ACTIVE VERBS

 :|:

From "David Mamet: a life in the theater" by Ira Bruce Nadel

"I'm of the Aristotelian School: characters are nothing but habitual action. You don't create a character; you describe what he does. . .the theory of true action. . .is the essential understanding of drama." - David Mamet pp. 42

	Accelerate
	Accommodate
	Accomplish
	Accumulate
	Achieve
	Acquire
	Act
	Activate
	Adapt
	Add
	Address
	Adjust
	Administer
	Advertise
	Advise
	Advocate
	Aid
	Aide
	Align
	Allocate
	Amend
	Analyze
	Answer
	Anticipate
	Apply
	Appoint
	Appraise
	Approve
	Arbitrate
	Arrange
	Articulate
	Ascertain
	Assemble
	Assess
	Assign
	Assist
	Assume
	Attain
	Attend
	Attract
	Audit
	Augment
	Author
	Authorize
	Automate
	Avert
	Award
	Bargain
	Begin
	Bolster
	Boost
	Bought
	Brief
	Broaden
	Budget
	Build
	Built
	Calculate
	Calibrate
	Canvass
	Capture
	Care
	Catalog
	Catalogue
	Categorize
	Cater
	Cause
	Centralize
	Chair
	Charge
	Chart
	Check
	Clarify
	Classify
	Co-operate
	Coach
	Code
	Collaborate
	Collate
	Collect
	Combine
	Comfort
	Commence
	Communicate
	Compare
	Compile
	Complete
	Compose
	Compute
	Conceive
	Conceptualize
	Conciliate
	Conclude
	Condense
	Conduct
	Confer
	Confirm
	Connect
	Conserve
	Consider
	Consolidate
	Construct
	Consult
	Contact
	Contract
	Contribute
	Control
	Convert
	Convey
	Convince
	Cooperate
	Coordinate
	Copy
	Correct
	Correlate
	Correspond
	Counsel
	Create
	Critique
	Cultivate
	Customize
	Dealt with
	Debate
	Debug
	Decide
	Decrease
	Dedicate
	Deduce
	Defend
	Defer
	Define
	Delegate
	Deliver
	Demonstrate
	Depict
	Depreciated
	Derive
	Describe
	Design
	Detail
	Detect
	Determine
	Develop
	Devise
	Devote
	Diagnose
	Diagram
	Differentiate
	Direct
	Discharge
	Disclose
	Discover
	Discriminate
	Discuss
	Dispatch
	Display
	Dissect
	Disseminate
	Distinguish
	Distribute
	Diversify
	Document
	Draft
	Draw
	Drew
	Earn
	Edit
	Educate
	Effect
	Elect
	Elicit
	Eliminate
	Emphasize
	Employ
	Enable
	Encourage
	Enforce
	Engineer
	Enhance
	Enlarge
	Enlighten
	Enlist
	Enrich
	Ensure
	Enter
	Entertain
	Enumerate
	Equip
	Establish
	Estimate
	Evaluate
	Examine
	Exchange
	Execute
	Exercise
	Exhibit
	Expand
	Expedite
	Experiment
	Explain
	Explore
	Express
	Extend
	Extract
	Extrapolate
	Fabricate
	Facilitate
	Familiarize
	Fashion
	File
	Filter
	Finalize
	Fine-tune
	Fix
	Focus
	Forecast
	Formulate
	Fortify
	Forward
	Foster
	Found
	Frame
	Fund
	Furnish
	Further
	Gather
	Gauge
	Generate
	Govern
	Grade
	Grant
	Greet
	Guide
	Handle
	Head
	Help
	Highlight
	Hire
	Host
