitely find a job.
Ding's father: Xiang'er, I know you can find a job.
Ding: Mom, you don't have to be so anxious!
Ding: Dad, you can't find a job.
Ding's mother: Your father is right, Xiang'er. I know your character best. I've never been so delicate and weak. I don't know how I can rest assured when I'm out looking for something to do. I'm sorry, but I'm not sure if I've ever been able to get a good deal on a new product or service. I'm not sure if you're a good person, but I'm sure you're a good person.
Ding's father: It was the season of lilacs!
Ding's mother:
Ding: Mom, you guys. The first thing you need to do is to get a good deal of money to pay for the work!
Ding's father: Xiang'er, double choice is quite good, but if you go to those places where the train takes several days and nights, your mother and I will still look forward to this when we are old.
Ding: Dad, I haven't even talked about the job yet, but you're all so excited!
Ding's mother: Xiangxiang, you can't be upset with us, no matter what, mom and dad are still doing this for you.
Ding: Mom, think about it. If all the mothers under the sky keep their daughters with them, then the world will become millions of primitive tribes! Mom, my daughter did not say that she would definitely leave you to go to that faraway place. You say my daughter is delicate. I sometimes think so myself. But my daughter is still a young daughter, she should have some ideas. I'm not sure if I'm going to be able to do that, but I'm sure I'm going to be able to do it," he said.
Ding mother: Xianger.
Ding father and mother faded into obscurity, Ding Xiang caught up and called out.
The chorus: Lilac Knot, Sorrow in the rain, small voice and gentle meaning. There's nothing I can do about it, but I'll let my heart be attached to the water.
Clove sinks ...... >>
Question 5: How to write a drama drama script writing skills
A drama script
The script is the literary element of the drama, is for the actors to perform on the stage of the literary script, it is the foundation of the drama, is a drama of the book.
The script is mainly composed of dialogues, monologues, asides and stage directions of the characters in the play. Dialogue, monologue, narration are used in the body of speech, in the opera, opera is often used to sing to show. The stage directions in the script are written in the tone of the playwright's narrative description, including the time and place of the plot, the character's image characteristics, physical movements and inner activities of the description of the scene, the atmosphere of the description, as well as on the set, lighting, sound effects, and other aspects of the requirements.
There is a kind of play that mainly pursues literature, not for the purpose of performance, or not suitable for staging, known as "desk play", "bookstore play". Europe's 19th-century romantics had written a lot of poetry in the form of theater, but also only for people to read. As the literary basis of theater performance activities, playwriting should deal with the relationship between its own literature and stage, with performance as the purpose and return.
In the actual performance activities, some directors make appropriate treatment of the script written by the playwright according to the needs of the performance, which constitutes a kind of performance for the performance of the performance of the book, also known as the stage book. The performance generally does not change the spirit of the original script and artistic style.
Stage instructions: the script does not require the performance of the text description of the part. Generally, it includes the hints of the time and place of the plot, the requirements of the artistic treatment of the set, lighting, sound effects, etc., and the description of the characters' physical movements, psychological activities, and the atmosphere of the scene.
In the creation of the script, the use of stage directions should generally be whether or not to help the character portrayal and the director, actors and actresses stage workers for the principle of artistic creation. Good stage directions not only add literary value to the script, but also can cause a strong dramatic atmosphere, providing a wide world for the stage embodiment.
Second, the creation of the play
A selection of theatrical themes
In the face of the rich and colorful real life, how to choose the material needed for the drama? Drama selection should be in line with the general requirements of the article selection, the second to meet the special requirements of the drama genre.
1. General requirements for the selection of materials
Choose the author's most familiar, the most profound feelings, the most thorough understanding, but also important social significance of the subject matter.
To choose the current topics of concern to the masses.
2. To choose the subject matter in line with the laws of the theater
① Seize the characters, seize the subject
The drama must use the characters' own language and actions to show their character traits and psychological activities, so the drama selection should pay attention to the first of all must be a distinctive character image, and the character should have a strong action, can be expressed through the action of their own character.
Each character acts strongly and relentlessly to achieve his or her own clear purpose. Characters think, say, are to do, and this "as" to promote the change of things, constitute the drama action.
