7 Performance Texts
Índice
This module is intended for use when encoding printed dramatic texts, screen plays or radio scripts, and written transcriptions of any other form of performance.
Section 7.1 Front and Back Matter discusses elements such as cast lists, which can appear only in the front or back matter of printed dramatic texts. Section 7.2 The Body of a Performance Text discusses the structural components of performance texts: these include major structural divisions such as acts and scenes (section 7.2.1 Major Structural Divisions); individual speeches (section 7.2.2 Speeches and Speakers); groups of speeches (section 7.2.3 Grouped Speeches); stage directions (section 7.2.4 Stage Directions); and the elements making up individual speeches (section 7.2.5 Speech Contents). Section 7.2.6 Embedded Structures discusses ways of encoding units which cross the simple hierarchic structure so far defined, such as embedded songs or masques. Finally, section 7.3 Other Types of Performance Text discusses a small number of additional elements characteristic of screen plays and radio or television scripts, as well as some elements for representing technical stage directions such as lighting or blocking.
The default structure for dramatic texts is similar to that defined by chapter 4 Default Text Structure, as further discussed in section 7.2.1 Major Structural Divisions.
Two element classes are used by this module. The model.frontPart.drama class supplies specialized elements which can appear only in the front or back matter of performance texts. The model.stageLike class supplies a set of elements for stage directions and similar items such as camera movements, which can occur between or within speeches.
TEI: Front and Back Matter ¶7.1 Front and Back Matter
In dramatic texts, as in all TEI-conformant documents, the header element is followed by a text element, which contains optional front and back matter, and either a body or else a group of nested text elements. For more information on these, see chapter 4 Default Text Structure.
The front and back elements are most likely to be of use when encoding preliminary materials in published performance texts. When the module defined by this chapter is included in a schema, the following additional elements not generally found in other forms of text become available as part of the front or back matter:
- performance contiene una sección del encabezado o de la conclusión que describe cómo un fragmento dramático debe ser realizado en general o cómo fue realizado en una función determinada.
- prologue contiene el prólogo a un drama, pronunciado normalmente por un actor a parte del reparto, posiblemente asociado a una puesta en escena determinada.
- epilogue contiene el epílogo a un drama, pronunciado normalmente por un actor a parte del reparto, posiblemente asociado a una puesta en escena determinada..
- set (determinación) contiene la descripción de la configuración, del tiempo, de la escena, de la apariencia, etc., de la acción de una obra teatral, situada normalmente en el inicio de un texto dramático impreso (no en la dirección de escena).
- castList (reparto) contiene una única lista con los personajes del reparto.
Elements for encoding each of these specific kinds of front matter are discussed in the remainder of this section, in the order given above. In addition, the front matter of dramatic texts may include the same elements as that of any other kind of text, notably title pages and various kinds of text division, as discussed in section 4.5 Front Matter. The encoder may choose to ignore the specialized elements discussed in this section and instead use constructions of the type <div type="performance"> or <div1 type="set">.
Most other material in the front matter of a performance text will be marked with the default text structure elements described in chapter 4 Default Text Structure. For example, the title page, dedication, other commendatory material, preface, etc., in a printed text should be encoded using div or div1 elements, containing headings, paragraphs, and other core tags.
TEI: The Set Element¶7.1.1 The Set Element
- set (determinación) contiene la descripción de la configuración, del tiempo, de la escena, de la apariencia, etc., de la acción de una obra teatral, situada normalmente en el inicio de un texto dramático impreso (no en la dirección de escena).
<castList>
<castItem> ... </castItem>
</castList>
<set>
<p>The action of the play is set in Chicago's
Southside, sometime between World War II and the
present.</p>
</set>
</front>
<titlePage type="half-title">
<docTitle>
<titlePart>Peer Gynt</titlePart>
</docTitle>
</titlePage>
<div type="copyright_page"/>
<div type="Contents"/>
<div type="Introduction"/>
<div type="note">
<head>Note on the Translation</head>
<p> ... </p>
</div>
<div type="Dramatis_Personae">
<head>Characters</head>
<castList>
<castItem>
<!-- ... -->
</castItem>
</castList>
</div>
<set>
<p>The action, which opens in the beginning of the nineteenth
century, and ends around the 1860s, takes place partly in
Gudbrandsdalen, and on the mountains around it, partly on the coast
of Morocco, in the desert of Sahara, in a madhouse at Cairo, at sea,
etc.</p>
</set>
<performance>
<p>
<!-- ... -->
</p>
</performance>
</front>
TEI: Prologues and Epilogues¶7.1.2 Prologues and Epilogues
- prologue contiene el prólogo a un drama, pronunciado normalmente por un actor a parte del reparto, posiblemente asociado a una puesta en escena determinada.
- epilogue contiene el epílogo a un drama, pronunciado normalmente por un actor a parte del reparto, posiblemente asociado a una puesta en escena determinada..
