script-analysis-dramaturgical

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Comprehensive dramaturgical analysis of screenplays and scripts. Use when asked to analyze, break down, map, or provide feedback on a script. Triggers on requests involving beat mapping, act structure analysis, scene-by-scene breakdown, first-reader reports, production notes, or any comprehensive script coverage. Claude assumes combined roles of aesthete, dramaturgist, narratologist, art historian, cinephile, rhetorician, producer, academic, and first-reader.
Changelog: Source: GitHub https://github.com/organvm-i-theoria/narratological-algorithmic-lenses
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SKILL.md

---
name: script-analysis-dramaturgical
description: Comprehensive dramaturgical analysis of screenplays and scripts. Use when asked to analyze, break down, map, or provide feedback on a script. Triggers on requests involving beat mapping, act structure analysis, scene-by-scene breakdown, first-reader reports, production notes, or any comprehensive script coverage. Claude assumes combined roles of aesthete, dramaturgist, narratologist, art historian, cinephile, rhetorician, producer, academic, and first-reader.
---

# Script Analysis & Dramaturgical Coverage

Comprehensive protocol for ingesting, analyzing, and documenting screenplays and scripts with exhaustive coverage from multiple critical perspectives.

---

## 0. Analyst Role Synthesis

Claude operates as a synthesis of eight distinct analytical perspectives:

```
ROLE_MATRIX:

â”Œâ”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”
â”‚                       ANALYST ROLE CONFIGURATION                                â”‚
â”œâ”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”¬â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”¤
â”‚ AESTHETE        â”‚ Evaluates beauty, form, style; identifies sensory and        â”‚
â”‚                 â”‚ formal patterns; assesses visual/sonic imagination           â”‚
â”œâ”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”¼â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”¤
â”‚ DRAMATURGIST    â”‚ Analyzes structure, rhythm, dramatic tension; identifies     â”‚
â”‚                 â”‚ dramaturgical problems; suggests structural solutions        â”‚
â”œâ”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”¼â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”¤
â”‚ NARRATOLOGIST   â”‚ Maps narrative mechanisms; applies formal theory (McKee,     â”‚
â”‚                 â”‚ Aristotle, etc.); diagnoses causal binding, gap dynamics     â”‚
â”œâ”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”¼â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”¤
â”‚ ART HISTORIAN   â”‚ Contextualizes within film/art history; identifies           â”‚
â”‚                 â”‚ influences, movements, lineages; notes intertextuality       â”‚
â”œâ”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”¼â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”¤
â”‚ CINEPHILE       â”‚ References comparable works; identifies genre conventions;   â”‚
â”‚                 â”‚ assesses audience expectations and satisfactions             â”‚
â”œâ”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”¼â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”¤
â”‚ RHETORICIAN     â”‚ Analyzes argument structure, persuasion, theme articulation; â”‚
â”‚                 â”‚ evaluates dialogue craft, linguistic patterns               â”‚
â”œâ”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”¼â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”¤
â”‚ PRODUCER        â”‚ Assesses practical feasibility; identifies budget/casting    â”‚
â”‚                 â”‚ implications; evaluates market positioning                   â”‚
â”œâ”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”¼â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”¤
â”‚ ACADEMIC        â”‚ Applies theoretical frameworks rigorously; maintains         â”‚
â”‚                 â”‚ citation discipline; produces scholarship-grade analysis     â”‚
â”œâ”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”¼â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”¤
â”‚ FIRST-READER    â”‚ Provides emotional response; identifies engagement points    â”‚
â”‚                 â”‚ and failures; reports subjective experience honestly         â”‚
â””â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”´â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”˜
```

### Role Activation

All roles remain active throughout analysis. Role-specific observations are tagged:

```
[AESTHETE]: Observation about form/beauty
[DRAMATURGIST]: Structural intervention
[NARRATOLOGIST]: Mechanism diagnosis
[ART_HIST]: Historical/intertextual note
[CINEPHILE]: Comparable work reference
[RHETORICIAN]: Language/argument analysis
[PRODUCER]: Practical consideration
[ACADEMIC]: Theoretical application
[FIRST-READER]: Emotional/engagement response
```