	Identify
	Illustrate
	Impart
	Implement
	Import
	Improve
	Improvise
	Incorporate
	Increase
	Index
	Individualize
	Influence
	Inform
	Initiate
	Innovate
	Inspect
	Inspire
	Install
	Institute
	Instruct
	Insure
	Integrate
	Interact
	Interface
	Interpret
	Intervene
	Interview
	Introduce
	Invent
	Inventory
	Investigate
	Involve
	Join
	Judge
	Justify
	Label
	Launch
	Lead
	Learn
	Lecture
	License
	Lighten
	Liquidate
	List
	Listen
	Litigate
	Lobby
	Localize
	Locate
	Log
	Maintain
	Manage
	Manufacture
	Map
	Market
	Master
	Maximize
	Measure
	Mechanize
	Mediate
	Mentor
	Merge
	Methodize
	Minimize
	Mobilize
	Model
	Moderate
	Modernize
	Modify
	Monitor
	Motivate
	Narrate
	Navigate
	Negotiate
	Notify
	Nurse
	Nurture
	Observe
	Obtain
	Officiate
	Offset
	Operate
	Orchestrate
	Order
	Organize
	Orient
	Orientate
	Originate
	Outline
	Overhaul
	Oversaw
	Oversee
	Package
	Participate
	Perceive
	Perfect
	Perform
	Persuade
	Photograph
	Pilot
	Pioneer
	Plan
	Practice
	Predict
	Prepare
	Present
	Preserve
	Preside
	Prevent
	Print
	Prioritize
	Probe
	Process
	Produce
	Program
	Project
	Promote
	Propose
	Provide
	Publicize
	Publish
	Purchase
	Qualify
	Quantify
	Quote
	Raise
	Ran
	Rank
	Rate
	Read
	Reason
	Recall
	Recognize
	Recommend
	Reconcile
	Record
	Recreate
	Recruit
	Rectify
	Reduce
	Refer
	Refine
	Register
	Regulate
	Rehabilitate
	Reinforce
	Relate
	Related
	Release
	Remodel
	Render
	Renew
	Reorganize
	Repair
	Replace
	Report
	Represent
	Research
	Reserve
	Resolve
	Respond
	Restore
	Restrict
	Retain
	Retrieve
	Revamp
	Reveal
	Review
	Revise
	Revitalize
	Route
	Sample
	Save
	Scan
	Schedule
	Screen
	Script
	Scrutinize
	Search
	Secure
	Segment
	Select
	Serve
	Service
	Set goals
	Set up
	Settle
	Shape
	Share
	Show
	Simplify
	Simulate
	Sketch
	Sold
	Solicit
	Solve
	Sort
	Speak
	Spearhead
	Specialize
	Specify
	Spoke
	Stage
	Standardize
	Start
	Stimulate
	Straighten
	Strategize
	Streamline
	Strengthen
	Structure
	Study
	Submit
	Substantiate
	Substitute
	Suggest
	Summarize
	Supervise
	Supply
	Support
	Surpass
	Survey
	Sustain
	Symbolize
	Synthesize
	Systematize
	Tabulate
	Tail
	Target
	Taught
	Teach
	Tend
	Terminate
	Test
	Theorize
	Time
	Tour
	Trace
	Track
	Trade
	Train
	Transcribe
	Transfer
	Transform
	Translate
	Transmit
	Transport
	Transpose
	Travel
	Treat
	Triple
	Troubleshot
	Tutor
	Uncover
	Undertook
	Unify
	Unveil
	Update
	Upgrade
	Upheld
	Use
	Utilize
	Validate
	Value
	Verify
	View
	Visit
	Visualize
	Vitalize
	Volunteer
	Weigh
	Widen
	Win
	Withdraw
	Witness
	Write

