7 Performance Texts

목차

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.

⚓︎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 (performance) 드라마가 일반적으로 공연되는 방법 또는 특정 상황에서 공연되었던 방식을 기술하는, 앞부분 또는 뒷부분의 절.
  • prologue (prologue) 전형적으로 등장인물들 중 하나가 말하는, 때로는 특정 공연 또는 행위의 현장과 관련된, 드라마의 개막사.
  • epilogue (epilogue) 전형적으로 등장인물들 중 하나가 말하는, 때로는 특정 공연 또는 행위의 현장과 관련된, 드라마의 페막사.
  • set (배경) (무대 지시가 아닌) 인쇄된 공연 텍스트의 전반부 자료에서 전형적으로 나타나는 희곡 이야기 전개에서 배경, 시대, 장소, 상황 등에 관한 기술을 포함한다.
  • castList (배역 목록) 하나의 배역 목록 또는 드라마 등장인물을 포함한다.

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.

⚓︎7.1.1 The Set Element

A special form of note describing the setting of a dramatic text (that is, the time and place of its action) is sometimes found in the front matter.
  • set (배경) (무대 지시가 아닌) 인쇄된 공연 텍스트의 전반부 자료에서 전형적으로 나타나는 희곡 이야기 전개에서 배경, 시대, 장소, 상황 등에 관한 기술을 포함한다.
Descriptions of the setting may also appear as initial stage directions in the body of the play, but such descriptions should be marked as stage directions, not set. The set element should be used only where the description forms part of the front matter, as in the following examples:
<front>
 <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>
<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>

⚓︎7.1.2 Prologues and Epilogues

Many plays in the Western tradition include in their front matter a prologue, spoken by an actor, generally not in character. Similar speeches often also occur at the end of the play, as epilogues. The elements prologue and epilogue are provided for the encoding of such features within the front or back matter, where appropriate.
  • prologue (prologue) 전형적으로 등장인물들 중 하나가 말하는, 때로는 특정 공연 또는 행위의 현장과 관련된, 드라마의 개막사.
  • epilogue (epilogue) 전형적으로 등장인물들 중 하나가 말하는, 때로는 특정 공연 또는 행위의 현장과 관련된, 드라마의 페막사.
A prologue may be encoded just like a distinct poem, as in the following example:
<front>
 <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>
A prologue or epilogue may also be encoded as a speech, using the sp element described in section 3.13.2 Core Tags for Drama. This is particularly appropriate where stage directions, etc., are involved, as in the following example:
<epilogue>
 <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 — &amp; 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>
In cases where the prologue or epilogue is clearly a significant part of the dramatic action, it may be preferable to include it in the body of a text, rather than in the front or back matter. In such cases, the encoder (and theatrical tradition) will determine whether or not to regard it as a new scene or division, or simply the final speech in the play. In the First Folio version of Shakespeare's Tempest, for example, Prospero's final speech is clearly marked off as a distinct textual unit by the headings and layout of the page, and might therefore be encoded as back matter:
<text>
 <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>
In many modern editions, the editors have chosen to regard Prospero's speech as a part of the preceding scene:
<sp>
 <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>

⚓︎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 (performance) 드라마가 일반적으로 공연되는 방법 또는 특정 상황에서 공연되었던 방식을 기술하는, 앞부분 또는 뒷부분의 절.

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 3.6.4 Dates and Times. No particular elements for such features as stagehouses, directors, etc., are proposed at this time.