<prologue>
<head>Prologue, spoken by <name>Mr. Hart</name>
</head>
<l>Poets like Cudgel'd Bullys, never do</l>
<l>At first, or second blow, submit to you;</l>
<l>But will provoke you still, and ne're have done,</l>
<l>Till you are weary first, with laying on:</l>
<l>We patiently you see, give up to you,</l>
<l>Our Poets, Virgins, nay our Matrons too.</l>
</prologue>
<castList>
<head>The Persons</head>
<castItem> ... </castItem>
</castList>
<set>
<head>The SCENE</head>
<p>London</p>
</set>
</front>
<head>Written by <name>Colley Cibber, Esq</name>
and spoken by <name>Mrs. Cibber</name>
</head>
<sp>
<lg type="stanza">
<l>Since Fate has robb'd me of the hapless Youth,</l>
<l>For whom my heart had hoarded up its truth;</l>
<l>By all the Laws of Love and Honour, now,</l>
<l>I'm free again to chuse, — and one of you</l>
</lg>
<lg type="stanza">
<l>Suppose I search the sober Gallery; — No,</l>
<l>There's none but Prentices — & Cuckolds all a row:</l>
<l>And these, I doubt, are those that make 'em so.</l>
</lg>
<stage>Pointing to the Boxes.</stage>
<lg type="stanza">
<l>'Tis very well, enjoy the jest:</l>
</lg>
</sp>
</epilogue>
<body>
<div1 type="scene">
<sp>
<l part="Y">I'le deliver all,</l>
<l>And promise you calme Seas, auspicious gales,</l>
<l>Be free and fare thou well: please you, draw neere.</l>
<stage>Exeunt omnes.</stage>
</sp>
</div1>
</body>
<back>
<epilogue>
<head>Epilogue, spoken by Prospero.</head>
<sp>
<l>Now my Charmes are all ore-throwne,</l>
<l>And what strength I have's mine owne</l>
<l>As you from crimes would pardon'd be,</l>
<l>Let your Indulgence set me free.</l>
</sp>
<stage>Exit</stage>
</epilogue>
<set>
<p>The Scene, an un-inhabited Island.</p>
</set>
<castList>
<head>Names of the Actors.</head>
<castItem>Alonso, K. of Naples</castItem>
<castItem>Sebastian, his Brother.</castItem>
<castItem>Prospero, the right Duke of Millaine.</castItem>
</castList>
<trailer>FINIS</trailer>
</back>
</text>
<speaker>Prospero</speaker>
<l part="Y">I'll deliver all,</l>
<l>And promise you calm seas, auspicious gales,</l>
<l>Be free and fare thou well. <stage type="exit">Exit Ariel</stage>
Please you, draw near. <stage type="exit">Exeunt all but Prospero</stage>
<note place="margin">Epilogue</note>
</l>
<l>Now my charms are all o'erthrown,</l>
<l>And what strength I have's mine own</l>
<l>As you from crimes would pardoned be,</l>
<l>Let your indulgence set me free.</l>
</sp>
<stage type="mix">He awaits applause, then exit.</stage>
TEI: Records of Performances¶7.1.3 Records of Performances
Performance texts are not only printed in books to be read, they are also performed. It is common practice therefore to include within the front matter of a printed dramatic text some brief account of particular performances, using the following element:
- performance contiene una sección del encabezado o de la conclusión que describe cómo un fragmento dramático debe ser realizado en general o cómo fue realizado en una función determinada.
The performance element may be used to group any and all information relating to the actual performance of a play or screenplay, whether it specifies how the play should be performed in general or how it was performed in practice on some occasion.
Performance information may include complex structures such as cast lists, or paragraphs describing the date and location of a performance, details about the setting portrayed in the performance and so forth. (See the discussion of these specialized structures in section 7.1 Front and Back Matter above.) If information for more than one performance is being recorded, then more than one performance element should be used, wherever possible.
Names of persons, places, and dates of particular significance within the performance record may be explicitly marked using the general purpose name, <rs type="place"> and date elements described in section 3.5.4 Dates and Times. No particular elements for such features as stagehouses, directors, etc., are proposed at this time.
<head>Death of a Salesman</head>
<p>A New Play by Arthur Miller</p>
<p>Staged by Elia Kazan</p>
<castList>
<head>Cast</head>
<note rend="small type flush left"
place="inline">(in order of appearance)</note>
<castItem>
<role>Willy Loman</role>
<actor>Lee J. Cobb</actor>
</castItem>
<castItem>
<role>Linda</role>
<actor>Mildred Dunnock</actor>
</castItem>
<castItem>
<role>Biff</role>
<actor>Arthur Kennedy</actor>
</castItem>
<castItem>
<role>Happy</role>
<actor>Cameron Mitchell</actor>
</castItem>
<!-- ... -->
</castList>
<p>The setting and lighting were designed by
<name>Jo Mielziner</name>.</p>
<p>The incidental music was composed by <name>Alex North</name>.</p>
<p>The costumes were designed by <name>Julia Sze</name>.</p>
<p>Presented by <name rend="unmarked">Kermit Bloomgarden</name>
and <name rend="unmarked">Walter Fried</name> at the
<rs type="place">Morosco Theatre in New York</rs> on
<date when="1949-02-10">February 10, 1949</date>.</p>
</performance>
<p>La Machine Infernale a été
représentée pour la première fois au
<rs type="place-theatre">théâtre Louis-Jouvet</rs>
<rs type="place-theatre">(Comédie des
Champs-élysées)</rs>
<date>le 10 avril 1934</date>,
avec les décors et les costumes de
<name>Christian Bérard.</name> ... </p>
</performance>
TEI: Cast Lists¶7.1.4 Cast Lists
A cast list is a specialized form of list, conventionally found at the start or end of a play, usually listing all the speaking and non-speaking roles in the play, often with additional description (‘Cataplasma, a maker of Periwigges and Attires’) or the name of an actor or actress (‘Old Lady Squeamish. Mrs Rutter’). Cast lists may be encoded with the general purpose list element described in section 3.7 Lists, but for more detailed work the following specialized elements are provided:
- castList (reparto) contiene una única lista con los personajes del reparto.
- castGroup (grupo de reparto) agrupa uno o más elementos individuales del reparto (castItem).
- castItem (elemento del reparto) contiene una sola entrada dentro de la lista del reparto, describiendo un solo papel o una lista de papeles sin diálogo.
type caracteriza el elemento del reparto.
A castItem element may contain any mixture of elements taken from the model.castItemPart class, members of which (when this module is included) are:
- role el nombre de un papel dramático, según los dados en el reparto.
- roleDesc (descripción del rol) describe el papel de un personaje en un drama.
