With the pre-existing text that was created into individual scenes, the challenge was to fit these scenes into an order that created a smooth, sleek dramatic progression. Stanislavski suggests breaking up the play into units of action. This is achieved by allocation each scene a title/description that captures the essence of the scene.  By titling each scene, in terms of what it was about and what we wanted to convey, it helped us to put the individual scenes in an order that allowed crescendo for the piece.

“There is a progressive growth in a play that is designed to achieved maximum dramatic effect. Actors, directors and designers concerned with craftsmanship should learn to understand and illustrate this process.”

Take me by the Tongue 29/05/14

(Thomas, 2005, 52). In doing this the next event should gain more interest than the last, and keep the audience on their toes. We were aware that some scenes could have more energy that others, we didn’t want the beginning of our piece to be on a high note, with only lighter scenes towards the end, therefore this had to be carefully considered and constructed. It was very important to end with a scene that left the audience remembering the right messages. By ending with a comedic scene, it didn’t throw the message in their face but was hidden under a light note, we never wanted to tell them what to think but merrily suggest topics. In order to help remind them what our overall piece was about, we ended with the song which inspired our performance name:

“Take Me by the Tongue”

(Maroon Five (2011) Moves Like Jagga). This allowed us to remind them that we had taken our title, from a lyric, that the beginning was full of lyrics, and the whole piece had come from pre-existing texts or spoken words, handed down to us.

Works Cited

Thomas, J. Script Analysis for Actors, Directors, and Designers. Elsevier Inc: Oxford.