Following yesterdays session i'm concerned the point of this current script i'm working on is being missed. I was reminded of what was said about the previous script, that the character has to believe where he is etc. I would argue that the character in this current script does believe where he is - he knows he is there, he does doubt its validity though.
This new narrative does not follow a moral. An example being 'The herd is stronger together' like in The Incredibles. The purpose of this script is to raise questions of authorship. The character is confused because he doesn't know where he is, and ultimately doesn't know who he is. There is a twisted pun on behalf of the creator (how can you have a story without these elements?). The previous script was chasing empathy. As i am going to menton in my presentation on weds, time and budget play massive roles in this. I'm not sure if three minutes is enough time to create empathy, it could be, but i have moved on.
Script 1 - Sitting on a cornflake - He is not aware
Script 2 - Exist - He is aware
... that his environment is not 'real'.
He does however remain in conflict with his environment in both.
Exist has outrospective objectives. I reiterate the piece is about authorship. I want the audience to be active co-creators as opposed to the passive co-creators of major productions. The puppet is in narrative purgatory. He has been left their by his creator, the animator. His conscious is part complete. The creator has given him enough cognition for him to have awareness of his situation. One of the last lines, 'how can i define anything if i don't know who i am' is not only the puppet having an identity crisis. It is also a pun on designing characters, because in this instance, we do not know who he is and the audience, being co-creators, will be asked to create that backstory. Even I, the first half of this co-creation, do not know who he is. I have a very limited idea of who he might be.
We join him after he as already been their for a long time. I have tried to make this clear when he tells the audience he does not know how long he has been there. I want to avoid questions of why isn't he striving to survive (I can hear Ed in the back of my mind). At this point i don't want him to be running around trying to find an exit. This is set after he has been searching for an exit. I plan for him to be out of breath initially, to indicate he has tried to escape and perhaps given up.
I think what is missing from the script is the action half. I am going to give it another re-write this time with the action. I am not afraid to cut the dialogue back. I also feel he needs to be more reactive to the objects that appear and disappear.
One more little twist. These objects (other characters), having been placed by me, the writer, the co-author, as part of my embodiment of the protagonist, will be presented to my co-authors as his creation, as his creative distribution. They will have to be suggestive but not conclusive. Their design will be crucial to how much the audience is led down certain lines which is something i do not want to do as this is in conflict with the pieces purpose. However, when i begin to write the action, i will have a conscious awareness of what the objects might be. These will be provoked by the thoughts this character might have. In this instance, the characters designed mind, the puppet, will also be the co-creator.
I have attached the current script. It has penned in changes from the last recording session. It has penned in changes from after the recording session. It also has the thoughts that i had whilst cooking yesterday after the morning session with my supervisors.
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