Essay on literature. What should be in a literary script? The external structure of the script

Scene "Literature Lesson"

On the stage is the Literature Room.
Far away from the stage is a blackboard, school desks are located in a semicircle, students are located in an impromptu classroom at their desks.

Literature teacher: Today you were asked to study the work of F.M. Dostoevsky. Now we will talk about his work "Crime and Punishment". Go to the board (pupils slowly pull their heads into their shoulders and bend down)... go to the board ... Skvortsov!

Skvortsov rises from his desk with obvious dissatisfaction...

Skvortsov: Tatyana Petrovna, well ... this is ... that ... I ... that ...

Literature teacher: I see that you are that ... this ...

Skvortsov: Tatiana Petrovna - I didn't read it.

Literature teacher: Let me ask you, why is this exactly?

Skvortsov: Well ... this ... (pronounces with obvious reluctance) I watched Spider-Man ...

The students at the desks are laughing

Literature teacher: Maybe Vorobyov will tell us better about this famous work?

Vorobyov: So... I... this... too... was watching about "Spider-Man"

Literature teacher: So ... I see ... And what, in fact, attracted you so much to this film? What's so special about Spider-Man?

Skvortsov: Ha... so they shoot at "Spider-Man" there...

Vorobyov ( interrupting Skvortsov): And there he has a bang-bang and the web flies out, and he twists, jumps, well, in short, he wins everyone !!!

Literature teacher: Oh well... ( with a disappointed smile) They shoot... web... Yes, you can't even imagine that "Spider-Man" is an iconic character in American animation. His role occupies a special place in creativity! The luxurious life of robbers and criminals of the then New York is interrupted by the phrase uttered by one of the leaders of the criminal gang: "SPIDER-MAN IS COMING TO US!!!" All the black forces of the metropolis take up arms against our hero - Spider-Man! And this despite the fact that Spider-Man is a mutant to the marrow of his bones, although he doesn’t even have bones, of course! (the teacher tells all this with burning eyes) Film critics and film academics consider the character of our hero as "Nordic"! Despite being a mutant, "Spider-Man" has a human face. Truly human qualities are not alien to him, well ... that is, spider qualities! And only because of these internal mental torments, "Spider-Man" has to spit out a web of bile feelings, and climb to the tops of skyscrapers to retire from the bustle of the city and injustice. And only left alone with himself, he can ask himself the question: "Am I a trembling creature, or a person capable of loving and forgiving?!"

The teacher is silent. Children, holding their breath, with rounded eyes, sit silently for a few more minutes!

Literature teacher: So ... well, write down the topic of the next homework: "Terminators, or who in the States live well!"

This scene can be used during various school holidays, extracurricular and extracurricular activities.

Literary script: simple rules

There are two types of scripts: literary and directorial.

First, the literary script is written, then the director's script. In feature films, such a sequence is mandatory; in documentary films, the director's script or scenario plan is often dispensed with.

Literary script, as the name suggests, is directly related to literature.

Why do you need a literary script? Who came up with this shape?

The literary script was coined as early as the beginning of the 20th century and was then simply called "film scriptwriter".

So why was it designed? More precisely, for whom? For people, for everyone who can read and loves to make movies. The literary script describes the plot of the film, the characters of the characters, dramatic situations, conflicts and their resolution. That is history, with all its causal relationships.

Over the years, the literary script has developed a certain form of writing. What does it mean? For simplicity, we will use the comparison method: an accounting report, a business plan or a graduation project has its own form, and a literary script has its own.

The four elements of a literary script are:

- remark

Voiceover

REMARK

A remark, or a descriptive part, should answer the questions: who? where? when? what's happening? What are the links between the current action and the previous one?

A film script remark is a figurative description of the action taking place at the moment; characterization of characters, events, dramatic situation and setting.

The script note describes the action accurately and visually, because when we read the script, we need to see the action.