② choose those characters and events that are enough to cause a collision between the character, constitute a dramatic conflict. Different ideological character, especially the characters of opposing worldviews, each according to their own consistency and desire to act tenaciously, is bound to conflict. Hegel said, "Because conflicts generally need to be resolved as a result of the struggle of opposites, a situation full of conflict is particularly suitable as an object of dramatic art."
It is important to choose those people and things where there is a development of character action and a twist in character conflict. Specifically, according to the logic of the development of things contradictory should be selected by a few small twists and turns, the gradual development of the formation of a large fundamental twists and turns, reflecting the development of things, constituting a simple but rich in change in the course of action.
③ according to the above rules selected material must be suitable for stage performance.
Second shape dramatic characters
In the creation of the play, in addition to the selection of materials to pay attention to the selection of those distinctive personality, strong action to write the characters, but also must master some of the characters to write the skills.
1. Characterization through action is the most vivid and effective method.
The actions mentioned here include the physical, verbal, and internal movements of the characters.
Engels said, "The character of a man is expressed not only in what he does, but also in how he does it; and in this respect I believe that if the characters were more sharply distinguished from one another in a more antagonistic manner, the essential content of the idea would not be jeopardized." ("To Ferdinand? This is especially important in the theater, where action is particularly suited to stagecraft.
Sometimes ...... >>
Question 6: Urgently seeking the format of the musical theater script ~ to be formal format ~ Musical "Lilac Flower" script wenmi114/.... .4
Question 7: How to write a good sitcom script Script writing foundation: the format of the script
First of all, to make it clear that the script is different from any kind of stylistic form, I often see that some of my friends write the script as a novel or biography, which is wrong, at least unprofessional. This is not right, at least not professionally. Scripts have their own format, and writing a script is a technical job in a way.
Writing a screenplay is not a noble artistic creation, it is just an ordinary type of work, playwrights and cleaners are not much different, are very common work, so everyone can write a screenplay, everyone can be a director. Of course, since it's a job type, it has its own norms. These norms may not make you an expert quickly, but they at least make you look like one. Or, not so much that your poor formatting becomes a reason for a reviewer to shoot down your manuscript. Because a reviewer reads three to four scripts a day, and if your script formatting doesn't look professional, he's perfectly justified in flipping through a few pages and tossing your script in the corner to cool off.
Let's start with some common mistakes in script writing:
1: Turning a script into a novel
Just above, I mentioned that some of my friends have turned their scripts into novels, which isn't impossible, but that's a literary script, and it can't be used to guide the filming and production at all. For example, you can spend a few pages in a novel writing about a person's life, background, family composition, or a few pages describing the main character's psychological struggles, but these things can't be expressed on a movie screen. Your script is a screen, and what you want to show is what can be seen and felt directly by the audience on the movie screen. Things like mental activity can't be shown well. Add narration? Sure, unless you can stand the main character's off-screen voice reading pages of a novel in a motionless shot. Movie *frames* express emotions, and your script is movie footage to be written through the camera's point of view, which can cause a second problem.
2: Unnecessary Camera Labeling
If you write the script this way: in elevation 5, with a panner for a liter 70 camera with a 60mm lens, swinging from 8.5m to 2m to focus ............ If you write it this way. Even if you get past the reviewer, your script will be thrown out by the director. You don't need to teach him how to shoot, it's not your business. You don't have to worry about the camera at all when you're writing a script. But what if it's not a script so you don't have to think about the camera? Not really, you need to think about the camera in relation to the camera and not the position. Scripts have their own dedicated camera terms, and using those terms more often can make your script professional, or at least look professional.
1. Angle on: For example, BILL walks out of a convenience store, and the camera is pointed at BILL.
2. Favoring: BILL is in a big square with a lot of people, but the main focus is on BILL.
3. Another angle: A different angle of the camera to show BILL having a good time in a big square. Another angle: a different camera angle to show BILL in a big square having fun.
4. Wilder angle wider angle: first show BILL drinking coke in a corner of the square, then the camera pulls away to show the square where BILL is.
5. New angle: show BILL drinking coke in a different angle, so that the camera is rich.
6. POV point of view: look at things from BILL's point of view. It is the first person point of view.
7. Reverse angle: BILL and SALLY dancing together, first shoot BILL to see SALLY, then shoot SALLY to see BILL, usually the POV of the two people opposite each other.