FREE DICTIONARY

(Amazon Link)

Book Description:

ACTIONS: The Actors' Thesaurus is a vital companion for actors in rehearsal—a thesaurus of action words to revitalize performance.

Actors need actions. Actors cannot ‘act’ adjectives, they need verbs. Verbs are an aim to achieve, an action to perform.

‘Actions’ are active verbs. ‘I tempt you.’ ‘You taunt me.’ In order to perform an action truthfully--and therefore convincingly-- an actor needs to find exactly the right action to suit that particular situation and that particular line. That is where this book comes in….

ACTIONS is a thesaurus of active verbs that the actor can use to refine performance until s/he hits exactly the right one to help make the action come alive. ACTIONS: The Actors’ Thesaurus by Marina Caldarone & Maggie Lloyd-Williams has gathered together the (formerly) dogged-eared photocopied lists of action verbs from greenrooms and rehearsal rooms and put them together in this pocket-sized thesaurus. All with a view to helping actors get to the heart of meaning and to a great performance. This thesaurus of action words is indispensable in developing mood, line readings, and acting choices for each and every line.

From the Publisher
This new book just released by Drama Publishers gathers together -- for the first time -- the acting community’s –- formerly — secret lists of action words and makes them available in an organized and comprehensive format.

-----------------------------------------------------------------------------------
"The play's the thing wherein I'll catch the conscience of the king."

DAVID MAMET'S MASTER CLASS MEMO

CBS’s drama The Unit, about the lives of the highly trained members of a top-secret military division, was canceled last year, but a memo to its writing staff from its executive producer David Mamet has just surfaced online. (The source appears to be the online writing collective Ink Canada.) If you think you know where this is heading, you might be wrong:

Besides the fact that it’s written in all-caps, there’s nothing particularly ranty, pejorative or potty-mouthed about it. Rather, Mamet lays down an extremely sensible case for what makes good television, imploring them to avoid expository writing for what he characterizes as authentic “drama.” Along the way, he refers repeatedly to the “blue-suited penguins” (probably the copious-note-givers at the network), while passing along some very useful advice (“any time two characters are talking about a third, the scene is a crock of shit”) and helpful writing exercises (“pretend the characters can’t speak and write a silent movie”). Screenwriters, take note: You may think you knew this already, but there’s nothing like Mamet for a good kick-in-the-ass reminder.

“TO THE WRITERS OF THE UNIT

GREETINGS.

AS WE LEARN HOW TO WRITE THIS SHOW, A RECURRING PROBLEM BECOMES CLEAR.

THE PROBLEM IS THIS: TO DIFFERENTIATE BETWEEN DRAMA AND NON-DRAMA. LET ME BREAK-IT-DOWN-NOW.

EVERYONE IN CREATION IS SCREAMING AT US TO MAKE THE SHOW CLEAR. WE ARE TASKED WITH, IT SEEMS, CRAMMING A SHITLOAD OF INFORMATION INTO A LITTLE BIT OF TIME.

OUR FRIENDS. THE PENGUINS, THINK THAT WE, THEREFORE, ARE EMPLOYED TO COMMUNICATE INFORMATION — AND, SO, AT TIMES, IT SEEMS TO US.

BUT NOTE:THE AUDIENCE WILL NOT TUNE IN TO WATCH INFORMATION. YOU WOULDN’T, I WOULDN’T. NO ONE WOULD OR WILL. THE AUDIENCE WILL ONLY TUNE IN AND STAY TUNED TO WATCH DRAMA.

QUESTION:WHAT IS DRAMA? DRAMA, AGAIN, IS THE QUEST OF THE HERO TO OVERCOME THOSE THINGS WHICH PREVENT HIM FROM ACHIEVING A SPECIFIC, ACUTE GOAL.

SO: WE, THE WRITERS, MUST ASK OURSELVES OF EVERY SCENE THESE THREE QUESTIONS.

1) WHO WANTS WHAT?
2) WHAT HAPPENS IF HER DON’T GET IT?
3) WHY NOW?

THE ANSWERS TO THESE QUESTIONS ARE LITMUS PAPER. APPLY THEM, AND THEIR ANSWER WILL TELL YOU IF THE SCENE IS DRAMATIC OR NOT.

IF THE SCENE IS NOT DRAMATICALLY WRITTEN, IT WILL NOT BE DRAMATICALLY ACTED.

THERE IS NO MAGIC FAIRY DUST WHICH WILL MAKE A BORING, USELESS, REDUNDANT, OR MERELY INFORMATIVE SCENE AFTER IT LEAVES YOUR TYPEWRITER. YOU THE WRITERS, ARE IN CHARGE OF MAKING SURE EVERY SCENE IS DRAMATIC.