Examples (we use it inside links, i.e. whoever wants to watch, let him watch. In addition to the text, you can give a fragment from this film illustrating the remark):

Ivan Vyrypaev "Euphoria" (an example of a stage direction).

From a bird's eye view, the muddy Don River meanders like a wide ribbon; the yellow-red steppe, burnt out in the sun, trembles with small ripples in the wind; white feather grass, like white water, green mounds and a lonely tree of bizarre shape. It seems that a huge wild deity lay down on the ground with his whole body. Don is more than a river. Don is steppes, small farms, trees growing alone, Don is red, yellow, white spots and many more bizarre colors. Don is a free, wild, ferocious, passionate, rebellious and insanely beautiful god. God's hands are the Don starry sky, his feet are the earth cracked from the heat.

From a bird's eye view over the river - a cliff. On the edge of the cliff is a small figurine of Vera in a red dress. Vera is looking into the distance. It is she who lives inside this huge organism, inside the Lord God named Don.

DIALOG

Dialog, those. communication between two or more characters. Dialogues are written in capital letters. Unlike a theatrical play, where dialogue is 99% and only 1% is left for stage directions, in a screenplay there is a different relationship between stage direction and dialogue.

Usually 50% to 50%, 70% (direction) versus 30% (dialogue), and sometimes 100% remark and 0% dialogue. In Otar Ioseliani's film "April", the characters do not utter a word, and the project only benefits from this. (An example from Otar Ioseliani's film "April" is needed).

If you can show something in the cinema, instead of talking, then it is better to show it, i.e. describe the action in a remark. Dialogues in a good movie start when the characters can't stop talking. Those. the silence looks already unnatural. Other ratios work in television series, where the main burden, as in the theater, falls on the dialogues.

VOICE-OF

Announcer (any television report where there is no author's attitude to what is happening on the screen);

Voice-over ( "Mongol" S. Bodrov Art.);

Internal monologue ("Mirror" A. Tarkovsky);

Fragments from Tarkovsky, Romm, Bodrov are needed

TITLE

Credits, or intraframe inscriptions known since the days of silent cinema. When there was no sound in cinema, credits, and they were also called explanatory inscriptions, not only the text of the dialogues of the characters was recorded, but also the states of feelings of the characters, the seasons, the time of day (night, day, dawn, etc.) and much more. With the advent of sound in cinema, the function of titles became the following:

Informational (description of circumstances)

Separation (separation of one period of time from another).

What should be in a literary script?

The script is written not as a literary work, implying the complete freedom of the author, but taking into account the fact that a film will be made based on it. That is, a screenwriter is an applied profession, you are not free, you are squeezed by the movie screen. You need to understand this right away, then it will become clear how to write a script and how it differs from a short story, short story or novel.

The external structure of the script

The script consists of scenes and episodes.

Scene It is the unity of place, time and action. That is, a certain one place of action: a field, a forest, a city street, an apartment or a bathroom. If the action of the film takes place in a room in a city apartment (scene No. 1), then in the front door (scene No. 2), then goes to a city street (scene No. 3), then into the forest (scene No. 4), and after the forest again into the room (scene number 5), then, accordingly, there are 5 scenes in your film.

Episode consists of scenes. An episode, like a miniature film, has its own internal development: beginning, middle, end. There are about 5-7 episodes in an hour and a half film. A short film, up to 10 minutes long, usually consists of one episode.

In a standard feature film script, there are 32 episodes. An episode, approximately 4-5 pages.

