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Because most movies have time constraints and unfold continuously, efficient structuring is essential. Unlike a novel, a screenplay cannot ramble and digress. The viewer cannot stop and start, or go back and contemplate what came before. The screenwriter, therefore, must pack as much information and texture into each scene as possible, while keeping the tempo of the piece brisk enough to retain the audience's interest. Whether you're writing a 30-minute short or a miniseries, you have to consider each scene carefully and ask yourself, "Do I need it?" and "Is it effective?"
 
The dramatic through-line of a script encompasses the premise and all the obstacles the protagonist will face. A screenplay is like a train on a cross-country trip, with scheduled stops and an estimated arrival time. You don't want to get lost or be late. Every scene should service the journey, and the journey, or through-line, comes out of your premise. In the course of developing your story, you will probably consider different paths for your characters, backtracking and changing directions as needed. When you near the end, however, you should feel that the conclusion you have reached is the only reasonable conclusion possible.
 
 
Porque la mayoría de las películas tienen limitaciones de tiempo y se desarrollan de forma continua, eficiente estructuración es esencial.
Putting in the stops
After you've settled on the basic story you want to tell, with a main character, a conflict and a resolution, think about the "stops" or obstacles you want your protagonist to face on the path from the conflict to the resolution. At this point, it's not necessary to figure out every detail of the plot, only the larger movements of the character's struggle.
 
A diferencia de una novela, un guión no puede divagar y divagar.
For example, if the premise of your romantic comedy is "love conquers fear," think about how you want your lovers to meet, what attracts them to each other, what events cause them to break up and how they will be restored to each other. In other words, what events will help you dramatize the conflict? How does the protagonist's fear manifest itself in actions? Dumping at the altar? Promiscuity? Obsessive, obnoxious behavior? And what characters oppose the protagonist? A rival lover? A possessive father? Are the lovers separated by geography, religion or class? What are the stops along the path of your narrative that your protagonist must overcome to resolve the conflict?
 
El espectador no puede detener e iniciar, o ir hacia atrás y contemplar lo que vino antes.
The three-act structure
Although there are plenty of fine exceptions, most screenplays employ a three-act structure. Originating in ancient Greek drama, the three-act structure became standard in American theater in the early twentieth century and soon after was adapted for film. Cinematic three-act structure is more fluid than its theatrical cousin, but it still provides the screenwriter with a solid frame on which to build a tight story.
 
El guionista, por lo tanto, debe paquete de mayor cantidad de información y la textura en cada escena de lo posible, manteniendo el tempo de la pieza a paso ligero lo suficiente como para mantener el interés del público.
In Act One, characters and conflict are introduced. The conflict deepens in Act Two until it reaches a climax or breaking point. In Act Three, the conflict resolves and leads to a denouement, or conclusion. As a general rule, Act Two is the longest and Act Three the shortest. For example, applying the three-act structure to a two-hour, or 120-page script (one script page is roughly equal to one screen minute), Act One will run about 40 pages; Act Two, 50-60 pages; Act Three, 20-30 pages. Analyzing a screenplay of any length in terms of a three-act structure can be extremely useful.
 
 
<!-- Because most movies have time constraints and unfold continuously, efficient structuring is essential.
Making an outline
Unlike a novel, a screenplay cannot ramble and digress.
The viewer cannot stop and start, or go back and contemplate what came before.
 
The screenwriter, therefore, must pack as much information and texture into each scene as possible, while keeping the tempo of the piece brisk enough to retain the audience's interest.
To clarify your structure in your head, you should note plot points, with act breaks, in an outline. The outline can serve as the skeleton upon which you can build all the details of your story. However, as you start writing dialogue for your characters, the story may deviate from what you envisioned in your outline. Such evolution is desirable. You shouldn't feel locked into telling a story devised hypothetically. While it's important to have some idea of where you're going at the start, a script written from an outline alone will likely turn out dry and formulaic.
 
Whether you're writing a 30-minute short or a miniseries, you have to consider each scene carefully and ask yourself, "Do I need it?" Si usted está escribiendo una miniserie de 30 minutos o un corto, usted tiene que considerar cada escena con atención y pregúntate: "¿Lo necesito?" and "Is it effective?" y "¿Es eficaz?"
 