- actor Nombre de un actor que aparece dentro de la lista del reparto.
Cast lists often have an internal structure of their own; it is quite usual to find, for example, nobility and commoners, or male and female roles, presented in different groups or sublists. Roles are also often grouped together by their function, for example:
- Sons of Cato:
- Portius
- Marcus
<p>The first performance in Great Britain of <title>Waiting for
Godot</title> was given at the Arts Theatre, London, on
<date when="1955-08-03">3rd August 1955</date>. It was directed by
<name>Peter Hall</name>, and the décor was by <name>Peter
Snow</name>. The cast was as follows:</p>
<castList>
<castItem>Estragon: Peter Woodthorpe</castItem>
<castItem>Vladimir: Paul Daneman</castItem>
<castItem> ... </castItem>
</castList>
</performance>
<role xml:id="vlad">Vladimir</role>:
<actor>Paul Daneman</actor>
</castItem>
The global xml:id attribute may be used to specify a unique identifier for the role element, where it is desired to link speeches within the text explicitly to the role, using the who attribute, as further discussed in section 7.2.2 Speeches and Speakers below.
<role>Tom Thumb the Great</role>
<roleDesc>a little hero with a great soul, something violent in his
temper, which is a little abated by his love for Huncamunca</roleDesc>
<actor>Young Verhuyk</actor>
</castItem>
<roleDesc>Costermonger</roleDesc>
</castItem>
<castItem type="list">
<roleDesc>Constables,</roleDesc>
<roleDesc>Drawer,</roleDesc>
<roleDesc>Turnkey,</roleDesc>
etc.
</castItem>
<head>friends of Mathias</head>
<castItem>
<role>Walter</role>
<actor>Mr Frank Hall</actor>
</castItem>
<castItem>
<role>Hans</role>
<actor>Mr F.W. Irish</actor>
</castItem>
</castGroup>
<roleDesc>friends of Mathias</roleDesc>
<castItem>
<role>Walter</role>
<actor>Mr Frank Hall</actor>
</castItem>
<castItem>
<role>Hans</role>
<actor>Mr F.W. Irish</actor>
</castItem>
</castGroup>
<castGroup>
<head rend="braced">Mendicants</head>
<castItem>
<role>Aafaa</role>
<actor>Femi Johnson</actor>
</castItem>
<castItem>
<role>Blindman</role>
<actor>Femi Osofisan</actor>
</castItem>
<castItem>
<role>Goyi</role>
<actor>Wale Ogunyemi</actor>
</castItem>
<castItem>
<role>Cripple</role>
<actor>Tunji Oyelana</actor>
</castItem>
</castGroup>
<castItem>
<role>Si Bero</role>
<roleDesc>Sister to Dr Bero</roleDesc>
<actor>Deolo Adedoyin</actor>
</castItem>
<castGroup>
<head rend="braced">Two old women</head>
<castItem>
<role>Iya Agba</role>
<actor>Nguba Agolia</actor>
</castItem>
<castItem>
<role>Iya Mate</role>
<actor>Bopo George</actor>
</castItem>
</castGroup>
<castItem>
<role>Dr Bero</role>
<roleDesc>Specialist</roleDesc>
<actor>Nat Okoro</actor>
</castItem>
<castItem>
<role>Priest</role>
<actor>Gbenga Sonuga</actor>
</castItem>
<castItem>
<role>The old man</role>
<roleDesc>Bero's father</roleDesc>
<actor>Dapo Adelugba</actor>
</castItem>
</castList>
TEI: The Body of a Performance Text¶7.2 The Body of a Performance Text
The body of a performance text may be divided into structural units, variously called acts, scenes, stasima, entr'actes, etc. All such formal divisions should be encoded using an appropriate text-division element (div, div1, div2, etc.), as further discussed in section 7.2.1 Major Structural Divisions. Whether divided up into such units or not, all performance texts consist of sequences of speeches (see 7.2.2 Speeches and Speakers) and stage directions (see 7.2.4 Stage Directions). In musical performances, it is also common to identify groups of speeches which act as a single unit, sometimes called a number; such units typically float within the structural hierarchy at the same level as speeches preceding or following them and cannot therefore be treated as text-divisions. (see 7.2.3 Grouped Speeches). Speeches will generally consist of a sequence of chunk-level items: paragraphs, verse lines, stanzas, or (in case of uncertainty as to whether something is verse or prose) ab elements (see 7.2.5 Speech Contents).
The boundaries of formal units such as verse lines or paragraphs do not always coincide with speech boundaries. Units such as songs may be discontinuous or shared among several speakers. As described below in section 7.2.6 Embedded Structures, such fragmentation may be encoded in a relatively simple fashion using the linkage and aggregation mechanisms defined in chapter 16 Linking, Segmentation, and Alignment.
TEI: Major Structural Divisions¶7.2.1 Major Structural Divisions
<div1 type="scene" n="1">
<head>Night—Faust's Study (i)</head>
</div1>
<div1 type="scene" n="2">
<head>Outside the City Gate</head>
</div1>
</body>
<div1 type="act" n="1">
<head>Act One</head>
<div2 type="scene" n="1">
<stage>Pa Ubu, Ma Ubu</stage>
<sp>
<speaker>Pa Ubu</speaker>
<p>Pschitt!</p>
</sp>
</div2>
<div2 type="scene" n="2">
<stage>A room in Pa Ubu's house, where a magnificent
collation is set out</stage>
</div2>
</div1>
<div1 type="act" n="2">
<head>Act Two</head>
<div2 type="scene" n="1">
<head>Scene One</head>
</div2>
<div2 type="scene" n="2">
<head>Scene Two</head>
</div2>
</div1>
</body>
In the example above, the div2 element has been used to represent the ‘French scene’ convention, (where the entrance of each new set of characters is marked as a distinct unit in the text) and the div1 element to represent the acts into which the play is divided. The elements chosen are determined only by the hierarchic position of these units in the text as a whole. If the text had no acts, but only scenes, then the scenes might be represented by div1 elements. Equally, if a play is divided only into ‘acts’, with no smaller subdivisions, then the div1 element might be used to represent acts. The type should be used, as above, to make explicit the name associated with a particular category of subdivision.
