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Writing a PRT for Script Adaptation

The document provides instructions for writing an additional scene for the play "The Visit". It asks students to choose between writing a scene of Ill's conversations with witnesses, Claire and Ill's first private meeting, or an alternate ending. It also prompts students to consider how the text suggests individuals pursue or compromise their own happiness. It provides two examples of possible script scenes set in "The Great Gatsby" and formatting guidelines for writing the script.

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Lena Hanna
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0% found this document useful (0 votes)
58 views3 pages

Writing a PRT for Script Adaptation

The document provides instructions for writing an additional scene for the play "The Visit". It asks students to choose between writing a scene of Ill's conversations with witnesses, Claire and Ill's first private meeting, or an alternate ending. It also prompts students to consider how the text suggests individuals pursue or compromise their own happiness. It provides two examples of possible script scenes set in "The Great Gatsby" and formatting guidelines for writing the script.

Uploaded by

Lena Hanna
Copyright
© All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF, TXT or read online on Scribd

Script Writing

The Visit - Personal Response (Creative)


The Assignment:
1. Compose an additional scene of a maximum of three pages (double-spaced) between
two or more characters.
a. Ill’s conversations with the ‘witnesses’
b. Claire and Ill’s first ‘private’ meeting after her return
c. An alternate ending
d. choice

Regardless of choice, you MUST respond to the following prompt:

What does the text creator suggest to you about the nature of motivations that
direct an individual’s course of action?
Consider what happens to the dramatic circumstance of the text when you adapt characters, then
allow them to interact and choose where they’ll interact. In the space below, list the variables
that you would like to manipulate:
1.____________________________________________________________________________
2.____________________________________________________________________________
3.____________________________________________________________________________
Example ONE:
• Dialogue between 2 characters who have a relationship (ie. Ill’s conversation with the 2
‘witnesses’ what did he say to them? Ill’s first meeting alone with Claire)
• Stage directions communicating the movement of their bodies and positioning.
• Limited furniture set.
• Music which changes depending on mood.
Great opportunities: Potential Difficulties:
__________________________ _____________________________
__________________________ _____________________________
*Keep in mind that you are dealing with the growth and understanding of character(s). Consider
what could make this really great and what you need to beware of so this doesn’t turn trivial or
superficial.
Example TWO:
• Dialogue between an entire family of characters—(ie. Ill’s wife, son and daughter)
• Stage directions communicating the movement of their bodies and positioning.
• Empty set.
• Narrator voice over to explain the reality of the situation.
Great opportunities: Potential Difficulties:
__________________________ _____________________________
__________________________ _____________________________
Consider RAFT as a helpful tool:

R ole:
every time you speak the lines of a character, you’re embodying their motivations and reactions in realistic and
human ways. When characters interact, have them do so in authentic ways. You are their voices and their puppet-
master; you command every move. But, each time you do so, it’s from differing perspectives.

A udience:

the audience in this case is sitting in rows facing the stage. You must consider that you have a number of people
from a number of different backgrounds, each with a frame of reference that you cannot predict. Make this
experience accessible to anyone and everyone. Be clear in what you’re trying to achieve in adjusting the variables
you’ve chosen.

F ormat:

don’t worry about remembering how a screenplay or script is supposed to look in the real world. You can make this
very basic and still make it look like a script, and that’s all that matters. Write the character name and a colon before
each line s/he speaks. Start a new line for each character. Put stage directions in italics and place them where the
action should go—either next to a character’s lines or on a new line if they belong to everyone.

T one:

the danger here is to overuse hyperbole, using the limited time you have to be extreme. I.e. in an attempt to make
things sound important and critical, you may lose sight of the subtle and nuanced, that value might be in the quiet
moments of body language and movement around the stage. If you’re going to choose this form, take advantage of
the opportunities it gives you.
Examples of Script Writing for The Great Gatsby

Discuss what the text creator suggests to you about how individuals pursue or compromise
their happiness.

***Please note the formatting and use of italicized stage directions.

EXAMPLE

The End of a Reckless Journey

The Buchanan Residence. Dimly lit kitchen. Enter Daisy and Tom Buchanan. In the dead of
night, both figures are sitting across from each other, holding hands.

DAISY: Oh, Tom. I-

TOM: You don’t have to explain it. I already know what happened. That bootlegger let the
anger get to him and tore right through the innocent girl in the street. Didn’t even stop to see if
she was dead because he’s a coward. I guess some people only care about pursuing their own
happiness, and if they are ignorant of their surroundings, it can lead to devastating consequences.
And he’s one of those people. He’s only concerned about himself! Only pretending to be a man.

(Daisy pulls both her hands away from Tom’s.)

DAISY: (She speaks in a quick and breathless manner.) No, that’s not what happened. Could
you please listen to me for once in your life please, Tom, please!

(Tom sits in total silence with a half-shocked face. He quickly regains composure and gestures
Daisy to continue.)

(Daisy takes a moment to collect herself.)