The dramatic through-line of a script encompasses the premise and all the obstacles the protagonist will face.
In many romantic comedies, the three-act structure could be stated simply as "Boy meets girl, boy gets girl (Act One), boy loses girl (Act Two), boy gets girl back (Act Three)." Even though the protagonist wins the girl in Act One, his potential for failure should be evident throughout the act. The perfect love affair will start to unravel in Act Two, as the protagonist's fears and the machinations of the antagonist build. The romance then falls apart, with the antagonist apparently victorious. By the end of Act Two, however, the hero will resolve to win the girl back and defeat his foe. In Act Three, the boy executes his plan and succeeds in restoring the romance.
 
La dramática a través de línea de una secuencia de comandos incluye la premisa y todos los obstáculos que el protagonista se enfrentará.
The story of Gladiator can also be broken down in terms of the three-act structure. Act One introduces Maximus and his conflict--the betrayal by Commodus, his rival for the throne and the man behind the brutal murder of Maximus' family. In Act Two, Maximus is taken into slavery and trains as a gladiator, while quietly planning his revenge. Tension rises as Maximus' slave troupe ends up in Rome, and Maximus becomes involved in a plot to overthrow Commodus. In front of Commodus at the Coliseum, Maximus defeats his opponent, winning the hearts of the Roman people. Commodus, who is about to battle Maximus in the ring, wounds his opponent with a cowardly knife attack. Act Three begins with the to-the-death confrontation. Maximus' moment of decision arrives when he has Commodus at sword-point and chooses to exact his revenge. In the denouement, Maximus dies from his wound, but his family's land is restored.
 
A screenplay is like a train on a cross-country trip, with scheduled stops and an estimated arrival time.
Sub-plots
Sub-plots contain all the same elements as the main plot--character, conflict and resolution. Although it used to be common to see sub-plots functioning only as comic relief, with little connection to the rest of the story, they now are expected to parallel and advance the main plot. Sub-plots involve secondary characters interacting with the protagonist or the antagonist. One of the sub-plots of Gladiator, for example, is the love story between Maximus and Commodus' sister, Lucilla. The romance has a beginning, middle and end just like the main story, but takes up very little screen time. Because Lucilla becomes involved in Maximus' attempts to overthrow her brother, the love story has a direct effect on the main plot. However, it does not overwhelm it.
 
Un guión es como un tren en un viaje a campo traviesa, con paradas programadas y una hora de llegada estimada.
Visual storytelling
 
You don't want to get lost or be late.
 
Usted no quiere perderse o llegar tarde.
American Film Institute
Sometimes a great deal of information can be conveyed visually, as in the simple but effective scene in Chinatown, where the freshly-wounded Gittes (Jack Nicholson) appears with a large bandage across his nose.
 
Every scene should service the journey, and the journey, or through-line, comes out of your premise.
The adage "actions speak louder than words" applies to all creative writing, but is especially true of screenwriting. While the novelist can convey what the characters are thinking and feeling through an interior monologue, as a screenwriter you must use external visible behavior. External behavior can be expressed through dialogue or physical actions. Plays rely heavily on dialogue because of the limitations of the stage itself, but movies have no such restrictions. The camera can go anywhere the imagination leads it, and moviegoers expect to be visually engaged.
 
Cada escena debe reparar el viaje, y el viaje, o línea a través de, sale de su premisa.
Although it's tempting to tell the audience what's happening through dialogue, showing them through action can have greater rewards. If, for instance, you want to convey that Jackie is upset at Marge for rustling her candy wrapper during a touching moment at the opera, you could have Jackie hiss, "Marge, be quiet!" Certainly that line would get the idea across that Jackie was annoyed, but it would be boring. A more effective way would be to have Jackie snatch the candy out of Marge's hand and toss it over the balcony.
 
In the course of developing your story, you will probably consider different paths for your characters, backtracking and changing directions as needed.
As with the behavior of characters, the time, place and mood of a scene are most effectively conveyed through visuals and described in the script's stage directions (which are always written in present tense, with action verbs). Much like the novelist, the screenwriter situates the characters in a specific environment at the start of each scene. The screenwriter's goal with descriptive passages is not only to indicate where the scene is taking place, but to focus attention on key details that, when translated into the visual elements of a film, will provide viewers with information crucial to the premise. Sometimes these details underscore what is being said by the characters. Other times, they give the reader information about the characters that would otherwise go unexpressed.
 