<head>Act Two</head>
<div type="scene" n="1">
<head>Scene One</head>
</div>
<div type="scene" n="2">
<head>Scene Two</head>
</div>
</div>
For further discussion of the use of numbered and unnumbered divisions, see section 4.1 Divisions of the Body.
TEI: Speeches and Speakers¶7.2.2 Speeches and Speakers
The following elements are used to identify speeches and speakers in a performance text:
- sp (discurso) Un discurso individual de un texto dramático, o un pasaje en prosa o en verso presentado como tal.
- speaker una forma especializada de encabezamiento o etiqueta, que da nombre a uno o más interlocutores de un texto o fragmento dramático.
As noted above, the structure of many performance texts may be analysed as multiply hierarchic: a scene of a verse play, for example, may be divided into speeches and, at the same time, into verse lines. The end of a line may or may not coincide with the end of a speech, and vice versa. Other structures, such as songs, may be discontinuous or split up over several speeches. For some purposes it will be appropriate to regard the verse-structure as the fundamental organizing principle of the text, and for others the speech structure; in some cases, the choice between the two may be arbitrary. The discussion in the remainder of this chapter assumes that it is the speech-based hierarchy which most prominently determines the structure of performance texts, but the same mechanisms could be employed to encode a view of a performance text in which individual speeches were entirely subordinate to the formal units of prose and verse. For more detailed discussion and examples of various treatments of this fundamental issue, refer to chapter 20 Non-hierarchical Structures.
<castItem>
<role xml:id="menae">Menaechmus</role>
</castItem>
<castItem>
<role xml:id="penic">Peniculus</role>
</castItem>
</castList>
<sp who="#menae">
<speaker>Menaechmus</speaker>
<l>Responde, adulescens, quaeso, quid nomen tibist?</l>
</sp>
<sp who="#penic">
<speaker>Peniculus</speaker>
<l>Etiam derides, quasi nomen non noveris?</l>
</sp>
<sp who="#menae">
<speaker>Menaechmus</speaker>
<l>Non edepol ego te, quot sciam, umquam ante hunc diem</l>
<l>Vidi neque novi; ...</l>
</sp>
<castItem>
<role xml:id="hh">Henry Higgins</role>
</castItem>
</castList>
<sp who="#hh">
<speaker>The Notetaker</speaker>
<p> ... </p>
</sp>
<castItem>
<role xml:id="menaechmus">Menaechmus</role>
</castItem>
<castItem>
<role xml:id="peniculus">Peniculus</role>
</castItem>
</castList>
<sp who="#menaechmus">
<l>Responde, adulescens, quaeso, quid nomen tibist?</l>
</sp>
<sp who="#peniculus">
<l>Etiam derides, quasi nomen non noveris?</l>
</sp>
<sp who="#menaechmus">
<l>Non edepol ego te, quot sciam, umquam ante hunc diem</l>
<l>Vidi neque novi; ...</l>
</sp>
<castItem>
<role xml:id="nan">Nano</role>
</castItem>
<castItem>
<role xml:id="cas">Castrone</role>
</castItem>
</castList>
<stage>Nano and Castrone sing</stage>
<sp who="#nan #cas">
<l>Fools, they are the only nation</l>
<l>Worth men's envy or admiration</l>
</sp>
The sp and speaker elements are both declared within the core module (see section 3.12 Passages of Verse or Drama).
TEI: Grouped Speeches¶7.2.3 Grouped Speeches
This module makes available the following additional element for handling groups of speeches:
- spGrp (speech group) contains a group of speeches or songs in a performance text presented in a source as constituting a single unit or ‘number’.
<head>By Strauss : performed by Georges Guetary, Gene Kelly, and Oscar
Levant</head>
<sp>
<speaker>HENRI BAUREL</speaker>
<lg>
<l>The waltzes of Mittel Europa </l>
<l>They charm you and warm you within </l>
<l>While each day discloses </l>
<l>What Broadway composes </l>
<l>Is emptiness pounding on tin.</l>
</lg>
</sp>
<sp xml:lang="de">
<speaker>JERRY MULLIGAN: ADAM COOK:</speaker>
<lg>
<l>Mein Herr! </l>
<l>Mein Herr!</l>
<l>Bitte, bitte!</l>
<l>Denke, danke!</l>
<l>Aufwiedersehen! Aufwiedersehen!</l>
</lg>
</sp>
<sp>
<speaker>HENRI BAUREL:</speaker>
<lg>
<l>How can I be civil </l>
<l>When hearing this drivel? </l>
<l>It's only for night-clubbing souses. </l>
<l>Oh give me the free 'n easy </l>
<l>Waltz that is Viennes-y </l>
<l>And go tell the band</l>
<l>If they want a hand</l>
<l>The waltz must be Strauss's</l>
</lg>
</sp>
<sp>
<speaker>ALL</speaker>
<lg>
<l>Ya ya ya </l>
<l>Give me oom pah pah...</l>
</lg>
</sp>
<!-- ... -->
</spGrp>
TEI: Stage Directions¶7.2.4 Stage Directions
Both between and within the speeches of a written performance text, it is normal practice to include a wide variety of descriptive directions to indicate non-verbal action. The following elements are provided to represent these:
- stage (acotación) contiene cualquier tipo de acotación que aparece en un texto o fragmento dramático.
type indica el tipo de acotación. Los valores sugeridos incluyen: 1] setting; 2] entrance; 3] exit; 4] business; 5] novelistic; 6] delivery; 7] modifier; 8] location; 9] mixed - move (movimiento) marca la entrada o salida real de uno o más personajes.
type caracteriza el movimiento, por ejemplo de una entrada o de una salida. Los valores sugeridos incluyen: 1] entrance; 2] exit; 3] onStage where especifica la dirección de un movimiento en el escenario. Posibles valores: 1] L (left); 2] R (right); 3] C (center) perf (función) identifica la puesta en escena en la cual este movimiento se produjo según lo especificado.