8. Over shoulder angle: the camera crosses over BILL's shoulder to see SALLY, BILL's shoulder can divide the picture naturally, very common type.
9. Moving shot: Including follow-up shots, shifting, following, etc., anyway, the camera is moving, as for how to move, is not a problem to consider now.
10. Two shot double shot: BILL and SALLY in the side of a drink of coke while talking, this kind of lens camera do not move freely, to prevent the "axis". BILL and SALLY two people connected to an axis, the camera can only be in the axis of the side of the movement, if you cross the axis, in the picture BILL and SALLY's position on the left and right will be swapped, causing the audience to visual logic confusion.
11. Close shot Close up: emphasize the beautiful eyes of SALLY, but generally less used for good.
12. Insert insert shot: a close up of something, such as when it's late ...... >>
Question 8: How to write a drama script ah? Beginners in the writing of the script, generally pay attention to the following points: 1, the scene picture depicted more clearly, so that people can have the feeling of being in the scene. 2, the character's expression during the conversation and the expression when encountering certain things should also be described clearly. 3, if the MV script, the paragraph time mark, such as: 1:01 a girl standing in the street, waiting for the arrival of the boyfriend, the car constantly shuttling, the sky is still drizzling. 1:15 the girl all wet by the rain, the disappointment of the departure. 4, the content of the script is not limited, funny, emotional, festive, etc. ...... as long as you want to write! 5, the script should be attached to the bottom of the statement! An open ending is one in which the playwright deliberately leaves the final outcome of the main character uncertain to the imagination, without tending to imply any of the extremes of a great good or a great bad ending. Great care must be taken when using this type of ending treatment in general. If the playwright's position is only to present a general phenomenon in society for public consideration, he should consistently refrain from entering into the subjective emotional world of the hero, and must try very hard to maintain his objective and transcendental position in presenting the problem. Otherwise he could easily be criticized for lack of sincerity or for being a simulated fence sitter because he does not take a clear position or attitude in the treatment of the ending. Theater is usually an occasion for democracy and public opinion, and the good response and support of the audience is indispensable to any successful production, and the playwright must be very careful about this. When Henrik Ibsen was writing A Doll's House, it is said that he was not satisfied with the ending until he accidentally wrote "I am saved" instead of "we are saved" when Mr. Nara received the returned forged documents, and he suddenly felt that the latter was what he wanted, which led to the development of the ending that was later regarded as the precursor of women's awakening consciousness. In the ending of the screenplay Night Bugger (Wei Xilin, forthcoming), the audience first sees the teenage runaways Xiaopan and Xiaowang waiting for a bus at a bus stop by the harbor, and then the camera pushes behind them to show that the fishing boat, which originally seemed to be calm in the sea, turns out to be undulating up and down in the sea, never settling down, hinting at the state of mind of the two runaway teenagers at this moment. The whole movie ends with this shot, because by the end of the movie, the audience still doesn't know whether Wang and Pan have caught the bus or not. Are they continuing their wanderings? Or are they on their way home? ...This is an example of an open ending
Question 9: How to write a play. The Basics of Screenplay Writing: The Format of a Screenplay
First of all, let's be clear, a screenplay is different from any other form of writing. I often see friends writing screenplays as novels or biographies, which is wrong, or at least unprofessional. This is not right, at least not professionally. Scripts have their own format, and writing a script is a technical job in a way.
Writing a screenplay is not a noble artistic creation, it is just a common type of work, playwrights and cleaners are not much different, are very common work, so everyone can write a screenplay, everyone can be a director. Of course, since it's a job type, it has its own norms. These norms may not make you an expert quickly, but they at least make you look like one. Or, not so much that your poor formatting becomes a reason for a reviewer to shoot down your manuscript. Because a reviewer reads three to four scripts a day, and if your script formatting doesn't look professional, he's perfectly justified in flipping through a few pages and tossing your script in the corner to cool off.