En el curso del desarrollo de su historia, es probable que considerar otros caminos para sus personajes, dando marcha atrás y cambiar de dirección cuando sea necesario.
An excerpt from It's a Wonderful Life exemplifies this notion:
Living Room. George enters. The house is carpetless, empty--the rain and wind cause funny noises upstairs. A huge fire is burning in the fireplace. Near the fireplace a collection of packing boxes are heaped together in the shape of a small table and covered with a checkered oil cloth. It is set for two. A bucket with ice and a champagne bottle sit on the table as well as a bowl of caviar. A phonograph is playing on the box. It is playing "The Wedding March." In front of phonograph is a sign reading, "Guy Lombardo." Mary is standing near the fireplace looking as pretty as any bride ever looked. She is smiling at George, who has been slowly taking in the whole set-up. Through a door he sees the end of a cheap bed, over the back of which is a pair of pajamas and a nightie.
 
When you near the end, however, you should feel that the conclusion you have reached is the only reasonable conclusion possible.
Even without the words "as pretty as any bride," the reader knows what is going on in this scene. The makeshift table set for two, "The Wedding March" and the pajamas and nightie on the bed tell us George and Mary are newlyweds. Additionally, the spare living room with packing boxes tells us that George and Mary have just moved in and don't own much. Mary's smile and George's appraisal of the set-up suggest happiness. The above passage takes up only a few seconds of screen time, but with essential visual cues the scene conveys a heap of information without dialogue.
 
Cuando cerca del final, sin embargo, debe sentir que la conclusión a la que hemos llegado es la única conclusión posible, razonable.
Discussion
 
Do you have a premise and characters, but no structure for your story?
 
{Dis: Discuss with others a way to formulate your story with an effective structure.}
 
When describing a new location, it is not necessary, or desirable, to overload your stage directions with extraneous details. Don't add camera angles. Directors, cinematographers, art directors and set designers are expected to fill out the physical world of the characters for the viewer. In the above example, the screenwriters don't mention what color the wall is, what Mary is wearing, or what brand of champagne the couple is drinking. In another scene, these details might be significant, but not in this one.
 
Putting in the stops After you've settled on the basic story you want to tell, with a main character, a conflict and a resolution, think about the "stops" or obstacles you want your protagonist to face on the path from the conflict to the resolution.
Screenwriters should also resist the temptation to over-describe the personalities or backgrounds of their characters in the stage directions. Whenever possible, stick to details that have visual equivalents. For example, the description "a finely dressed man, with facial tics and a pronounced Boston accent" conveys more to the reader than "a nervous millionaire from Boston."
 
Poner en las paradas Después de que se decida por la historia básica que quiero decir, con un personaje principal, un conflicto y una resolución, piense en las "paradas" o los obstáculos que quieres que tu protagonista para enfrentar en el camino del conflicto al la resolución.
 
At this point, it's not necessary to figure out every detail of the plot, only the larger movements of the character's struggle.
 
En este punto, no es necesario saber todos los detalles de la trama, sólo los movimientos más grandes de la lucha del personaje.
 
 
 
For example, if the premise of your romantic comedy is "love conquers fear," think about how you want your lovers to meet, what attracts them to each other, what events cause them to break up and how they will be restored to each other.
 
Por ejemplo, si la premisa de la comedia romántica es "el amor lo conquista el miedo," pensar en cómo desea que los amantes de cumplir, lo que les atrae el uno al otro, lo que causa los eventos que se rompan y la forma en que se restablecerá el uno al otro .
 
In other words, what events will help you dramatize the conflict? En otras palabras, qué eventos le ayudará a dramatizar el conflicto? How does the protagonist's fear manifest itself in actions? ¿Cómo funciona el miedo del protagonista se manifiesta en las acciones? Dumping at the altar? Dumping en el altar? Promiscuity? La promiscuidad? Obsessive, obnoxious behavior? Obsesivo, comportamiento desagradable? And what characters oppose the protagonist? ¿Y qué caracteres se oponen a la protagonista? A rival lover? Un amante de su rival? A possessive father? Un padre posesivo? Are the lovers separated by geography, religion or class? Si los amantes separados por la geografía, religión o clase? What are the stops along the path of your narrative that your protagonist must overcome to resolve the conflict? ¿Cuáles son las paradas en el camino de su narrativa que el protagonista debe superar para resolver el conflicto?
 