<stage type="setting">Music</stage>
<stage type="entrance">Enter Husband as being thrown off his horse.</stage>
<stage type="exit">Exit pursued by a bear.</stage>
<stage type="business">He quickly takes the stone out.</stage>
<stage type="delivery">To Lussurioso.</stage>
<stage type="delivery">Aside.</stage>
<stage type="delivery">Not knowing what to say.</stage>
<stage type="costume">Disguised as Ansaldo.</stage>
<stage type="location">At a window.</stage>
<stage type="novelistic">Having had enough, and embarrassed
for the family.</stage>
editorial or authorial. The type attribute on this element takes
one or more of the following values:
<list type="gloss">
<label>setting</label>
<item>describes the set</item>
<label>blocking</label>
<item>describes movement across stage, position, etc.</item>
<label>business</label>
<item>describes movement other than blocking</item>
<label>delivery</label>
<item>describes how the line is said</item>
<label>motivation</label>
<item>describes character's emotional state or through line</item>
</list>
</tagUsage>
<moduleRef key="core"/>
<moduleRef key="tei"/>
<moduleRef key="structure"/>
<moduleRef key="header"/>
<moduleRef key="drama"/>
<elementSpec ident="stage" mode="change">
<attList>
<attDef ident="type" mode="replace">
<valList type="closed">
<valItem ident="setting">
<desc>describes the set</desc>
</valItem>
<valItem ident="blocking">
<desc>describes movement across stage, position, etc.</desc>
</valItem>
<valItem ident="business">
<desc>describes movement other than blocking</desc>
</valItem>
<valItem ident="delivery">
<desc>describes how the line is said</desc>
</valItem>
<valItem ident="motivation">
<desc>describes character's emotional state or through line</desc>
</valItem>
</valList>
</attDef>
</attList>
</elementSpec>
</schemaSpec>
<stage type="setting">
<p>Scene. — A room furnished comfortably and
tastefully but not extravagantly ...
The floor is carpeted and a fire burns in the stove.
It is winter.</p>
<p>A bell rings in the hall; shortly afterwards the
door is heard to open. Enter NORA humming a tune ...</p>
</stage>
<sp>
<speaker>Nora</speaker>
<p>Hide the Christmas Tree carefully, Helen. Be sure the
children do not see it till this evening, when it is
dressed. <stage type="delivery">To the PORTER taking
out her purse</stage> How much?</p>
</sp>
</div1>
The stage element may also be used in non-theatrical texts, to mark sound effects or musical effects, etc., as further discussed in section 7.3 Other Types of Performance Text.
The move element is intended to help overcome the fact that the stage directions of a printed text may often not provide full information about either the intended or the actual movement of actors on stage. It may be used to keep track of entrances and exits in detail, so as to know which characters are on stage at which time. Its attributes permit a relatively formal specification for movements of characters, using user-defined codes to identify the characters involved (the who attribute), the direction of the movement (type attribute), and optionally which part of the stage is involved (where attribute). For stage-historical purposes, a perf attribute is also provided; this allows the recording of different move elements as taken in different performances of the same text.
<castItem>
<role xml:id="bella">Bellafront</role>
</castItem>
</castList>
<stage type="entrance">
<move who="#bella" type="enter"/>
Enter Bellafront mad.
</stage>
<castItem>
<role xml:id="lm">Lady Macbeth</role>
</castItem>
<castItem>
<role xml:id="g1">First Gentleman</role>
</castItem>
<!-- ... -->
</castList>
<sp who="#g1">
<speaker>Gent.</speaker>
<p>Neither to you, nor any one; having no witness
to confirm my speech. <move who="#lm" type="enter" where="C"/>
Lo you! here she comes. This is her very guise; and,
upon my life, fast asleep.</p>
</sp>
TEI: Speech Contents¶7.2.5 Speech Contents
The actual speeches of a dramatic text may be composed of running text, which must be formally organized into paragraphs, in the case of prose (see section 3.1 Paragraphs), verse lines or line groups in that of verse (see section 3.12 Passages of Verse or Drama), or seg elements, in case of doubt as to whether the material should be treated as verse or prose. The following elements, all of which are defined in the core, are particularly useful when marking units of prose or verse within speeches:
- p (párrafo) marca párrafos en prosa.
- lb (salto de línea) marca el comienzo de una nueva línea (topográfica) en alguna edición o versión del texto.
- l (verso) contiene un único verso, posiblemente incompleto.
- lg (grupo de versos) contiene un grupo de versos que funcionan como una unidad formal, p.ej. una estrofa, un refrán, un estribillo, etc.
Like other milestone elements, the element lb additionally bears the attributes ed and edRef, from its membership in the class att.edition:
- att.edition provides attributes identifying the source edition from which some encoded feature derives.
ed (edition) supplies a sigil or other arbitrary identifier for the source edition in which the associated feature (for example, a page, column, or line break) occurs at this point in the text. edRef (edition reference) provides a pointer to the source edition in which the associated feature (for example, a page, column, or line break) occurs at this point in the text.
