b’seder redux

Been cleaning my house, of late – a bit tardy for spring but in truth, I haven’t cleaned since the spate of grants, readings, workshops, and productions began (3 years? I should be blushing but what the hey).

Digging through piles of papers, old mail (luckily neither bills nor checks, at least I was that efficient), and suchlike, I found a cheat-sheet I was given by a Director-mentor some years ago.

To wit.

A scene should follow this pattern:

  1. Expectation
  2. Suspense
  3. Adventure (a foray into the unknown)
  4. Recognition
  5. Finality

or, simply

  1. Question
  2. Suspense
  3. Answer

Then, on the page, is the word


and the advice

The director must help the actor indirectly to find so much inner feeling during the preceding scenes that the supercharge will be in the reservoir at the play’s climax.

This all seems remarkably apt for playwrighting, as well.  Wonder if it pertains to acting, even if the script doesn’t follow this formula?  I sort of doubt it, but could surely be wrong – what do you think?
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