DAISY: (Her voice is fast and heightened) I- It was all my fault! It was I who was sitting in that
driver’s seat, Tom! Gatsby let me drive and I- I- ran over that poor, poor woman without even
looking back (Puts her face in her hands starting to cry). Tom, you have to believe me, please!
(Her voice breaks down into a fast and constant whispering) I wasn’t deliberate. I- I couldn’t
stop, Tom. I was horrified. I couldn’t compromise what we have. All I wanted was to go back
home. All I could think about was preserving our little family. Tom, please! I don’t know what to
do. All I know is that when people focus on the pursuit of their own happiness, they need to
ignore external forces, otherwise they may never be fulfilled and can lose everything and
everyone that is meaningful to them.

Common questions

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The text creator suggests that motivations often stem from deep-seated personal desires, unresolved grievances, and the quest for justice or revenge. An alternate ending might reveal how different resolutions could arise from characters’ choices to act on these motivations, showing either redemption or greater downfall, thus emphasizing the complexity of human intentions and actions. Such an ending could underscore that motivations are frequently intertwined with ethical dilemmas and societal pressures, shaping not only individual destinies but also the broader narrative’s conclusion.

Tone is crucial in enhancing authenticity as it reflects characters’ emotional states and underscores their motivations. In script writing, tone shapes the delivery and perception of dialogue, affecting how genuine and relatable characters appear to the audience. A subtle tone can reveal vulnerability or hesitation, while a more confrontational tone might expose underlying tensions. Balancing tone ensures interactions remain realistic, avoiding exaggerated expressions that could detract from the narrative's believability. This nuanced application of tone fosters a deeper understanding of characters’ complexities and enhances engagement.

In 'The Great Gatsby,' characters' dialogue reveals their varying approaches to pursuing happiness, often leading to compromise. Tom and Daisy's conversations highlight their superficial contentment built on wealth and social status, masking emotional voids. Gatsby’s dialogue reflects his idealistic pursuit of a lost past and unfulfilled dreams with Daisy, showcasing a profound but ultimately tragic compromise as he ignores the present reality. This interplay of dialogue demonstrates how characters' pursuit of happiness often involves sacrificing authenticity or moral integrity, illustrating the broader theme of disillusionment within the American Dream.

In their private meeting, Ill and Claire's dynamic reveals a tense and complex history filled with unresolved emotions and power shifts. Claire is shown to have a strong motivation for revenge, derived from past betrayals, and uses her wealth and status to manipulate others to achieve her goals. Ill's increasing desperation to regain control of his life and escape his past mistakes emphasizes his conflicting motivations of self-preservation and guilt. This interaction highlights how personal history and evolving power dynamics shape individual motivations and actions in the play.

When adapting emotionally charged dialogue, scriptwriters must avoid pitfalls such as overusing hyperbolic expressions, which can make the scene appear melodramatic and lose its intended impact. Ensuring that the emotion conveyed is matched by naturalistic dialogue and believable reactions is crucial to maintaining authenticity. Another challenge is balancing emotion with pacing; extending scenes unnecessarily can diminish tension. Writers should focus on subtle communication, like pauses or body language, to convey depth, ensuring that the emotional dialogue enhances the scene without overshadowing the narrative.

Effectively addressing the audience's diverse backgrounds enhances a script adaptation's success by making the narrative relatable and accessible to various cultural and personal perspectives. In adapting 'The Great Gatsby,' engaging a wide audience requires balancing universally resonant themes, such as the pursuit of happiness and moral decay, with specific narrative elements reflective of the period's social and cultural dynamics. By incorporating inclusive language and relatable character struggles, the adaptation can foster a deeper connection with the audience, thereby maximizing its impact and reception.

Manipulating character variables, such as motivations, relationships, or backgrounds, alters the trajectory and intensity of a dramatic circumstance. For instance, adjusting Ill's remorse level for past actions can deepen his desperation and the moral conflict, thus intensifying the narrative tension. Modifying Claire's sense of betrayal could justify her relentless pursuit of revenge more compassionately, possibly altering audience sympathy and engagement. Such manipulation allows exploration of alternative thematic interpretations and richer character development, testing the boundaries of the original narrative while offering fresh perspectives.

Stage directions guide the audience's attention to aspects of character dynamics that dialogue alone may not fully convey. In a family’s conversation scene, directions such as gestures, pauses, and body language can subtly indicate underlying tensions and relationships. For instance, a character who turns away might suggest avoidance or shame, while another's persistent eye contact could imply confrontation or dominance. Such directions help the audience discern unspoken conflicts or alliances within the family, enriching the narrative's depth and the viewers' insight into character motivations.

The use of a narrator's voice-over can effectively clarify complex situations and provide background that might be difficult to convey through dialogue or action alone. In script adaptations, it serves as an exposition tool, offering insight into characters' internal thoughts or the significance of unfolding events, making intricate plots more accessible. However, over-reliance on voice-over risks diminishing dramatic tension and audience engagement, as it might interrupt the narrative's natural flow. When used judentially, it enhances understanding while allowing the storyline to retain its immersive quality.

The setting in a script adaptation significantly impacts the audience’s understanding by providing context that enhances or alters character interactions. In 'The Visit,' a limited furniture set allows the focus to remain on the dialogue and body language between characters, emphasizing psychological and emotional elements over physical spectacle. The setting helps communicate the mood, such as tension or intimacy, and directly affects how the audience perceives the motivations and relationships between characters. For example, a sparse stage can symbolize desolation or the stark nature of the characters' emotional states.

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