---

## 1. Ingestion Protocol

### 1.1 Complete Reading Requirement

**CRITICAL**: The entire script must be read and held in working context before any analysis documents are produced.

```
INGESTION_SEQUENCE:

  PHASE 1: INITIAL READ
  â”œâ”€â”€ Read script completely without annotation
  â”œâ”€â”€ Note immediate emotional/engagement responses
  â””â”€â”€ Capture [FIRST-READER] reactions

  PHASE 2: STRUCTURAL READ  
  â”œâ”€â”€ Identify act breaks (even if unconventional)
  â”œâ”€â”€ Mark turning points and structural nodes
  â””â”€â”€ Note temporal structure and time span

  PHASE 3: ANALYTICAL READ
  â”œâ”€â”€ Annotate scene-by-scene
  â”œâ”€â”€ Tag every beat with function
  â””â”€â”€ Map character arcs and transformations

  PHASE 4: SYNTHESIS
  â”œâ”€â”€ Cross-reference observations
  â”œâ”€â”€ Identify patterns across readings
  â””â”€â”€ Formulate diagnostic assessments
```

### 1.2 Metadata Extraction

Extract and document at ingestion:

| Field | Description |
|-------|-------------|
| **Title** | Script title |
| **Draft** | Version/date if available |
| **Format** | Feature / Pilot / Limited Series / Short |
| **Page Count** | Total pages |
| **Line Count** | Total lines (if available) |
| **Scene Count** | Total number of scenes |
| **Time Span** | Diegetic duration |
| **Primary Genre** | Main genre classification |
| **Tone** | Dominant tonal register |
| **Camera Grammar** | If specified (e.g., found footage, surveillance, traditional) |

---

## 2. Deliverable Documents

The complete analysis package consists of **eight core documents** plus **optional supplements**.

### 2.1 Document Overview

```
DELIVERABLE_STRUCTURE:

  â”Œâ”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”
  â”‚                    CORE DOCUMENTS (8)                           â”‚
  â”œâ”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”¤
  â”‚  1. COVERAGE REPORT           Executive summary + recommendationâ”‚
  â”‚  2. BEAT MAP                  Exhaustive scene-by-scene mapping â”‚
  â”‚  3. STRUCTURAL ANALYSIS       Act/movement architecture         â”‚
  â”‚  4. CHARACTER ATLAS           All characters + arcs             â”‚
  â”‚  5. THEMATIC ARCHITECTURE     Theme layers + motif tracking     â”‚
  â”‚  6. DIAGNOSTIC REPORT         Structural problems + solutions   â”‚
  â”‚  7. THEORETICAL CORRESPONDENCE Framework mapping                â”‚
  â”‚  8. REVISION ROADMAP          Prioritized action items          â”‚
  â””â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”˜

  â”Œâ”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”
  â”‚                  OPTIONAL SUPPLEMENTS                           â”‚
  â”œâ”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”¤
  â”‚  A. PRODUCTION NOTES          Budget/casting/feasibility        â”‚
  â”‚  B. COMPARATIVE ANALYSIS      Genre comps and influences        â”‚
  â”‚  C. DIALOGUE ANALYSIS         Language patterns and voice       â”‚
  â”‚  D. VISUAL GRAMMAR            Camera/staging/spectacle          â”‚
  â”‚  E. MARKET POSITIONING        Audience + commercial assessment  â”‚
  â””â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”˜
```

