Berlo’s Model of Communication- the SMCR model

 The Berlo’s model of communication takes into account the emotional aspect of the message. Berlo’s model of communication operates on the SMCR model.

In the SMCR model

• S - Stands for Source
• M - Message
• C - Channel
• R - Receiver

Let us now study the all the factors in detail:

S - Source

The source, also known as the sender, is the one who has the  thought originates. He is the one who transfers the information to the receiver after carefully putting his thoughts into words.

How does the source or the sender transfer his information to the recipient ?

the source or the sender transfer his information to the recipient  with the help of communication skills, Attitude, Knowledge, Social System and Culture.

• Communication Skills

  An individual must possess excellent communication skills to make his communication effective and create an impact among the listeners. The speaker must know where to take pauses, where to repeat the sentences, how to speak a particular sentence, how to pronounce a word and so on. 

• Attitude

  The sender must have the right attitude to create a long lasting impression on the listeners. An individual must be an Viscom graduate from a reputed institute, but he would be lost in the crowd without the right attitude.

• Knowledge

   Knowledge is actually the clarity of the information which the speaker wants to convey to the receiver.  One must be thorough in what he is speaking with complete in-depth knowledge of the subject. 

• Social System

  The listeners were irritated merely because the speaker ignored the social structure of the environment in which he was communicating. He had forgotten about the second party's sentiments, cultural beliefs, and religious convictions.

• Culture

  The cultural background of the community or listeners with whom the speaker is communicating or delivering his speech is referred to as culture.

M - Message

When an individual converts his thoughts into words, a message is created. The process is also called as Encoding.

Any message further comprises of the following elements:

• Content

   It is very important for the speaker to carefully choose the words and take good care of the content of the speech. The content has to be sensible, accurate, crisp, related to the thought to hit the listeners bang on and create an immediate impact.

  The substance or script of the talk is referred to as content. In other words, it is the foundation of any communication. 

  
  

   The speaker must carefully select his or her words and give special attention to the topic of the speech. To have an immediate impact on the listeners, the content must be sensible, precise, and succinct(succinct implies the greatest possible compression)

• Element:  The speech must be coupled with lots of hand movements, gestures, postures, facial expressions, body movements to capture the attention of the listeners and make the speech impressive. Hand movements, gestures, postures, facial expressions, body movements, gestures all come under the elements of the message.

• Treatment

  Treatment is actually the way one treats his message and is conveys to the listeners.  This is referred to as the treatment of the message. One must understand how to present his message so that the message is conveyed in the most accurate form.

• Structure

  A message cannot be expressed in one go. It has to be properly structured in order to convey the message in the most desired form.

• Code

  The communication code must be right. Your body movements, language, expressions, and gestures are the communication's codes, and they must be exact or the message will be corrupted and the recipient would never be able to decode the proper information.

C - Channel

Channel - Channel actually refers to the medium how the information flows from the sender to the receiver.

The five senses are represented by the channels Hearing, Tasting, Seeing, and Smelling.Touching. This allows humans to communicate with one another.

R - Receiver

For a smooth flow of information and a better grasp of the message, the receiver should be on the same platform as the speaker. He should have good communication skills in order to understand what the speaker is saying. He must have a positive mindset in order to comprehend the message. His knowledge should be on par with that of the audience, and he should be knowledgeable about the subject. He should have the same social and cultural background as the speaker.

https://www.managementstudyguide.com/berlo-model-of-communication.htm

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A stage play Script

 

Proscenium Stage

The proscenium is the most popular type of theater stage. The stage faces out and is well known for its curtain, which separates the production from the audience. 

Thrust Stage

The thrust stage brings the audience closer to the production. The stage itself and the surrounding audience chairs form a semicircle.

Theater in the Round

The “theater in the round” quite literally gives the audience a unique perspective every time they see the play. It also changes the dynamic of how you present scenes.

A stage play is a story written that’s intended to be performed in a theater. Stage plays usually include a character glossary (dramatis personae), setting and time, and outlined act and scenes. Intermissions and act/scene-endings are almost always written into the script, as are stage directions, dialogue, and actions.

Famous Types of Stage Plays:

• Comedies
• Dramas
• Tragedies
• Histories
• Satires
• Musicals
• Farces

Guide to play script formatting

The first is the title page — which is very similar to a screenplay title page.