The three-act structure Although there are plenty of fine exceptions, most screenplays employ a three-act structure.
 
La estructura de tres actos Aunque hay muchas excepciones bien, la mayoría de guiones de emplear una estructura de tres actos.
 
Originating in ancient Greek drama, the three-act structure became standard in American theater in the early twentieth century and soon after was adapted for film.
 
Con origen en el drama griego antiguo, la estructura de tres actos se convirtió en norma en el teatro de América en el siglo XX, y poco después fue adaptado para el cine.
 
Cinematic three-act structure is more fluid than its theatrical cousin, but it still provides the screenwriter with a solid frame on which to build a tight story.
 
Cinemática de la estructura de tres actos es más fluida que su primo de teatro, pero todavía proporciona el guionista con una estructura sólida sobre la que construir una historia apretado.
 
 
 
In Act One, characters and conflict are introduced.
 
En el primer acto, los personajes y los conflictos se presentan.
 
The conflict deepens in Act Two until it reaches a climax or breaking point.
 
El conflicto se profundiza en el segundo acto hasta que se llega a un clímax o punto de ruptura.
 
In Act Three, the conflict resolves and leads to a denouement, or conclusion.
 
En el tercer acto, el conflicto se resuelve y da lugar a un desenlace o conclusión.
 
As a general rule, Act Two is the longest and Act Three the shortest.
 
Como regla general, el segundo acto es el más largo y el tercer acto el más corto.
 
For example, applying the three-act structure to a two-hour, or 120-page script (one script page is roughly equal to one screen minute), Act One will run about 40 pages; Act Two, 50-60 pages; Act Three, 20-30 pages.
 
Por ejemplo, la aplicación de la estructura de tres actos a un guión de dos horas, o 120 páginas (una página de guión es aproximadamente igual a un minuto de pantalla), primer acto se ejecutará alrededor de 40 páginas, el segundo acto, 50-60 páginas; Ley Tres, 20-30 páginas.
 
Analyzing a screenplay of any length in terms of a three-act structure can be extremely useful.
 
Análisis de un guión de cualquier longitud en términos de una estructura de tres actos puede ser extremadamente útil.
 
 
 
 
Making an outline Hacer un esquema
 
To clarify your structure in your head, you should note plot points, with act breaks, in an outline.
 
Para aclarar su estructura en la cabeza, debe tener en cuenta puntos de la trama, con saltos de actuar, en un esquema.
 
The outline can serve as the skeleton upon which you can build all the details of your story.
 
El esquema puede servir como el esqueleto sobre el que puede crear todos los detalles de su historia.
 
However, as you start writing dialogue for your characters, the story may deviate from what you envisioned in your outline.
 
Sin embargo, a medida que comience a escribir el diálogo de sus personajes, la historia puede desviarse de lo que se prevé en su esquema.
 
Such evolution is desirable.
 
Tal evolución es deseable.
 
You shouldn't feel locked into telling a story devised hypothetically.
 
Usted no debe sentirse encerrados en contar una historia ideado hipotéticamente.
 
While it's important to have some idea of where you're going at the start, a script written from an outline alone will likely turn out dry and formulaic.
 
Si bien es importante tener una idea de a dónde va en la salida, un guión escrito a partir de un esquema que es probable que a su vez se secan y estereotipada.
 
 
 
 
In many romantic comedies, the three-act structure could be stated simply as "Boy meets girl, boy gets girl (Act One), boy loses girl (Act Two), boy gets girl back (Act Three).
 
" En muchas comedias románticas, la estructura de tres actos puede afirmar simplemente como "Chico conoce a chica, chico recupera a la chica (primer acto), chico pierde chica (segundo acto), chico recupera a la chica de nuevo (tercer acto)".
 
Even though the protagonist wins the girl in Act One, his potential for failure should be evident throughout the act.
 
A pesar de que el protagonista ha sufrido la niña en el primer acto, su potencial para el fracaso debe ser evidente en todo el acto.
 
The perfect love affair will start to unravel in Act Two, as the protagonist's fears and the machinations of the antagonist build.
 
La historia de amor perfecta comenzarán a desentrañar en el segundo acto, ya que los temores del protagonista y las maquinaciones de los antagonistas de construir.
 
The romance then falls apart, with the antagonist apparently victorious.
 
El romance luego cae a pedazos, con el antagonista aparentemente victoriosa.
 