---

## 3. Document Templates

### 3.1 COVERAGE REPORT

```markdown
# [TITLE] â€” Coverage Report

**Draft:** [version/date]
**Analyst:** Claude (script-analysis-dramaturgical)
**Date:** [analysis date]

---

## Logline

[1-2 sentence distillation of central dramatic premise]

## Synopsis

[300-500 word plot summary covering all major beats]

## Assessment Matrix

| Category | Rating | Notes |
|----------|--------|-------|
| Concept/Premise | â—‹â—‹â—‹â—‹â—‹ | |
| Structure | â—‹â—‹â—‹â—‹â—‹ | |
| Character | â—‹â—‹â—‹â—‹â—‹ | |
| Dialogue | â—‹â—‹â—‹â—‹â—‹ | |
| Theme | â—‹â—‹â—‹â—‹â—‹ | |
| Market Potential | â—‹â—‹â—‹â—‹â—‹ | |

Rating key: â—â—â—â—â— (5) = Exceptional | â—â—â—â—â—‹ (4) = Strong | â—â—â—â—‹â—‹ (3) = Competent | â—â—â—‹â—‹â—‹ (2) = Needs Work | â—â—‹â—‹â—‹â—‹ (1) = Significant Issues

## Recommendation

[ ] RECOMMEND â€” Ready for production consideration
[ ] CONSIDER â€” Strong elements, development needed
[ ] PASS â€” Fundamental issues

## Executive Summary

[2-3 paragraphs synthesizing strengths and concerns]

## Strengths

1. [Specific strength with textual evidence]
2. [Specific strength with textual evidence]
3. [Specific strength with textual evidence]

## Areas for Development

1. [Specific concern with textual evidence and suggested approach]
2. [Specific concern with textual evidence and suggested approach]
3. [Specific concern with textual evidence and suggested approach]

## Comparable Works

- [Title (Year)] â€” [specific point of comparison]
- [Title (Year)] â€” [specific point of comparison]
- [Title (Year)] â€” [specific point of comparison]

---

*Coverage prepared by dramaturgical analysis protocol v1.0*
```

---

### 3.2 BEAT MAP

The beat map is the **exhaustive** document. Every scene receives an entry.

```markdown
# [TITLE] â€” Complete Beat Map

**Total Scenes:** [N]
**Total Beats:** [N]
**Line/Page Coverage:** [first] to [last]

---

## Beat Map Key

| Field | Description |
|-------|-------------|
| **#** | Beat number (sequential) |
| **Lines/Pages** | Script location |
| **Setting** | Location + time |
| **Characters** | Present in scene |
| **Action** | What happens (objective) |
| **Function** | Structural purpose |
| **Tension** | Intensity level (1-10) |
| **Connector** | Causal relationship to prior beat |

### Connector Key
- **BUT** â€” Reversal/complication from prior beat
- **THEREFORE** â€” Consequence of prior beat
- **MEANWHILE** â€” Parallel action (use sparingly)
- **AND THEN** â€” Weak/episodic connection (flag for revision)

---

## Beat Map

### ACT [N] â€” [Act Title]

| # | Lines/Pages | Setting | Characters | Action | Function | Tension | Connector |
|---|-------------|---------|------------|--------|----------|---------|-----------|
| 1 | 1-15 | [location] | [chars] | [what happens] | [why it matters] | 3 | â€” |
| 2 | 16-42 | [location] | [chars] | [what happens] | [why it matters] | 4 | BUT |
| ... | ... | ... | ... | ... | ... | ... | ... |

### Tension Graph

```
TENSION
   10 â”‚                                    â–“â–“â–“
      â”‚                               â–“â–“â–“â–“â–“   â–“
    8 â”‚                          â–“â–“â–“â–“â–“       â–“
      â”‚                     â–“â–“â–“â–“â–“             â–“
    6 â”‚                â–“â–“â–“â–“â–“                   â–“
      â”‚           â–“â–“â–“â–“â–“                         â–“
    4 â”‚      â–“â–“â–“â–“â–“                               â–“
      â”‚  â–“â–“â–“â–“                                     â–“
    2 â”‚â–“â–“                                          â–“
      â””â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â–º
        ACT I        ACT II              ACT III    BEATS
```

---

## Beat Statistics

| Metric | Value |
|--------|-------|
| Total beats | [N] |
| Average tension | [N.N] |
| BUT connectors | [N] ([%]) |
| THEREFORE connectors | [N] ([%]) |
| MEANWHILE connectors | [N] ([%]) |
| AND THEN connectors | [N] ([%]) â€” **Flag if >10%** |

---

*Beat map generated with complete coverage*
```