Standard Playwriting Format

Title page check. Now it’s time to write the dramatis personae. The dramatis personae is just a character glossary — and it should look something like this:

Shakespeare's plays,
listed by genre

COMEDIES

• All's Well That Ends Well
• As You Like It
• Comedy of Errors
• Love's Labour's Lost
• Measure for Measure
• Merchant of Venice
• Merry Wives of Windsor
• Midsummer Night's Dream
• Much Ado about Nothing
• Taming of the Shrew
• Tempest
• Twelfth Night
• Two Gentlemen of Verona
• Winter's Tale

HISTORIES

• Henry IV, Part I
• Henry IV, Part II
• Henry V
• Henry VI, Part I
• Henry VI, Part II
• Henry VI, Part III
• Henry VIII
• King John
• Pericles
• Richard II
• Richard III

TRAGEDIES

• Antony and Cleopatra
• Coriolanus
• Cymbeline
• Hamlet
• Julius Caesar
• King Lear
• Macbeth
• Othello
• Romeo and Juliet
• Timon of Athens
• Titus Andronicus
• Troilus and Cressida

Karnad's best-known plays

One of Karnad's best-known works, this 1964 play tells the story of 14th-century Delhi ruler Muhammad Bin Tughlaq. 

• Maa Nishaadha" (One Act Play)
• "Yayati" (1961)
• "Tughlaq" (1964) (translated in Hindustani by B. V. Karanth. Major Indian directors who have staged it: Ebrahim Alkazi, Prasanna, Arvind Gaur, Dinesh Thakur & Shyamanand Jalan (in Bengali).
• "Hayavadana" (1971)
• "Anjumallige" (1977) (translated in Bengali name "JAMINI", by Dr. Biswa Roy, 
• "Hittina Hunja" aka "Bali" (The Sacrifice) (1980)
• "Nagamandala" (1988) (Play with Cobra), based on the script of this play, Nagamandala, A movie in Kannada language was released in 1997, starring Prakash Raj and Vijayalakshmi.
• "Taledanda" (1990) (Death by Beheading), in Hindi it is known as Rakt-Kalyan translated by Ram Gopal Bajaj, first directed by Ebrahim Alkazi for NSD rep., then by Arvind Gaur (1995–2008, still running) for Asmita Theater Group, New Delhi.
• "Agni mattu Male" (1995) (Agni Aur Varsha, The Fire and the Rain), first directed by Prasanna for NSD Rep.
• "Tipu Sultan Kanda Kanasu" (The Dreams of Tipu Sultan)
• "Odakalu Bimba" (2006) (Hindi, Bikre Bimb; English, A heap of Broken Images)
• "Maduve Album" (2006)
• "Flowers" (2012)
• "Benda Kaalu on Toast" (2012)
• "Rakshasa Tangadi" (2018)

https://www.youtube.com/watch?v=JSKEV7zDLe

Types of Playwriting

Playwriting can be done in the following most common areas: 

• Ten-Minute Plays: A good ten-minute play is not a sketch or an extended gag, rather it’s a complete, compact play, with a beginning, middle, and end. 
• One-Act Plays: A good one-act focuses on one main action or problem; there’s no time to get into complicated layers of the plot. They can run from fifteen minutes to an hour or so.irome sharmila
• Full-Length Plays: Full-Length plays are also called evening-length plays because they’re long enough to be their evening. 
• Musicals: These are rare acts, and musical plays can run the gamut in length from ten minutes. 
• https://www.youtube.com/watch?v=PSyedQl9IiQ&pp=ygUObXVzaWNhbHMgcGxheXM%3D
• 
  

Six Aristotelian Elements of Playwriting 

1. What does plotting mean in playwriting?

   Playwriting is the art of writing a script for a play or drama. The profession of playwriting has been around for centuries, although it was more popular during some eras. 

2. 
   

3. Successful playwriting depends not only on dialogue but on intelligent plotting, credible characterization, and the ability to develop a theme.

4. 
   

5. The arrangement of events or incidents on the stage is known as plotting. The plot is composed of clearly defined problems for the characters to solve. It is to be differentiated from the story which is a chronological detailing of events that happened on and off stage. 