As a member of the classes att.typed and att.divLike, the lg element also bears the following attributes:
- att.typed proporciona atributos genéricos utilizables para cualquier clasificación o subclasificación de elementos.
type caracteriza el elemento utilizando una clasificación o tipología funcional. subtype proporciona, si es necesario, una subcategorización del elemento. - att.divLike proporciona un conjunto de atributos comunes a todos los elementos que se comportan como particiones textuales.
org (organización) especifica cómo está organizado el contenido de una división textual. sample indica si la división es una muestra de la fuente original y, en ese caso, de que parte de este se trata - att.fragmentable provides an attribute for representing fragmentation of a structural element, typically as a consequence of some overlapping hierarchy.
part specifies whether or not its parent element is fragmented in some way, typically by some other overlapping structure: for example a speech which is divided between two or more verse stanzas, a paragraph which is split across a page division, a verse line which is divided between two speakers.
When the verse module is included in a schema, the elements l and lg also gain additional attributes through their membership of the class att.metrical:
- att.metrical define un grupo de atributos utilizados dentro de determinados elementos para representar información métrica
met (estructura métrica, convencional) contiene una codificación definida por el usuario de la estructura métrica convencional del elemento. rhyme (esquema de la rima) especifica el esquema de la rima de un grupo de versos.
In many texts, prose and verse may be inextricably mingled; particularly in earlier printed texts, prose may be printed as verse or verse as prose, or it may be impossible to distinguish the two. In cases of doubt, an encoder may prefer to tag the dubious material consistently as verse, to tag it all as prose, to follow the typography of the source text, or to use the neutral ab element to contain the speech itself. When this question arises, the tagUsage element in the encodingDesc element of the header may be used to record explicitly what policy has been adopted.
Even where they can reliably be distinguished, a single speech may frequently contain a mixture of prose (marked as p) and verse (marked as l or—if stanzaic—lg).
<speaker>Face</speaker>
<l part="N">You most
notorious whelp, you insolent slave</l>
<l part="Y">Dare you do this?</l>
</sp>
<sp>
<speaker>Subtle</speaker>
<l part="Y">Yes faith, yes faith.</l>
</sp>
<sp>
<speaker>Face</speaker>
<l part="Y">Why! Who</l>
<l part="Y">Am I, my mongrel? Who am I?</l>
</sp>
<sp>
<speaker>Subtle</speaker>
<l part="Y">I'll tell you,</l>
<!-- ... -->
</sp>
<speaker>Face</speaker>
<l>You most
notorious whelp, you insolent slave</l>
<l part="I">Dare you do this?</l>
</sp>
<sp>
<speaker>Subtle</speaker>
<l part="M">Yes faith, yes faith.</l>
</sp>
<sp>
<speaker>Face</speaker>
<l part="F">Why! Who</l>
<l part="I">Am I, my mongrel? Who am I?</l>
</sp>
<sp>
<speaker>Subtle</speaker>
<l part="F">I'll tell you,</l>
<!-- ... -->
</sp>
<head>Song — Sir Joseph</head>
<sp>
<l>I am the monarch of the sea,</l>
<l>The ruler of the Queen's Navee.</l>
<l>Whose praise Great Britain loudly chants.</l>
</sp>
<sp>
<speaker>Cousin Hebe</speaker>
<l>And we are his sisters and his cousins and his aunts!</l>
</sp>
<sp>
<speaker>Rel.</speaker>
<l>And we are his sisters and his cousins and his aunts!</l>
</sp>
<!-- ... -->
</spGrp>
<head>Song — Sir Joseph</head>
<sp>
<lg part="I">
<l>I am the monarch of the sea,</l>
<l>The ruler of the Queen's Navee.</l>
<l>Whose praise Great Britain loudly chants.</l>
</lg>
</sp>
<sp>
<speaker>Cousin Hebe</speaker>
<lg part="M">
<l>And we are his sisters and his cousins and his aunts!</l>
</lg>
</sp>
<sp>
<speaker>Rel.</speaker>
<lg part="F">
<l>And we are his sisters and his cousins and his aunts!</l>
</lg>
</sp>
<!-- ... -->
</spGrp>
TEI: Embedded Structures¶7.2.6 Embedded Structures
Although primarily composed of speeches, performance texts often contain other structural units such as songs or strophes which are shared among different speakers. More generally, complex nested structures of plays within plays, interpolated masques, or interludes are far from uncommon. In more modern material, comparably complex structural devices such as flashback or nested playback are equally frequent. In all kinds of performance material, it may be necessary to indicate several actions which are happening simultaneously.
A number of different devices are available within the TEI scheme to support these complexities in the general case. Texts may be composite or self-nesting (see section 4.3.1 Grouped Texts) and multiple hierarchies may be defined (see chapter 20 Non-hierarchical Structures). The TEI encoding scheme provides a variety of linking mechanisms, which may be used to indicate temporal alignment and aggregation of fragmented structures. In this section we provide a few specific examples of the application of these techniques to performance texts:
- the use of the floatingText element
- the use of the part attribute on fragmentary lg elements
- the use of the next and prev attributes on fragments of embedded structures to join them into a larger whole
- the use of the join element to define a ‘virtual element’ composed of the fragments indicated
<speaker>Kelly</speaker>
<stage>(calmly).</stage>
<p>Aha, so you've bad minds along with th' love of gain.