THIS MEANS ALL THE “LITTLE” EXPOSITIONAL SCENES OF TWO PEOPLE TALKING ABOUT A THIRD. THIS BUSHWAH (AND WE ALL TEND TO WRITE IT ON THE FIRST DRAFT) IS LESS THAN USELESS, SHOULD IT FINALLY, GOD FORBID, GET FILMED.

IF THE SCENE BORES YOU WHEN YOU READ IT, REST ASSURED IT WILL BORE THE ACTORS, AND WILL, THEN, BORE THE AUDIENCE, AND WE’RE ALL GOING TO BE BACK IN THE BREADLINE.

SOMEONE HAS TO MAKE THE SCENE DRAMATIC. IT IS NOT THE ACTORS JOB (THE ACTORS JOB IS TO BE TRUTHFUL). IT IS NOT THE DIRECTORS JOB. HIS OR HER JOB IS TO FILM IT STRAIGHTFORWARDLY AND REMIND THE ACTORS TO TALK FAST. IT IS YOUR JOB.

EVERY SCENE MUST BE DRAMATIC. THAT MEANS: THE MAIN CHARACTER MUST HAVE A SIMPLE, STRAIGHTFORWARD, PRESSING NEED WHICH IMPELS HIM OR HER TO SHOW UP IN THE SCENE.

THIS NEED IS WHY THEY CAME. IT IS WHAT THE SCENE IS ABOUT. THEIR ATTEMPT TO GET THIS NEED MET WILL LEAD, AT THE END OF THE SCENE,TO FAILURE - THIS IS HOW THE SCENE IS OVER. IT, THIS FAILURE, WILL, THEN, OF NECESSITY, PROPEL US INTO THE NEXT SCENE.

ALL THESE ATTEMPTS, TAKEN TOGETHER, WILL, OVER THE COURSE OF THE EPISODE, CONSTITUTE THE PLOT.

ANY SCENE, THUS, WHICH DOES NOT BOTH ADVANCE THE PLOT, AND STANDALONE (THAT IS, DRAMATICALLY, BY ITSELF, ON ITS OWN MERITS) IS EITHER SUPERFLUOUS, OR INCORRECTLY WRITTEN.

YES BUT YES BUT YES BUT, YOU SAY: WHAT ABOUT THE NECESSITY OF WRITING IN ALL THAT “INFORMATION?”

AND I RESPOND “FIGURE IT OUT” ANY DICKHEAD WITH A BLUESUIT CAN BE (AND IS) TAUGHT TO SAY “MAKE IT CLEARER”, AND “I WANT TO KNOW MORE ABOUT HIM”.

WHEN YOU’VE MADE IT SO CLEAR THAT EVEN THIS BLUESUITED PENGUIN IS HAPPY, BOTH YOU AND HE OR SHE WILL BE OUT OF A JOB.

THE JOB OF THE DRAMATIST IS TO MAKE THE AUDIENCE WONDER WHAT HAPPENS NEXT. NOT TO EXPLAIN TO THEM WHAT JUST HAPPENED, OR TO*SUGGEST* TO THEM WHAT HAPPENS NEXT.

ANY DICKHEAD, AS ABOVE, CAN WRITE, “BUT, JIM, IF WE DON’T ASSASSINATE THE PRIME MINISTER IN THE NEXT SCENE, ALL EUROPE WILL BE ENGULFED IN FLAME”

WE ARE NOT GETTING PAID TO REALIZE THAT THE AUDIENCE NEEDS THIS INFORMATION TO UNDERSTAND THE NEXT SCENE, BUT TO FIGURE OUT HOW TO WRITE THE SCENE BEFORE US SUCH THAT THE AUDIENCE WILL BE INTERESTED IN WHAT HAPPENS NEXT.

YES BUT, YES BUT YES BUT YOU REITERATE.

AND I RESPOND FIGURE IT OUT.

HOW DOES ONE STRIKE THE BALANCE BETWEEN WITHHOLDING AND VOUCHSAFING INFORMATION? THAT IS THE ESSENTIAL TASK OF THE DRAMATIST. AND THE ABILITY TO DO THAT IS WHAT SEPARATES YOU FROM THE LESSER SPECIES IN THEIR BLUE SUITS.