Our schoolchildren get acquainted with Russian literature in detail and in various ways, but, unfortunately, there is simply not enough program time for a deeper understanding of the work of this or that author. In schools located in remote regions, villages, sometimes it is simply not possible to find methodological aids for a more detailed study of the work of writers. Creating this section of literary scenarios, we tried not only to tell about the biographical data and the main stages of the writers' work, but also to help the children to immerse themselves in the atmosphere of a particular time, to hear the voices of contemporaries, to read their letters to friends and relatives. All scenarios are dedicated to writers whose work is studied at school.
Teachers who decide to use this material, of course, can supplement it with poems, excerpts from prose or scenes from plays.
Music was selected for several reasons: the one that was loved by the writers; one that corresponded to the time, and one that coincided with the dramaturgy of what was happening. Naturally, the script director can use other music that seems more suitable to him.
You should prepare for the evening in advance, so that in the end you get a single performance, and not a concert from separate numbers.
Letters, memoirs, in case of emergency, can be read from what was written, but poems - in no case.
When decorating the stage, various ideas may also arise, but it should be remembered that for such evenings you should not overload the stage with unnecessary details that will distract attention from the main thing. The same applies to costumes.
After the programs dedicated to poets (Blok, Akhmatova, Tsvetaeva, Lermontov), ​​you can arrange a reading of the poems of these poets by everyone. It is useful to offer a quiz "Continue the poem" - one participant recites the 1st line, the other - the 2nd, etc.
I would like the evenings to be held in a relaxed atmosphere and would not be "events" in the bad sense of the word.
The main purpose of writing the proposed scenarios is to awaken in the children the desire to learn more about these and other writers, the desire to be fluent in excellent Russian, not to be a poorly educated and tongue-tied citizen in their native country.

) is a completed film work. It should contain a complete, consistent and specific description of the plot, consisting of developed scenes and episodes, dialogues and revealing the images of the characters. A literary screenplay, regardless of genre, form and stylistic features, must also meet the production and economic requirements of cinema.

Literary script- a full-fledged work of art that meets the specific and production requirements of film production, where, taking into account visual and sound images, a description of the episodes of the film is given with the dialogue of the actors (B. N. Konoplev "Fundamentals of Film Production" M. "Art" 1969 p. 91)

In fact, what used to be called a literary script is a screenplay in today's sense (“Instruction on the procedure for drawing up agreements between film studios of union and republican subordination with authors for writing screenplays for feature films, as well as accounting and monitoring the implementation of agreements”, approved by order of the Minister cinematography of the USSR dated December 28, 1946 No. 217; "Instruction on the procedure for launching feature films into production", approved by order of the Chairman of the State Committee of the Council of Ministers of the USSR on cinematography dated March 7, 1964 No. 76).

Although some companies still use the term Literary Script to define a screenplay.

Some scripting agencies, in order to "increase the volume of work", specifically separate the creation of a literary script and a film script, which is nipped in the bud by experienced producers.

The concept of "Literary script" was introduced solely to distinguish between the director's script and the film script, which formed the basis of the film, since both the director's script and the literary script were film scripts.

In Soviet times, the creation of a literary script stood out as a separate period in the creation of a film. They still do the same.

Story

After the October Revolution, though already in 1919, a decree was issued according to which the entire photographic and cinematographic trade and industry was nationalized by requisition (“On the transfer of photographic and cinematographic trade and industry to the jurisdiction of the People’s Commissariat of Education”, Collection of legalizations and orders of the worker and Peasant Government, 1919, No. 44, Article 433), and therefore all further regulation of cinema was production. Film production began to enter the sphere of state interests.

It was during the Soviet period of the formation of cinematography that the basis of film production technology was formed, which is still used in the domestic film industry, of course, taking into account new economic and technical realities.

In Soviet times, there were mainly two types of film scripts:

• literary script

Writing a literary script was mainly done by graduates of the screenwriting department of the All-Union State Institute Cinematography (VGIK), taking into account the production requirements set by the State Film Committee of the USSR.

Each film studio had script editorial boards (or script departments). There, the scriptwriters sent creative (scenario) applications or the libretto of the film. Further, according to these applications, a thematic plan editorial board, which was approved by the Cinematography Committee under the Council of Ministers of the USSR.