You thry to pin on others th' dirty decorations that
may be hangin' on your own coats.</p>
<stage>(He points, one after the other at Conroy, Bull,
and Flagonson. Lilting)</stage>
<lg type="song">
<l>Who were you with last night?</l>
<l>Who were you with last night?</l>
<l>Will you tell your missus when you go home</l>
<l>Who you were with last night?</l>
</lg>
</sp>
<sp>
<speaker>Flagonson</speaker>
<stage>(in anguished indignation).</stage>
<p>This is more than a hurt to us: this hits at the
decency of the whole nation!</p>
</sp>
<speaker>Kelly</speaker>
<stage>(calmly).</stage>
<p>Aha, so you've bad minds along with ...</p>
</sp>
<stage>(He points, one after the other at Conroy, Bull,
and Flagonson. Lilting):</stage>
<floatingText>
<front>
<titlePart>Kelly's Song</titlePart>
</front>
<body>
<l>Who were you with last night?</l>
<l>Who were you with last night?</l>
<l>Will you tell your missus when you go home</l>
<l>Who you were with last night?</l>
</body>
</floatingText>
When an embedded structure extends across more than one sp element, each of its constituent parts must be regarded as a distinct fragment; the problem then facing the encoder is to reconstitute the interrupted whole in some way.
<speaker>Kelly</speaker>
<stage>(wheeling quietly in his semi-dance,
as he goes out):</stage>
<lg type="stanza" part="I">
<l>Goodbye to holy souls left here,</l>
<l>Goodbye to man an' fairy;</l>
</lg>
</sp>
<sp>
<speaker>Widda Machree</speaker>
<stage>(wheeling quietly in her semi-dance,
as she goes out):</stage>
<lg type="stanza" part="F">
<l>Goodbye to all of Leicester Square,</l>
<l>An' the long way to Tipperary.</l>
</lg>
</sp>
<div2 n="5" type="scene">
<stage>Elsinore. A room in the Castle.</stage>
<stage type="setting">Enter Ophelia, distracted.</stage>
<sp>
<speaker>Ophelia</speaker>
<p>Where is the beauteous Majesty of Denmark?</p>
</sp>
<sp>
<speaker>Queen</speaker>
<p>How now, Ophelia?</p>
</sp>
<sp>
<speaker>Ophelia</speaker>
<stage>Singing</stage>
<lg next="#Tl2" xml:id="Tl1" type="song"
part="Y">
<l>How should I your true-love know</l>
<l>From another one?</l>
<l>By his cockle hat and staff</l>
<l>And his sandal shoon.</l>
</lg>
</sp>
<sp>
<speaker>Queen</speaker>
<p>Alas, sweet lady, what imports this song?</p>
</sp>
<sp>
<speaker>Ophelia</speaker>
<p>Say you? Nay, pray you mark.</p>
<stage>Sings</stage>
<lg prev="#Tl1" xml:id="Tl2" type="song"
part="Y">
<l>He is dead and gone, lady,</l>
<l>He is dead and gone;</l>
<l>At his head a grass-green turf,</l>
<l>At his heels a stone.</l>
</lg>
<p>O, ho!</p>
</sp>
</div2>
</div1>
The next and prev attributes are discussed in section 16.7 Aggregation: they form part of the module for alignment and linking; this module must therefore be included in a schema if they are to be used, as further discussed in section 1.2 Defining a TEI Schema.
<body>
<div1 n="4" type="act">
<div2 n="5" type="scene">
<stage type="setting">Elsinore. A room in the Castle.</stage>
<sp>
<speaker>Queen</speaker>
<p>How now, Ophelia?</p>
</sp>
<sp>
<speaker>Ophelia</speaker>
<stage type="delivery">Singing</stage>
<lg xml:id="TL1" type="song" part="Y">
<l>How should I your true-love know</l>
<l>From another one?</l>
<l>By his cockle hat and staff</l>
<l>And his sandal shoon.</l>
</lg>
</sp>
<sp>
<speaker>Queen</speaker>
<p>Alas, sweet lady, what imports this song?</p>
</sp>
<sp>
<speaker>Ophelia</speaker>
<p>Say you? Nay, pray you mark.</p>
<stage type="delivery">Sings</stage>
<lg xml:id="TL2" type="song" part="Y">
<l>He is dead and gone, lady,</l>
<l>He is dead and gone;</l>
<l>At his head a grass-green turf,</l>
<l>At his heels a stone.</l>
</lg>
<p>O, ho!</p>
<join type="lg" target="#TL1 #TL2"/>
</sp>
</div2>
</div1>
</body>
</text>
Like the next and prev attributes, the join element requires the additional module for linking, which is selected as shown above.
TEI: Simultaneous Action¶7.2.7 Simultaneous Action
In printed or written versions of performance texts, a variety of techniques may be used to indicate the temporal alignment of speeches or actions. Speeches may be printed vertically aligned on the page, or braced together; stage directions (e.g. ‘Speaking at the same time’) are also often used. In operatic or musical works in particular, the need to indicate timing and alignment of individual parts of a song may lead to very complex layout.
<speaker>Mangan</speaker>
<stage type="delivery">wildly</stage>
<p>Look here: I'm going to take off all my clothes.</p>
<stage type="action">he begins tearing off his coat.</stage>
</sp>
<spGrp type="simultaneous" rend="braced">
<sp>
<speaker>Lady Utterword</speaker>
<p>Mr Mangan!</p>
</sp>
<sp>
<speaker>Captain Shotover</speaker>
<p>Whats that?</p>
</sp>
<sp>
<speaker>Hector</speaker>
<p>Ha! ha! Do. Do.</p>
</sp>
<sp>
<speaker>Ellie</speaker>
<p>Please dont.</p>
</sp>
<stage type="delivery">in consternation</stage>
</spGrp>
<sp>
<speaker>Mrs. Hushabye</speaker>
<stage type="action">catching his arm and stopping him</stage>
<p>Alfred: for shame! Are you mad?</p>
</sp>
In the original, the stage direction ‘in consternation’ is printed opposite a brace grouping all four speeches, indicating that all four characters speak at once, and that the stage direction applies to all of them. Rather than attempting to represent the appearance of the source, this example encoding represents its presumed meaning: the stage element is placed arbitrarily after the last relevant speech, and the four speeches with which it is to be associated are grouped by means of the spGrp element. The rend attribute is used to specify the fact that the three speeches were grouped by the brace in the copy text. Producing a readable version of the text which simulates the original printed effect may however require more complex markup and processing.
