This can go a long way in shaping the entire look of a scene or play, and saves a lot of time in rehearsal.įrom storyboarding components of action and aptly naming them, one develops not only a physical picture of each scene but is directed into the deeper layers of character and conflict, enabling one to challenge binary perspectives and stereotypical treatments of dramatic texts, and to more incisively explore the complexity that lies beyond simple hero/villain polarisations. Collaboratively naming each physical and visual episode greatly focuses participants on what the scene is really about. Investment : it is essential that participants invest in the story of each component of action.Naming each division provides a visual and physical code to the text. Identification : the arbitrariness of, for example, act I, sc iii means little to actors other than a rigid or abstract division.Action : textual storyboarding, perhaps above all, is about joining meaningful episodes of action together.Focus : storyboarding textual components enables meaning to be focussed in a way that allows the micro-elements to complement the macro.Designating components of action can be a way to observe contrast and juxtaposition in the text. Without the slightest regard to a play’s chapters is to risk monotony. Juxtaposition : changes in action often demand a change of colour and tempo.Storyboarding a script into components of action provides a much-needed sense of manageability. Manageability : participants often see a wall of text, or a sea of arbitrary scenes and acts.

Textual storyboarding involves dividing the dramatic text into beats of action: Textual storyboarding Death of a Salesman – a vital skill for actors and theatre directors Six reasons for storyboarding a play:

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