6. The playwright must create a plot that should be credible and astonishing.

1. Plot
2. Characterization
3. Theme
4. Dialogue 
5. Rhythm
6. Spectacle

Plot

The arrangement of events or incidents on the stage is known as plotting. The plot is composed of clearly defined problems for the characters to solve. It is to be differentiated from the story which is a chronological detailing of events that happened on and off stage.

 The playwright must create a plot that should be credible and astonishing. 

Characterization

Characterization is another skill that the writer for the stage must come to faster. Characters must be “round” and not “flat”, meaning that they must have multiple dimensions, a thinkable combination of needs, hopes, inhibition, and fears of real human beings. Characters must motivate the events of the plot. 

Theme

The theme is a reason the playwright write the play. Playwriting must include something which it describes. A playwright must have a purpose that the literary work embodies. 

Dialogue 

Dialogue is a credible form of discourse that avoids cliche and artificiality and that varies just as characters do. Dramatic dialogue in playwriting must consist of two parts; narrative and dramatic. 

Rhythm

Rhythm is the heart of the play. Plot, character, dialogue, and spectacle all have their rhythms in time. The combination of all these rhythms creates the impelling force of the play leading to a final climax. Rhythm creates the mood. 

Spectacle

Everything that is seen or heard on stage. Actors, sets, costumes, lights, and sound

Act One

Scene 1

Writopia Lab, New York City. Day.

DAN, a tall Writopia instructor, sits on the couch. He munches on a bunch of potato chips, crumbs fall on his lap. He brushes them off into the crevasses of the couch. REBECCA enters the room with her coat on.

REBECCA

Dan?

DAN

What?

REBECCA

Did you just brush off your crumbs in the couch?

DAN

shrugging

No.

REBECCA

You’re lying. And now I have to sweep them up.

DAN gets up and walks up to REBECCA.

DAN

Don’t worry about it. I’ll do it.

REBECCA and DAN freeze, staring at one another as the lights on them dim down. Lights come up from behind the couch, where a large chip crumb named NORMAN breaks out into song.

NORMAN THE CRUMB

Dan won’t sweep me up, he will forget about me. I’m so lucky — here at Writopia with instructors like Dan!

https://www.opensourceshakespeare.org/views/plays/plays.php

https://www.opensourceshakespeare.org/views/plays/plays.php

https://www.thoughtco.com/plays-theater-newcomers-should-see-2713601

tamil drama script

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Why is editing an important part of filmmaking?

Editors are part creatives and part technicians. 

We need  a comprehensive understanding of the industry standard editing softwares. 

These include 

Adobe Premiere Pro vs. Final Cut Pro, and 

Da Vinci Resolve.

Narrative continuity: 

Film editing is the art of connecting shots, scenes, and sequences to pull a movie’s story together. Shot length, camera angle emphasis, scene order and transitions, and sound design all impact viewer experience. 

https://www.youtube.com/watch?v=33eWqDZ6sRc&pp=ygUWTmFycmF0aXZlIGNvbnRpbnVpdHk6IA%3D%3D

An editor could be selecting and cleaning up the best footage, placing it in the right order, and matching it with the right audio and soundtrack, editors also give a rhythm to a movie’s progression. 

Tone:

 Editing in film is also used as a visual language. The editor creates emotional meaning. Even seemingly small decisions in the editing room—such as using sharp, short cuts instead of leaving in long, unbroken shots—influences a scene’s tone. Some editing decisions can change the entire feeling of a film. 

Mediation: 

An editor can also be a mediator between the different departments of a film and contribute their own creative ideas throughout the filmmaking process. 

Learn the intentions of different cuts and transitions: 

Use the cuts intentionally in your editing. 

1. Use a smash cut to emphasis a shocking moment. 
2. Use L-cuts and J-cuts to make conversations flow naturally. Use insert shots to give the audience vital information without wordy exposition. 

Match the editing to the film's tone: 

The editing made for a film directed toward crafting its overall narrative. 

For example, an action movie such as “John Wick” is edited to be fast and fluid, while a period drama such as “There Will Be Blood” is slow and weighty.

The editing gives appropriate  tone of the film. 