More powerful and more precise mechanisms for temporal alignment are defined in chapter 8 Transcriptions of Speech. These would be appropriate for encodings the focus of which is on the actual performance of a text rather than its structure or formal properties. The module described in that chapter includes a large number of other detailed proposals for the encoding of such features as voice quality, prosody, etc., which might be relevant to such a treatment of performance texts.
TEI: Other Types of Performance Text¶7.3 Other Types of Performance Text
Most of the elements and structures identified thus far are derived from traditional theatrical texts. Although other performance texts, such as screenplays or radio scripts, have not been discussed specifically, they can be encoded using the elements and structures listed above. Encoders may however find it convenient to use, as well, the additional specialized elements discussed in this section. For scripts containing very detailed technical information, the tech element discussed in section 7.3.1 Technical Information may also be useful.
Like other texts, screenplays and television or radio scripts may be divided into text divisions marked with div or div1, etc. Within units corresponding with the traditional ‘act’ and ‘scene’, further subdivisions or sequences may be identified, composed of individual ‘shots’, each associated with a single camera angle and setting. Shots and sequences should be encoded using an appropriate text-division element (i.e., a div3 element if numbered division elements are in use and the next largest unit is a div2, or a div element if un-numbered divisions are in use) specifying sequence or shot as the value of the type attribute, as appropriate.
It is normal practice in screenplays and radio scripts to distinguish directions concerning camera angles, sound effects, etc., from other forms of stage direction. Such texts also generally include far more detailed specifications of what the audience actually sees: descriptions of actions and background, etc. Scripts derived from cinema and television productions may also include texts displayed as captions superimposed on the action. All of these may be encoded using the general purpose stage element discussed in section 7.2.4 Stage Directions, and distinguished by means of its type attribute. Alternatively, or in addition, the following more specific elements may be used, where clear distinctions can be made:
- view describe el contexto visual de una cierta parte del escenario en los términos en los que el espectador lo percibe, generalmente independientemente de cualquier diálogo.
- camera describe un ángulo de cámara o un punto de vista determinado en un escenario.
- caption contiene el texto de un encabezamiento u otro texto dispuesto como parte de una obra o de un guión de película.
- sound describe un efecto sonoro o una secuencia musical especificada dentro de una obra teatral o de un programa radiofónico.
type categoriza el sonido en algún aspecto, p.ej. como música, efecto especial, etc. discrete indica si el sonido solapa los discursos circundantes o los interrumpe.
<view>Ryan's wife, standing nervously alone on the sidelines,
biting her lip. She's scared and she shows it.</view>
<camera>New angle--shock cut</camera> Out the window
the body of a dead man suddenly slams into
<hi>frame</hi>. He dangles grotesquely,
held up by his coat caught on a protruding bolt.
George gasps. The train <hi>whistle</hi> screams.</view>
The <name>T.V. announcer</name> from the Ryan interview
stands near the Control Van, the lake in b.g.</view>
<sp>
<speaker>T.V. Announcer</speaker>
<p>Several years ago, Jack Ryan was a highly
successful hydroplane racer ...</p>
</sp>
<speaker>TV Announcer VO</speaker>
<p>Working with Ryan are his two coworkers—
Strut Bowman, the mechanical engineer—
<view>
<camera>Angle on Strut</camera>
standing in the tow boat, walkie-talkie in hand,
watching Ryan carefully.</view>
—and Roger Dalton, a rocket
systems analyst, and one of the scientists
from the Jet Propulsion Lab ...</p>
</sp>
<speaker>Benjy</speaker>
<p>Now to business.</p>
</sp>
<sp>
<speaker>Ford and Zaphod</speaker>
<p>To business.</p>
</sp>
<sound>Glasses clink.</sound>
<sp>
<speaker>Benjy</speaker>
<p>I beg your pardon?</p>
</sp>
<sp>
<speaker>Ford</speaker>
<p>I'm sorry, I thought you were proposing a toast.</p>
</sp>
of hansom cabs galloping past.</camera>
<caption>London, 1895.</caption>
<caption>The residence of Mr Oscar Wilde.</caption>
<sound>Suitably classy music starts.</sound>
<view>Mix through to Wilde's drawing room. A crowd of suitably
dressed folk are engaged in typically brilliant conversation,
laughing affectedly and drinking champagne.</view>
<sp>
<speaker>Prince of Wales</speaker>
<p>My congratulations, Wilde. Your latest play is a great success.</p>
</sp>
TEI: Technical Information¶7.3.1 Technical Information
Traditional stage scripts may contain additional technical information about such production-related factors as lighting, ‘blocking’ (that is, detailed notes on actors' movements), or props required at particular points. More technical information about intended production effects may also appear in published versions of screenplays or movie scripts. Where these are presented simply as marginal notes, they may be encoded using the general-purpose note element defined in section 3.8 Notes, Annotation, and Indexing. Alternatively, they may be formally distinguished from other stage directions by using the specialized tech element:
- tech (dirección técnica de escena) describe una indicación de escena particular que no se menciona para los personajes.
type categoriza la dirección técnica de escena Los valores sugeridos incluyen: 1] light; 2] sound; 3] prop; 4] block perf (función) identifica la función o funciones para las cuales se aplica esta dirección técnica.
Like stage directions, tech elements can appear anywhere within a speech or between speeches.
TEI: Module for Performance Texts¶7.4 Module for Performance Texts
The module described in this chapter makes available the following components:
- Módulo drama: Performance texts
The selection and combination of modules to form a TEI schema is described in 1.2 Defining a TEI Schema.