There was no approved application form. However, in the model scenario agreement (approved by order of the Chairman of the Committee on Cinematography under the Council of Ministers of the USSR dated April 14, 1971 No. 188), clause 2 stated that the scenario must comply with the creative application of the Author approved by the Studio and attached to the agreement, “outlining the idea, plot idea and characterization of the main characters.

A typical scenario agreement was always drawn up in the form approved by the Minister of Cinematography of the USSR (Order of the Minister of Cinematography of the USSR dated December 28, 1946 No. 217-m).

At film studios, there were also production requirements that the author of a literary script had to fit into when it was created. For 1956, for example, the following standards were in effect:

• The length of the film (for full-length feature films from 2500 to 2700 meters, for films for children from 2100 to 2300 meters) The literary script of the feature film had to fit into 70-80 pages of typewritten text printed at two intervals on one side of the sheet.
• Number of shooting objects: from 30 to 35 (of which from 7 to 12 pavilion scenery and scenery on location from 1 to 2, the rest are shooting on location)
• The total area of ​​the pavilion scenery was to be from 2,200 to 5,000 sq.m. films of various complexity
• The number of participants in groups and extras up to 6000 person-days
• The number of actors-performers of the main and episodic roles was discussed separately.

It could also be discussed: the seasons for shooting the film, the approximate amount of summer and winter filming, the participation of certain actors and other production parameters of specific film studios.

On average, a literary script had up to 30 main episodes and contained from 4,000 to 5,000 words of dialogue.

It was established that an editor was attached to each script prepared by the studio, responsible for the ideological and artistic quality of the script accepted by the studio and assisting the author in the process of writing the script (From the circular letter of the Ministry of Cinematography dated May 26, 1948 No. 8 / 13-35).

The Studio was obliged to consider and notify the Author in writing either of the acceptance (approval) of the screenplay, or of its rejection on the grounds provided for by the contract, or of the need to make amendments to the screenplay with an exact indication of the essence of the required corrections. Requests sent to the Author in writing about the need to make amendments to the screenplay with an exact indication of the essence of the required corrections could be presented to the Author no more than twice. The deadline for the submission of the screenplay after the introduction of amendments was established by agreement of the parties.

After the creation of the script and their approval by the management of the film studio, the literary scripts were accompanied by a limit on the production of the film and the literary scripts of feature films were considered by the Main Directorate of Feature Cinematography of the Committee for Cinematography under the Council of Ministers of the USSR and submitted for approval by the Committee's leadership. And only after approval could the film be staged.

In 1977, the Instructions of the USSR Goskino made an attempt to divide the scenario period into the creation of a literary scenario and the so-called "film scenario", which is a creative and production development of a literary scenario.

In the "screenplay", the dramatic development of the action was carried out according to scenes and episodes, and the production development was carried out according to the objects of shooting.

Before each scene, its number was written, then came the object and the time of shooting (Example: Object-Selsovet. Pavilion. Day (summer)), and then the sheet was divided into two parts. In the first part, the action was described, and in the second, dialogues were written.

The form approved by this instruction existed at least until 1985. And later this form migrated to television, forming a special type of script: "TV script".

In film production, the Hollywood screenplay format was established, which absorbed all the best from the Literary screenplay of the sample until 1977 and the “screenplay”. It is referred to in the old fashioned way as a Literary Script, although some companies already call it a "Movie Script".

Where do literary scripts come from?

Any of the sources listed below can form the basis for a future Literary Script:

• Images
• Characters
• Concepts
• Historical events
• folk epic
• Places
• Real events
• fantasies
• Memories
• Public Issues
• News
• Newspaper articles
• Reworking or adaptation of literary works (the script becomes a derivative work - screen adaptation)

With the latter source, you need to be more careful, since the rights of other authors are affected.

Basic Elements of Literary Script

A literary screenplay is almost always a compilation of the following building blocks:

• BLOCK "Time and place of action"
• BLOCK "Description of action"
• BLOCK "Name of the hero"
• BLOCK "Remark of the hero"
• BLOCK "Remarque"
• BLOCK "Title"

The form of the Literary Script is primarily dictated by the production features of the final product-film.