Study acting: 

A great video editor can understand the components of a great performance. Often, he will be building scenes from multiple takes

Be original: 

Good editing can also mean assembling a film in an unconventional way that mixes up the structure. Editing can also be used to create a distinct visual style and identity for a film. Think of “Birdman or (The Unexpected Virtue of Ignorance),” which was made to look like a single, uncut shot. 

Be evocative: 

 Film editors must also be well versed in technical elements such as film segments, shots and camera movements, cuts, and continuity. 

Momentary editing: 

This is the basic shot placement, cuts, dialogue flow, action, and continuity within scenes.

Structural editing:  Structural editing

This is the big picture of the film, which includes pacing, scene order, sequences, and plot movements.

Segments of a film: 

Editing a film is the process of building up bits and pieces until you’re eventually left with a complete project. Here are the building blocks used by film editors:

• Shot: A continuous piece of footage between cuts.
• Scene: The basic storytelling unit of a film, scenes are compositions of shots and audio in a singular space and time. 
• Sequence: A distinct narrative segment of a film that is made up of multiple related scenes—
• Act: One of the major blocks of a film that encompasses multiple sequences. Many films follow a three-act structure that includes common elements of storytelling, such as a climax in the third act followed by a resolution and falling action.

https://www.youtube.com/watch?v=XA87UorMO-U&pp=ygUTTW9tZW50YXJ5IGVkaXRpbmc6IA%3D%3D

Shots and camera movements: Even though camera work isn’t the editor’s direct responsibility, they should know the basics. Learning about the art of cinematography—especially the different kinds of shots and camera movements—is essential for knowing how to make a balanced edit.

Cuts:  In the video editing process, a cut refers to the shift from one clip to another. The term “cutting” came from the era when all movies were cut and spliced together on reels of physical film. Today, the majority of editing is done in digital programs such as Adobe Premiere Pro and Final Cut Pro. A few different kinds of cuts include

Standard/hard cut: A simple transition from one shot to another that’s most commonly used within scenes.

Smash cut: A sharp, snap change of one scene to another that emphasizes two contrasting elements. This cut is usually used to highlight a particular story beat, such as a punch line to a joke in a comedy or a way to release a tense moment in a horror or action movie. 

Split edit: A deliberate mismatch of video and audio between scenes. Either the audio from the next scene begins before the video (a J-cut) or the video proceeds the audio (an L-cut)

Cutaway: This is when an editor embeds a shot from a different time and space into a scene as a way of introducing new information or story beats. 

Montage: The French word for “assembly,” a montage is an arrangement of short clips into a continuous sequence. Montages are typically set to music or narration and convey a lot of narrative information in a brief segment of the film. 

A cut can also mean one of the different versions of a film. Among the different kinds are:

The assembly cut: the editor’s first version of the project.

The rough cut: an unfinished version of the project that implements notes and tweaks from the director but still includes temp sound, music, and VFX, as well as scenes that will ultimately be trimmed or cut from 

the Final cut: the version of the project that is locked with finished music and VFX

Continuity: One of an editor’s primary duties is maintaining continuity, or consistency of time and space within the film. 

In the shot-to-shot sense, continuity means that the visual and audio elements line up. For example, if a character is standing in a corner and holding a prop in one shot, they should be in the same position in the next, unless an action has occurred. Audio, like dialogue or diegetic sounds (sounds that originate within the world of the film), should also flow between shots.

Plot continuity is arguably even more important than visual and audio continuity. 

During the video editing process, a lot may be left on the cutting room floor. Shots, scenes, and entire characters might be trimmed out depending on what the director, producers, and studio decide. As a result, the film’s editor has to keep a sharp eye on the setup and payoff of plot points.

 

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Types Of Transitions In Film

 https://www.musicgateway.com/blog/how-to/film-transition

Different types of transitions in film are a vital part of the filmmaking process. 

Film transitions are extremely important in film, as they can 

1. help to set the mood or tone of a scene. 
2. and help to signify to the audience the passing of a certain amount of time or to separate out parts of the narrative. 

Types Of Transitions In Film

In this section of the article, we will detail the main types of transitions in film. 

They are techniques that are used to combine shots in film. This can be achieved during the filming, or editing process. Film transitions are extremely important in film, as they can help to set the mood or tone of a scene. 