By the end of Act Two, however, the hero will resolve to win the girl back and defeat his foe.
 
Al final del segundo acto, sin embargo, el héroe va a resolver a conquistar a la chica y derrotar a su enemigo.
 
In Act Three, the boy executes his plan and succeeds in restoring the romance.
 
En el tercer acto, el niño ejecuta su plan y tiene éxito en la restauración de la novela.
 
 
 
The story of Gladiator can also be broken down in terms of the three-act structure.
 
La historia de Gladiator también puede ser desglosada en términos de la estructura de tres actos.
 
Act One introduces Maximus and his conflict--the betrayal by Commodus, his rival for the throne and the man behind the brutal murder of Maximus' family.
 
Una Ley introduce Maximus y su conflicto - la traición de Cómodo, su rival por el trono y el hombre detrás del brutal asesinato de la familia de Maximus.
 
In Act Two, Maximus is taken into slavery and trains as a gladiator, while quietly planning his revenge.
 
En el segundo acto, Maximus se tiene en la esclavitud y los trenes como un gladiador, mientras que en silencio a planear su venganza.
 
Tension rises as Maximus' slave troupe ends up in Rome, and Maximus becomes involved in a plot to overthrow Commodus.
 
La tensión aumenta a medida grupo de Maximus esclavo termina en Roma, y Maximus se ve envuelto en un complot para derrocar a Cómodo.
 
In front of Commodus at the Coliseum, Maximus defeats his opponent, winning the hearts of the Roman people.
 
En frente de Cómodo en el Coliseo, Máximo derrota a su oponente, ganando los corazones del pueblo romano.
 
Commodus, who is about to battle Maximus in the ring, wounds his opponent with a cowardly knife attack.
 
Cómodo, que está a punto de Maximus batalla en el ring, las heridas de su oponente con un ataque de cuchillo cobarde.
 
Act Three begins with the to-the-death confrontation.
 
El tercer acto comienza con el enfrentamiento a la muerte.
 
Maximus' moment of decision arrives when he has Commodus at sword-point and chooses to exact his revenge.
 
momento de Maximus de la decisión llega cuando tiene la espada de Cómodo puntos y elige a su venganza.
 
In the denouement, Maximus dies from his wound, but his family's land is restored.
 
En el desenlace, Máximo muere a causa de su herida, pero la tierra de su familia es restaurado.
 
 
 
Sub-plots Sub-plots contain all the same elements as the main plot--character, conflict and resolution.
 
Sub-parcelas sub-parcelas contienen todos los mismos elementos que la trama principal - carácter, y resolución de conflictos.
 
Although it used to be common to see sub-plots functioning only as comic relief, with little connection to the rest of the story, they now are expected to parallel and advance the main plot.
 
A pesar de lo que solía ser común ver a las sub-parcelas funcionamiento sólo como alivio cómico, con poca conexión con el resto de la historia, ahora se espera que en paralelo y avanzar en la trama principal.
 
Sub-plots involve secondary characters interacting with the protagonist or the antagonist.
 
Sub-parcelas con personajes secundarios que interactúan con el protagonista o el antagonista.
 
One of the sub-plots of Gladiator, for example, is the love story between Maximus and Commodus' sister, Lucilla.
 
Una de las sub-parcelas de Gladiator, por ejemplo, es la historia de amor entre Máximo y la hermana de Commodus, Lucilla.
 
The romance has a beginning, middle and end just like the main story, but takes up very little screen time.
 
El romance tiene un principio, mitad y final al igual que la historia principal, pero ocupa el tiempo de pantalla muy pequeña.
 
Because Lucilla becomes involved in Maximus' attempts to overthrow her brother, the love story has a direct effect on the main plot.
 
Debido a Lucilla se ve involucrado en los intentos de Maximus para derrocar a su hermano, la historia de amor tiene un efecto directo en la trama principal.
 
However, it does not overwhelm it.
 
Sin embargo, no lo abruman.
 
 
 
Visual storytelling Visual cuentos
 
 
American Film Institute Sometimes a great deal of information can be conveyed visually, as in the simple but effective scene in Chinatown, where the freshly-wounded Gittes (Jack Nicholson) appears with a large bandage across his nose.
 