The plot construction of the Literary script

Any literary film script, regardless of its genre, can be conditionally divided into parts:

• exposition - where the viewer gets acquainted with the main character or characters, the world in which the characters live, place and time;
• the plot - the first event where the hero or heroes find themselves in that very dramatic situation that will lead to complication;
• complication - an event after which the hero or heroes are already forced to do some action;
• twists and turns - the biggest part of the film, when the characters face obstacles that they overcome;
• culmination - the highest boiling point, when it seems that "there is nowhere further";
• denouement - resolution of a dramatic situation;
• final (“happy end”; philosophical reasoning of the characters; an event leading to a new circle; etc.)

Genres Literary Scripts

The structure of the genres of screenplays that form the basis of the film is wide and ramified in Russia, therefore Russian system genres was left for the entertainment of film critics, and now it is customary to use the Hollywood system for defining genres. Hollywood identifies four main components for determining the rating or rental parameters:

• Movie Theme
• The mood that the film brings
• Movie Format
• The target audience

The theme of the film is divided into:

• Crime (Crime) - talks about criminals and the fight against them, reveals the place, its nature and scope of criminal activity
• Historical - talks about historical figures and events
• Science fiction (Science fiction) - technology, space, etc.
• Sports (Sports) - talks about sporting achievements and the struggle with oneself.
• Teen - revolves around common teen conflict
• Military (War) - battlefields and places related to wartime
• Westerns - stories about the development of the wild west
• Catastrophe (Disaster) - talks about catastrophes leading to the apocalypse

The list of topics could go on and on.

The mood that the film carries is divided into:

• Action (Action) - as a rule, involves a moral impact on the choice between "good" and "bad" is played out with the help of violence or physical force.
• Adventure - Senses of danger, risk and/or chance are involved, often with a high degree fantasy.
• Comedy (Comedy) - with the aim of causing laughter
• Drama - mainly focused on character development, often in situations that are familiar to a wide audience.
• Fantasy (Fantasy) - fiction of external reality (that is, myth, legend).
• Horrors (Horror) - in order to cause fear.
• Mystery - the transition from the unknown to the known by identifying and solving a series of almost insoluble problems.
• Romance (Romance) - dwells on the elements of romantic love
• Thriller - The goal is to cause excitement and / or nervous tension in the audience.
• Noir (noir) - characterized by a special atmosphere of pessimism and hopelessness.

The format of the film, in turn, is divided into:

• Live action is the most common. Living people in the proposed circumstances
• Animation - quickly displaying a sequence of 2-D drawings or 3-D models in order to create an illusion
• Biography (Biography) - also known as a "biographical film", a format that tells the real story of a historical person and the events in her life taking place.
• Documentary (Documentary) - is filmed based on real events, facts, personalities
• Musical - songs performed by characters and woven into the narrative.

By target audience films are divided into:

• Children's films (Children's film) - films for children younger age; unlike family films, there are no special efforts to make the film appealing to a different audience.
• Family film - this should be attractive to people of all ages and suitable for viewing by a youth audience. Disney films are examples of this.
• Adult films - Intended for viewing by an adult audience only, content may include violence, violations of norms, obscene language or explicit sexual behavior.

The process of creating a literary script

Brilliant scripts are created on a whim, but the same principle applies as in literature: "If you don't write, don't write."

They are born in the mind of the screenwriter, and then spill out onto paper.

But what to do when you have an idea, but you don't know how to put it on paper? Or when there is no craving for writing, but you need to write?

For this, there are special subtleties that are familiar only to professional screenwriters.

Once you have an idea, put it into words. Two or three sentences that will answer the question: "What is the film about?". This description is called a "logline".