FIGURE IT OUT.

START, EVERY TIME, WITH THIS INVIOLABLE RULE: THE SCENE MUST BE DRAMATIC. it must start because the hero HAS A PROBLEM, AND IT MUST CULMINATE WITH THE HERO FINDING HIM OR HERSELF EITHER THWARTED OR EDUCATED THAT ANOTHER WAY EXISTS.

LOOK AT YOUR LOG LINES. ANY LOGLINE READING “BOB AND SUE DISCUSS…” IS NOT DESCRIBING A DRAMATIC SCENE.

PLEASE NOTE THAT OUR OUTLINES ARE, GENERALLY, SPECTACULAR. THE DRAMA FLOWS OUT BETWEEN THE OUTLINE AND THE FIRST DRAFT.

THINK LIKE A FILMMAKER RATHER THAN A FUNCTIONARY, BECAUSE, IN TRUTH, YOU ARE MAKING THE FILM. WHAT YOU WRITE, THEY WILL SHOOT.

HERE ARE THE DANGER SIGNALS. ANY TIME TWO CHARACTERS ARE TALKING ABOUT A THIRD, THE SCENE IS A CROCK OF SHIT.

ANY TIME ANY CHARACTER IS SAYING TO ANOTHER “AS YOU KNOW”, THAT IS, TELLING ANOTHER CHARACTER WHAT YOU, THE WRITER, NEED THE AUDIENCE TO KNOW, THE SCENE IS A CROCK OF SHIT.

DO NOT WRITE A CROCK OF SHIT. WRITE A RIPPING THREE, FOUR, SEVEN MINUTE SCENE WHICH MOVES THE STORY ALONG, AND YOU CAN, VERY SOON, BUY A HOUSE IN BEL AIR AND HIRE SOMEONE TO LIVE THERE FOR YOU.

REMEMBER YOU ARE WRITING FOR A VISUAL MEDIUM. MOST TELEVISION WRITING, OURS INCLUDED, SOUNDS LIKE RADIO. THE CAMERA CAN DO THE EXPLAINING FOR YOU. LET IT. WHAT ARE THE CHARACTERS DOING -*LITERALLY*. WHAT ARE THEY HANDLING, WHAT ARE THEY READING. WHAT ARE THEY WATCHING ON TELEVISION, WHAT ARE THEY SEEING.

IF YOU PRETEND THE CHARACTERS CANT SPEAK, AND WRITE A SILENT MOVIE, YOU WILL BE WRITING GREAT DRAMA.

IF YOU DEPRIVE YOURSELF OF THE CRUTCH OF NARRATION, EXPOSITION,INDEED, OF SPEECH. YOU WILL BE FORGED TO WORK IN A NEW MEDIUM - TELLING THE STORY IN PICTURES (ALSO KNOWN AS SCREENWRITING)

THIS IS A NEW SKILL. NO ONE DOES IT NATURALLY. YOU CAN TRAIN YOURSELVES TO DO IT, BUT YOU NEED TO START.

I CLOSE WITH THE ONE THOUGHT: LOOK AT THE SCENE AND ASK YOURSELF “IS IT DRAMATIC? IS IT ESSENTIAL? DOES IT ADVANCE THE PLOT?

ANSWER TRUTHFULLY.

IF THE ANSWER IS “NO” WRITE IT AGAIN OR THROW IT OUT. IF YOU’VE GOT ANY QUESTIONS, CALL ME UP.

LOVE, DAVE MAMET
SANTA MONICA 19 OCTO 05

(IT IS NOT YOUR RESPONSIBILITY TO KNOW THE ANSWERS, BUT IT IS YOUR, AND MY, RESPONSIBILITY TO KNOW AND TO ASK THE RIGHT Questions OVER AND OVER. UNTIL IT BECOMES SECOND NATURE. I BELIEVE THEY ARE LISTED ABOVE.)”

-----------------------------------------------------------------------------------
"The play's the thing wherein I'll catch the conscience of the king."