American Film Institute A veces una gran cantidad de información se puede comunicar visualmente, como en la escena sencilla pero eficaz en el Barrio Chino, donde el Gittes recién heridos (Jack Nicholson) aparece con un gran vendaje en la nariz.
 
 
 
The adage "actions speak louder than words" applies to all creative writing, but is especially true of screenwriting.
 
El dicho "las acciones hablan más que las palabras" se aplica a toda la escritura creativa, pero es especialmente cierto de escritura de guiones.
 
While the novelist can convey what the characters are thinking and feeling through an interior monologue, as a screenwriter you must use external visible behavior.
 
Mientras que el novelista puede transmitir lo que los personajes piensan y sienten a través de un monólogo interior, como guionista debe utilizar el comportamiento externo visible.
 
External behavior can be expressed through dialogue or physical actions.
 
comportamiento externo puede ser expresado a través de acciones de diálogo o física.
 
Plays rely heavily on dialogue because of the limitations of the stage itself, but movies have no such restrictions.
 
Reproducciones dependen en gran medida en el diálogo debido a las limitaciones de la misma etapa, pero las películas no tienen restricciones.
 
The camera can go anywhere the imagination leads it, and moviegoers expect to be visually engaged.
 
La cámara puede ir a cualquier parte de la imaginación que lleva, y los aficionados al cine esperan que se dedican visualmente.
 
 
 
Although it's tempting to tell the audience what's happening through dialogue, showing them through action can have greater rewards.
 
Aunque es tentador decirle al público lo que está pasando a través del diálogo, que muestra a través de la acción puede tener una mayor recompensa.
 
If, for instance, you want to convey that Jackie is upset at Marge for rustling her candy wrapper during a touching moment at the opera, you could have Jackie hiss, "Marge, be quiet!" Si, por ejemplo, que quiere transmitir que Jackie está molesto por Marge para robo de su envoltura de caramelo en un momento conmovedor en la ópera, que podría haber silbido Jackie, "Marge, cállate!" Certainly that line would get the idea across that Jackie was annoyed, but it would be boring.
 
Ciertamente, esa línea se entiende la idea en que Jackie estaba molesto, pero sería aburrido.
 
A more effective way would be to have Jackie snatch the candy out of Marge's hand and toss it over the balcony.
 
Una forma más eficaz sería que Jackie arrebatar la caramelos de la mano de Marge y lanzarlo por el balcón.
 
 
 
As with the behavior of characters, the time, place and mood of a scene are most effectively conveyed through visuals and described in the script's stage directions (which are always written in present tense, with action verbs).
 
Al igual que con el comportamiento de los personajes, el tiempo, lugar y estado de ánimo de una escena más efectivamente transmite a través de imágenes y se describen en la dirección de escena del guión (que siempre se escriben en tiempo presente, con verbos de acción).
 
Much like the novelist, the screenwriter situates the characters in a specific environment at the start of each scene.
 
Al igual que el novelista, guionista sitúa a los personajes en un ambiente específico al inicio de cada escena.
 
The screenwriter's goal with descriptive passages is not only to indicate where the scene is taking place, but to focus attention on key details that, when translated into the visual elements of a film, will provide viewers with information crucial to the premise.
 
El objetivo de la guionista con pasajes descriptivos no es sólo para indicar donde la escena se lleva a cabo, sino que se centre la atención en los detalles clave que, cuando se traduce en los elementos visuales de una película, se ofrecerá a los televidentes la información crucial a la premisa.
 
Sometimes these details underscore what is being said by the characters.
 
A veces estos datos subrayan lo que se dice de los personajes.
 
Other times, they give the reader information about the characters that would otherwise go unexpressed.
 
Otras veces, dan al lector información acerca de los personajes que de otro modo sería expresado.
 
 
 
An excerpt from It's a Wonderful Life exemplifies this notion: Living Room.
 
Un extracto de lo bello es vivir! Ejemplifica esta idea: la sala de estar.
 
George enters.
 
George entra.
 
The house is carpetless, empty--the rain and wind cause funny noises upstairs.
 
La casa está sin alfombra, vacío - la lluvia y el viento hacen de arriba ruidos raros.
 
A huge fire is burning in the fireplace.
 
Un gran incendio se está quemando en la chimenea.
 
Near the fireplace a collection of packing boxes are heaped together in the shape of a small table and covered with a checkered oil cloth.
 
Cerca de la chimenea de una colección de cajas de embalaje están amontonados en forma de una pequeña mesa y cubierta con un hule a cuadros.
 