When your idea is translated into words, your idea must be translated into a plot. You choose the genre of its presentation, and then write the plot. For this there is a separate document - "synopsis". A synopsis is a summary of the plot literary form. Some beginner screenwriters make the mistake of not writing this document. In the future, in their finished screenplay, the plot may go in a completely different direction.

Once you have decided on the plot, you need to create a description of the characters that participate in your plot. When describing, the characters are divided into main and secondary, the following are indicated in detail: first name, patronymic, last name, age, occupation, family and other ties with other characters. For this, there is a “character description sheet” (“Character”). A common mistake novice screenwriters make is confusion about characters. In one scene, the character is 30 years old, and in the other he is already 35, and the action takes place the next day.

Very important for the production is the number of shooting objects and their description. The subject is the location of the action. The place of action largely characterizes the characters, and therefore requires a description. Aspiring screenwriters make the same mistakes with subjects as they do with characters. One day the apartment is decorated with paintings, the next day it is an “empty room”. The question arises: was the apartment robbed? There is a separate document for the description of shooting objects - "List of shooting objects".

The log-line, synopsis, character description sheet and filming list serve in the future for the screenwriter's self-control when writing the script, as well as for avoiding elementary logical errors. These documents can be expanded, and in the future they simplify the work of the film crew.

The fewer objects and characters, and the more interesting the plot, the more likely the film is to be staged according to the script.

After you have generated all these documents, you need to determine the sequence of scenes and episodes. For this, there is also a separate document, which is called a “scenario plan” (“episode”, “episode”, “block”, etc.). In it, you set out the sequence of events and actions.

When the "scenario plan" is formed, you start writing dialogues (directly a movie script) based on all of the above. Special attention in the dialogues, the focus is on revealing the characters' characters and "talking details", since the action itself has already been worked out in detail.

Since Soviet times, the technology for creating literary scripts has not changed. All applications are still being submitted. The selection of scenario ideas is carried out by the same editors of film studios, but now taking into account the opinions of the main market players: film distributors and television companies. Some time ago, Internet companies began to enter this market, which are gaining momentum by ordering film production.

And only then, after the signing of the contract, the Literary script is written.

On the basis of the Literary script, the director writes the so-called "Director's script", which is a pictorial solution of the Literary script.

Features of creating Literary scripts for serials

When creating screenplays for serials, there is a special technology.

When creating screenplays for serials, the team of scriptwriters includes: “the main author”, “plotmen” and “dialogists”.

The duties of the "plot writers" usually include the creation of scenario plans: serial and episode-by-episode, as well as detailed synopses.

The duties of "dialogists" usually include writing dialogues (actually screenplays) based on the approved "concept of the series", scenario plans and detailed synopses.

• project name;
• genre;
• logline, main characters, summary (short synopsis);
• the target audience;
• estimated duration of the film/series;
• number of episodes (if it is a series).

Sometimes the full composition of the project is indicated.

In the future, through the efforts of the main screenwriter (main author), this application is expanded and turns into a “project bible” (or project concept). The concept of the series (project description, project bible), according to business customs, is a separate document that is developed by the scriptwriters before the start of work on the series and includes in full:

• Project name
• A project logline is one or two sentences that tells everything about the series and can be used as a double check during script writing.
• Project format - Vertical, horizontal or vertical-horizontal series. Number of episodes. The number of minutes in the episode. Required notes.
• Genre and project structure - project genre, project composition
• A brief synopsis of the series - In order not to remember every time how the Greek word "sinopsis" is translated, it is enough to remember its Latin synonym "conspectus" (compendium). The size of a brief synopsis is no more than a page. Includes the entire series.
• The idea and theme of the series - An idea is a mental prototype of the series, highlighting its main, main and essential features. Theme (Greek thema, literally “what is the basis”) is the subject (essence) of the series.
• Storylines - vertical and horizontal storylines, main and secondary storylines.
• The world and the anti-world - the world in which the heroes live and act, and the world into which they find themselves. The descriptions of these worlds add color to the project and work to contrast the characters and their environment.
• Descriptions of characters - a complete list of characters (main and secondary - first name, patronymic, last name, age, occupation, family ties with other characters)
• A detailed serial synopsis - a description of the plot of the series.
• List and description of Objects - description of the objects in which the action takes place.