For example:
<performance>
 <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>
Or:
<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>

⚓︎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 3.8 Lists, but for more detailed work the following specialized elements are provided:

  • castList (배역 목록) 하나의 배역 목록 또는 드라마 등장인물을 포함한다.
  • castGroup (배역 목록 모아 놓기) 배역 목록 내의 몇 개의 개별 castItem 요소를 모아 놓는다.
  • castItem (배역 목록 항목) 배역 목록에서 하나의 배역, 또는 대사가 없는 배역 목록을 기술하는 하나의 항목을 포함한다.
    type배역 항목의 특성 기술

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 (role) 배역 목록에 제시되는 드라마 배역의 이름
  • roleDesc (배역 기술) 드라마에서 등장인물의 배역을 기술한다.
  • actor 배역 목록에 나타나는 배우의 이름

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
A cast list relating to a specific performance may be accompanied by notes about the time or place of that performance, indicating (for example) the name of the theatre where the play was first presented, the name of the producer or director, and so forth. When the cast list relates to a specific performance, it should be embedded within a performance element (see section 7.1.3 Records of Performances), as in the following example:
<performance>
 <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>
In this example, the castItem elements have no substructure. If desired, however, their components may be more finely distinguished using the elements role, roleDesc, and actor. For example, the second cast item above might be encoded as follows:
<castItem>
 <role xml:id="vlad">Vladimir</role>:
<actor>Paul Daneman</actor>
</castItem>
The ref attribute on actor may be used to associate the name with information about the real-world person identified, as further discussed in section ND. In the previous example, we might associate the name of Paul Daneman with his entry in a widely used bibliography as follows :
<actor ref="https://www.worldcat.org/identities/lccn-n84002994/">Paul Daneman</actor>

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.

The occasionally lengthy descriptions of a role sometimes found in written play scripts may be marked using the roleDesc element, as in the following example:
<castItem>
 <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>
For non-speaking or un-named roles, a castItem may contain a roleDesc without an accompanying role, for example
<castItem>
 <roleDesc>Costermonger</roleDesc>
</castItem>
When a list of such minor roles is given together, the type attribute of the castItem should indicate that it contains more than one role, by taking a value such as list. The encoder may or may not elect to encode each separate constituent within such a composite castItem. Thus, either of the following is acceptable:
<castItem type="list">Constables, Drawer, Turnkey, etc.</castItem>
<castItem type="list">
 <roleDesc>Constables,</roleDesc>
 <roleDesc>Drawer,</roleDesc>
 <roleDesc>Turnkey,</roleDesc>
etc.

</castItem>
A group of cast items forming a distinct subdivision of a cast list may be marked as such by using the special purpose castGroup element. The rend attribute may be used to indicate whether this grouping is indicated in the text by layout alone (i.e. the use of whitespace), by long braces or by some other means. A castGroup may contain an optional heading (represented as usual by a head element) followed by a series of castItem elements:
<castGroup rend="braced">
 <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>
Alternatively, the encoder may prefer to regard the phrase ‘friends of Mathias’ as a role description, and encode the above example as follows:
<castGroup rend="braced">
 <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>
This version has the advantage that all role descriptions are treated alike, rather than in some cases being treated as headings. On the other hand there are also cases, such as the following, where the role description does function more like a heading:
<castList>
 <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>

⚓︎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 17 Linking, Segmentation, and Alignment.

⚓︎7.2.1 Major Structural Divisions

Large divisions in drama such as acts, scenes, stasima, or entr'actes are indicated by numbered or unnumbered div elements, as described in section 4.1 Divisions of the Body. The type and n attributes may be used to define the type of division being marked, and to provide a name or number for it, as in the following example:
<body>
 <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>
Where the largest divisions of a performance text are themselves subdivided, most obviously in the case of plays traditionally divided into acts and scenes, further nested text-division elements may be used, as in this example:
<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.

As an alternative to the use of numbered divisions, the encoder may represent all subdivisions with the same element, the unnumbered div. The second act in the above example would then be represented as follows:
<div type="act" n="2">
 <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.

⚓︎7.2.2 Speeches and Speakers

The following elements are used to identify speeches and speakers in a performance text:

  • sp (대화) 공연 텍스트에서 개별 대화 또는 산문이나 운문 텍스트에서 공연적 텍스트로 제시된 단락
  • speaker contains a specialized form of heading or label, giving the name of one or more speakers in a dramatic text or fragment.

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