It is set for two.
 
Se encuentra a dos.
 
A bucket with ice and a champagne bottle sit on the table as well as a bowl of caviar.
 
Un balde con hielo y una botella de champán se sientan en la mesa, así como un plato de caviar.
 
A phonograph is playing on the box.
 
Un fonógrafo está jugando en la caja.
 
It is playing "The Wedding March.
 
" Se está jugando "La marcha nupcial".
 
In front of phonograph is a sign reading, "Guy Lombardo.
 
" En frente del fonógrafo es un cartel que decía, "Guy Lombardo.
 
" Mary is standing near the fireplace looking as pretty as any bride ever looked.
 
María está de pie junto a la chimenea mirando tan bonita como cualquier novia Alguna vez has visto.
 
She is smiling at George, who has been slowly taking in the whole set-up.
 
Ella está sonriendo a George, que ha sido poco a poco tomando en todo el set-up.
 
Through a door he sees the end of a cheap bed, over the back of which is a pair of pajamas and a nightie.
 
A través de una puerta, ve al final de una cama barata, sobre la espalda de los cuales es un par de pijamas y un camisón.
 
 
 
Even without the words "as pretty as any bride," the reader knows what is going on in this scene.
 
Incluso sin las palabras "tan bonita como cualquier novia", el lector sabe lo que está pasando en esta escena.
 
The makeshift table set for two, "The Wedding March" and the pajamas and nightie on the bed tell us George and Mary are newlyweds.
 
En la tabla improvisada para dos, "La Marcha Nupcial" y pijama y camisón en la cama, nos dice Jorge y María son recién casados.
 
Additionally, the spare living room with packing boxes tells us that George and Mary have just moved in and don't own much.
 
Además, la sala de repuesto con las cajas de embalaje nos dice que George y Mary se acaba de mudar y no poseen mucho.
 
Mary's smile and George's appraisal of the set-up suggest happiness.
 
la sonrisa de María y la evaluación de George de la puesta a punto sugieren la felicidad.
 
The above passage takes up only a few seconds of screen time, but with essential visual cues the scene conveys a heap of information without dialogue.
 
El pasaje anterior toma sólo unos segundos de tiempo de pantalla, pero con señales visuales esenciales de la escena transmite un montón de información sin el diálogo.
 
 
 
Discussion Discusión
 
Do you have a premise and characters, but no structure for your story? ¿Tiene una premisa y los personajes, pero sin una estructura para su historia?
 
{Dis: Discuss with others a way to formulate your story with an effective structure.
 
} {Dis: Hablar con otros usuarios una manera de formular su historia con una estructura eficaz.
 
}
 
When describing a new location, it is not necessary, or desirable, to overload your stage directions with extraneous details.
 
Cuando se describe una nueva ubicación, no es necesario, o conveniente, a las indicaciones de su sobrecarga escenario con detalles extraños.
 
Don't add camera angles.
 
No agregue los ángulos de cámara.
 
Directors, cinematographers, art directors and set designers are expected to fill out the physical world of the characters for the viewer.
 
Directores, cineastas, directores de arte y escenógrafos se espera que llene el mundo físico de los personajes para el espectador.
 
In the above example, the screenwriters don't mention what color the wall is, what Mary is wearing, or what brand of champagne the couple is drinking.
 
En el ejemplo anterior, los guionistas no mencionan de qué color es la pared, lo que María lleva, o qué marca de champán que la pareja está bebiendo.
 
In another scene, these details might be significant, but not in this one.
 
En otra escena, estos detalles pueden ser importantes, pero no en éste.
 
 
 
Screenwriters should also resist the temptation to over-describe the personalities or backgrounds of their characters in the stage directions.
 
Los guionistas también deben resistir la tentación de exceso de describir las personalidades o fondos de sus personajes en las acotaciones.
 
Whenever possible, stick to details that have visual equivalents.
 
Siempre que sea posible, se adhieren a los detalles que tienen equivalentes visuales.
 
For example, the description "a finely dressed man, with facial tics and a pronounced Boston accent" conveys more to the reader than "a nervous millionaire from Boston.
 
" Por ejemplo, la descripción de "un hombre bien vestida, con tics faciales y un pronunciado acento de Boston" transmite más al lector que "un millonario de Boston nervioso.
 
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