When the concept is formed, the scripts for the first episodes of the series are written and the scripts for the series are accepted, the shooting of the series begins.

It should be noted that in serials, the main author of the film is not the director, but rather the “main author of the script”.

Literary Script Formatting Standards

In Soviet times, the volume of the script was calculated from the footage of the film. 2500-2700 meters of film equaled 70-80 pages of typewritten text written at two intervals. With the advent of video filming equipment, measuring by film footage has become irrelevant.

Now almost everyone has a miracle of technology - a computer - with MS Word, so it's enough to install a markup template and then use it using the Format Painter button.

The first to use computer markup in Hollywood was the Writers Guild of America. With their page layout, 1 A4 sheet equaled approximately one minute of screen time.

Thanks to affordable software write a script in correct format became easier. Some of the modern American programs for this purpose are FinalDraft, Scriptware, Movie Magic and Script Thing. Most of them can format text as you type.

However, when using these programs in Russia, language problems arose and one page no longer equaled approximately one minute of screen time.

Therefore, Russian screenwriters have developed their own script writing format and even their own Pisar program.

On the this moment the Russian script markup looks like this:

• Font: Courier New
• Font size: 12
• Alignment: Left
• Bold, italic and underline are NEVER used
• Page margins: Top - 2.5 cm, Bottom - 1.25 cm, Left - 3.75 cm, Right - 2.5 cm. The rest is unchanged.
• The "Paragraph" parameter of the "Hero's Name" block: Left - 6.75 cm, The rest is unchanged.
• The "Paragraph" parameter of the "Hero's remark" block: Left - 3.75 cm, Right - 3.75 cm, The rest is unchanged.
• The "Paragraph" parameter of the "Remark" block: Left - 5.5 cm, Right - 4.5 cm, The rest is unchanged.

The innovation was accepted by major filmmakers and, above all, TV channels. On TV channels, everything is measured in timekeeping. Scripts written in a different format on the channels can be sent to the trash without reading. The exception is eminent screenwriters.

Literary script as an object of copyright

Literary script refers to separate species works - scenario works, and serves as the main work for creating a derivative audiovisual work - a film or a screenplay - a director's script (Article 1259 of the Civil Code of the Russian Federation).

A literary script created on the basis of works of literature is a derivative work of these works of literature - a film adaptation (Art. 1259-1260 of the Civil Code of the Russian Federation). Creation of a film adaptation can be carried out only with the consent of the author of a literary work and on the basis of an appropriate agreement (Articles 1260 and 1270 of the Civil Code of the Russian Federation).

Literature

"Unified regulation on the film crew for the production of feature films and the rights and obligations of its main composition" Moscow, Goskinoizdat, 1947

"Handbook for the production of feature films" Moscow, Art, 1958

B. Konoplev Fundamentals of film production - 1st ed. - M.: "Art", 1969.

"Film production. Systematized collection of normative acts and departmental instructions. Chipboard "Moscow, Art, 1973

B. Konoplev Fundamentals of filmmaking. - 2nd ed. - M.: "Art", 1975.

G. N. Goryunova "Organization of film production" M, Art, 1983

David K. Irving and Peter V. Rea "Producing and Directing Short Films and Videos" Moscow, GITR, 2008

O. Smirnova "Script Markup Format"

So the holiday called teacher's day is approaching. In the meantime, he is gradually approaching all the students “running” in search of what they will surprise their beloved teachers with. And do you run too? Maybe you can show funny scenes about teachers on teacher's day?

Exam miniature.