Let's start with some common mistakes in script writing:
1: Turning a script into a novel
Just above, I mentioned that some of my friends have turned their scripts into novels, which isn't impossible, but that's a literary script, and it can't be used to guide the filming and production at all. For example, you can spend a few pages in a novel writing about a person's life, background, family composition, or a few pages describing the main character's psychological struggles, but these things can't be expressed on a movie screen. Your script is a screen, and what you want to show is what can be seen and felt directly by the audience on the movie screen. Things like mental activity can't be shown well. Add narration? Sure, unless you can stand the main character's off-screen voice reading pages of a novel in a motionless shot. Movie *frames* express emotions, and your script is movie footage to be written through the camera's point of view, which can cause a second problem.
2: Unnecessary Camera Labeling
If you write the script this way: in elevation 5, with a panner for a liter 70 camera with a 60mm lens, swinging from 8.5m to 2m to focus ............ If you write it this way. Even if you get past the reviewer, your script will be thrown out by the director. You don't need to teach him how to shoot, it's not your business. You don't have to worry about the camera at all when you're writing a script. But what if it's not a script so you don't have to think about the camera? Not really, you need to think about the camera in relation to the camera and not the position. Scripts have their own dedicated camera terms, and using them more often can make your script professional, or at least look professional.
1. Angle on: For example, BILL walks out of a convenience store, and the camera is pointed at BILL.
2. Favoring: BILL is in a big square with a lot of people, but the main focus is on BILL.
3. Another angle: A different angle of the camera to show BILL having a good time in the big square. Another angle: a different camera angle to show BILL in a big square having fun.
4. Wilder angle wider angle: first show BILL drinking coke in a corner of the square, then the camera pulls away to show the square where BILL is.
5. New angle: show BILL drinking coke in a different angle, so that the camera is rich.
6. POV point of view: look at things from BILL's point of view. It is the first person point of view.
7. Reverse angle: BILL and SALLY dancing together, first shoot BILL to see SALLY, then shoot SALLY to see BILL, usually the POV of the two people opposite each other.
8. Over shoulder angle: the camera crosses over BILL's shoulder to see SALLY, BILL's shoulder can divide the picture naturally, very common type.
9. Moving shot: Including follow-up shots, shifting, following, etc., anyway, the camera is moving, as for how to move, is not a problem to consider now.
10. Two shot double shot: BILL and SALLY in the side of a drink of coke while talking, this kind of lens camera do not move freely, to prevent the "axis". BILL and SALLY two people connected to an axis, the camera can only be in the axis of the side of the movement, if the axis, in the picture BILL and SALLY's position will be left and right interchangeable, cause the audience visual logic confusion.
11. Close shot Close up: emphasize the beautiful eyes of SALLY, but generally less used for good.
12. Insert insert shot: a close up of something, such as when it's late in the day, SA...... >>
Question 10: Musical script writing format, the script in the musical "cornerstone" status
First, the conflict contained in the musical script is the soul of the work to attract the audience. Only by building a perfect framework, providing heart-warming dramatic clues, weaving a complete storyline, and creating intense dramatic conflicts, can a work truly arouse the viewer's ****song, and get the audience's favorite.
Secondly, the script is the most important carrier of a musical, and the other elements of the play are based on each other. The music, dance and songs of a musical work are shown in turn on the basis of the development of the plot. This puts a very high demand on the script: if there is not a good story, can not hold the audience's heart from the beginning, then, even if the music is more beautiful, the dance is more moving, the singing is more excellent, the choreography is more gorgeous, they can not be well presented on the stage.
Third, the script of a musical is the part of the work that takes the most effort. From the initial idea to the final draft, the script is always under constant adjustment and revision. Not only do the playwrights have to keep adjusting the plot according to the previews and even the public performances, but the director and the composer are also very concerned about the changes in the script. Only after the other elements of the musical, such as music and dance, have been finalized can the script be staged by the playwright, taking into account the order of the words and the needs of the actual performance.
Fourth, the script is an important means of characterization and plotting, which cannot be replaced by music and dance. In the limited length of the play, the script plays as comprehensive as possible to explain the plot and the relationship between the characters in the play and the development of the drama of the "heavy responsibility", to provide the audience with a clear story clues. At the same time, the merits of the script is directly related to the ability to shape a full, distinctive personality for the audience to remember the artistic image.
2, the creation of the script