The Dissolve 

The dissolve is a film transition editing technique. It gives the impression of one video clip dissolving into the next one that appears on screen. 

The quick dissolves convey action and life, and the slower dissolves are used to create an atmosphere of despair.  

The Cutaway 

A cutaway is a shot that “cuts away” from the main action to show supporting information – then returns to the main shot to reinforce that information. Cutaways can be used to transport us to a different time and place in order to confirm something that a character said. Cutaways can also be used to show something happening in the same scene as the main action 

A cutaway shot is a supplementary shot that “cuts away” from the main action to indicate something else in the space, such as an object or location. Cutaway shots enrich the story and are a great way to show essential elements of the story instead of telling them to the audience through exposition.

The Wipe 

It will be easier here to break up the different transition techniques that the wipe can offer. 

There’s the iris wipe (the shape of a circle), matrix wipe (the pattern of shapes), clock wipe (rotating the shape in clock hands), heart wipe (the shape of a heart) and the invisible wipe (the use of walls to cover cut). 

The two most commonly used are the natural wipe and the iris wipe. 

The natural wipe is pretty self-explanatory, as the aim of the transition is to be as seamless as possible for the audience. 

The iris wipe is used to focus on the cemental subject while cropping out the majority of the rest of the frame. 

The Fade 

This is one of the most common types of transitions in film. It’s typically used to signify the beginning or ending of a scene. 

It’s a popular transition technique for filmmakers who are fading to black or white.  

The L Cut & J Cut 

Let’s begin with the L Cut. This type of film transition technique is also known as a split edit, and it’s a film technique that’s been around since the analog filming days.

Put simply, it’s when the sound of the scene of a film transitions over to the next scene (or shot) despite the fact the sound no longer matches the video. These types of edits are great for portraying conversions between characters.

Match Cut 

A match cut is an edit in cinematography that uses elements of one scene in the transition to the next scene. The purpose is to create a visual match for different scenes that are not inherently linked, like scenes set in different locations, by having a second shot that — in some way — mirrors the first.A match cut uses two similar shapes, sounds, outlines, or actions to seamlessly cut from one image to another. 

“It’s useful for when you are doing something in one shot, and you know that your next shot is going to involve something moving in the same direction or the same position in the frame as the one previous,

Match cutting doesn’t have to be just for movement. It can also be used to illustrate the passage of time, as in a montage. Or it can also be used to connect similar shapes with the same frame composition

Jump Cut 

French illusionist and filmmaker Georges Méliès is credited as the “inventor” of the jump cut after accidentally discovering the effect in the late 1800s.

Jump cuts are used in editing to purposefully break the rules of continuity to emphasize a point, elicit an emotional reaction from the audience, or avoid monotony, especially when depicting the passage of time.

Emphasizing changing mental states

There are various methods that can be used to highlight a character’s mood; a jump cut is an extremely effective way to illustrate how quickly someone goes from joy to sorrow, or across another range of emotions and/or mental states. Increasing confusion, nervousness, or showing an unpleasant mood without lingering too long is one benefit of this tool. 

Elevating tension

A jump cut can push the terror closer to the camera without giving the viewer a chance to look away, heightening an unsettling atmosphere.

Adding special effects

This is a tried and tested way to increase scares by removing or adding something to the frame, as it’s disquieting for both characters and audiences

Jump cuts are often meant to disorient or surprise, if used incorrectly or inappropriately, they can be distracting. While a jump cut is far from the only tool in the video editor’s arsenal, there is a time and place for the technique.

Define continuity editing.

Continuity editing is an editing system used to maintain consistency of both time and space in the film. Continuity editing helps ground audiences in the reality of the film while establishing a clear and structured narrative.

The goal of continuity editing is to make the mechanisms of filmmaking invisible as to help the audience dismiss disbelief more easily.

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Crosscut

Cross cuts go back and forth between two shots that are happening at the same time in order to build scale, continuity and or tension. Christopher Nolan does an amazing job of using cross cuts in movies like Memento and Interstellar. Let’s take a look at a video that explores the art of Nolan's cross-cutting.

“Making it in this business, means making sure you have everything you need to succeed.”

W

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