Teacher:
Dear students, hello. Today we have an exam, and today an experiment is being conducted in our school, in our class. Cameras have been connected to us, and now they can see us all right in Moscow! So we behave ourselves, do not cheat and pass the exam.
Here one student raises his hand.

Teacher:
Stepanov, what do you want?

Stepanov:
I already want to leave.

Teacher:
What does it mean to leave?! We have an exam!

Stepanov:
So I want to give it up and leave.

Teacher:
Ah, surrender! This is another matter! But remember Stepanov, there are cameras everywhere, so let's not let your class or the whole school down!
Stepanov comes out and immediately goes to the teacher and gives him a heavy bag.

The teacher takes the bag and says in surprise:
What is it, Stepanov?

Stepanov:
Like what? This is my exam!

The teacher looks into the bag, then wipes the sweat from his face and says:
And why a trifle?

Stepanov:
It's just that dad works in a minibus, we always have this little thing!

The teacher gives the bag to the student:
Take it quickly, Stepanov. Cameras everywhere, and you stick me!

Stepanov takes the bag:
How can I pass the exam then?

Teacher:
See my table is free? Sit behind him, and leave the bag there.

The student sits at the teacher's table and says:
All is ready. I passed?

Teacher:
What passed, Stepanov?! See, cameras are everywhere! Come on, I'll help you now. Let me know what your question is.

Stepanov:
How to hint?

Teacher:
Raise your hand, ask to go out and so casually hint.

Stepanov holds out his hand.

Teacher:
Stepanov, what do you want?

Stepanov:
Artur Nikolayevich, may I go to the toilet before I answer the question “basic properties of the atom?”

Teacher:
You can, Stepanov, go.

Stepanov exits. And the teacher says:
See how Stepanov easily passed the exam?! And all because Stepanov’s dad works in a minibus, and Stepanov is preparing to continue his father’s work and therefore is in a hurry to quickly pass everything and go to study with his father!

Scene - Modern teachers.

Teachers can be played by students.

Teacher's room, there are two teachers in it. Another teacher comes into the teacher's room with quick steps, throws a magazine on the table and speaks.

Teacher 1:
No, I can't do this anymore! My strength is gone!
One of the teachers in the room asks.

Teacher 2:
What happened? Did you finish the 8 "a" class again?
The third teacher, who was also already in the teachers' room, echoes.

Teacher 3:
Yes, 8 "a" is just hell!

Teacher 1:
Mom told me: put on tights, a shorter skirt, and go to the city council building, maybe someone will “bite” on you! No, I put on a formal suit, and went to enroll as a teacher, I went to make a career!

Teacher 2:
Well, you can’t do that because of one class! Still, these are children, you need to be gentler with them somehow.

Teacher 3:
Need to be softer. But if it were my will, I would “tighten the nuts” for them!

Teacher 1:
How much stricter? I call Petrov to the board, I ask - show Mallorca on the map. And he says - I won’t show it, but tell how cool I can be there, my dad and I rested there in the summer!

Teacher 2:
Yes, Petrov, he is the son of a deputy, he can tell a lot! And in my lesson Ivanov pulls his hand and says - you can go out! I ask - where are you? And he answers - feed the cat! I say what cat? Did your cat stay at home or did you bring it to school? And he answers me - he downloaded the game, it's called a talking cat, now it's time for him. And shows me the tablet. I directly don’t know what to do, I say, go feed the cat, I don’t need victims of hunger in the classroom.

Teacher 3:
And my students flatly refused to teach Dostoevsky. They say that Rospotrebnadzor put their favorite site with games on the banned list, and for this they added all the writers and poets that we study at school to their list of authors banned from studying!

Teacher 1:
Yes, these are not children, then ... I don’t even know how to say it so as not to swear!

Teacher 2:
Well, nothing, there will be a holiday on our street, the time for tests and exams will come!

The door to the teacher's room opens, another teacher enters and says:
Congratulations, teachers!