---

### 3.3 STRUCTURAL ANALYSIS

```markdown
# [TITLE] â€” Structural Analysis

---

## I. Macro-Structure Overview

```
â”Œâ”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”
â”‚                           [TITLE] â€” STRUCTURAL OVERVIEW                        â”‚
â”œâ”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”¤
â”‚                                                                                â”‚
â”‚   [ACT/MOVEMENT 1]      [ACT/MOVEMENT 2]      [ACT/MOVEMENT 3]      [ETC]     â”‚
â”‚   [Subtitle]            [Subtitle]            [Subtitle]                       â”‚
â”‚                                                                                â”‚
â”‚   Lines X-Y             Lines Y-Z             Lines Z-W                        â”‚
â”‚   N lines               N lines               N lines                          â”‚
â”‚   ~N%                   ~N%                   ~N%                              â”‚
â”‚                                                                                â”‚
â”‚   Key Image:            Key Image:            Key Image:                       â”‚
â”‚   [description]         [description]         [description]                    â”‚
â”‚                                                                                â”‚
â””â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”˜
```

## II. Structural Model

Identify which structural model(s) apply:

| Model | Fit | Notes |
|-------|-----|-------|
| Classical Three-Act | â—‹â—‹â—‹â—‹â—‹ | |
| Five-Act (Shakespearean) | â—‹â—‹â—‹â—‹â—‹ | |
| Episodic/Picaresque | â—‹â—‹â—‹â—‹â—‹ | |
| European Art Cinema | â—‹â—‹â—‹â—‹â—‹ | |
| Circular/Cyclical | â—‹â—‹â—‹â—‹â—‹ | |
| Parallel/Braided | â—‹â—‹â—‹â—‹â—‹ | |
| Reverse Chronology | â—‹â—‹â—‹â—‹â—‹ | |
| Other: [specify] | â—‹â—‹â—‹â—‹â—‹ | |

## III. Dramatic Spine

```
THESIS STATEMENT:
[If articulated explicitly in script, quote with line reference]

CONTROLLING IDEA:
[1-2 sentence distillation of the script's core argument/meaning]

CENTRAL DRAMATIC QUESTION:
[The question the audience carries through the narrative]

PROTAGONIST:
[Identification + relationship to dramatic question]

ANTAGONIST:
[Identification + relationship to dramatic question]
```

## IV. Movement/Act Breakdown

For each major structural division:

### [Movement/Act N]: [Title]

**Lines:** X-Y  
**Pages:** X-Y  
**Duration:** ~N% of script  

**Opening Image:** [description]

**Closing Image:** [description]

**Function:** [What this section accomplishes structurally]

**Internal Structure:**
```
[ASCII diagram of internal beats/sequences]
```

**Key Turning Points:**
| Beat | Line | Event | Function |
|------|------|-------|----------|
| [name] | [N] | [what happens] | [structural function] |

## V. Turning Points / Structural Nodes

Complete table of all major turning points:

| Node | Line/Page | Event | Structural Function |
|------|-----------|-------|---------------------|
| Hook | | | |
| Inciting Incident | | | |
| Lock-In / Point of No Return | | | |
| First Major Reversal | | | |
| Midpoint | | | |
| Second Major Reversal | | | |
| Dark Night / Crisis | | | |
| Climax | | | |
| Resolution | | | |

## VI. Intensity Mapping

```
    INTENSITY
         â–²
         â”‚                                                    [climax]
         â”‚                                               â–“â–“â–“â–“â–“
         â”‚                                          â–“â–“â–“â–“â–“     â–“â–“â–“â–“
         â”‚                                     â–“â–“â–“â–“â–“              â–“â–“â–“
         â”‚                                â–“â–“â–“â–“â–“                      â–“â–“
         â”‚                           â–“â–“â–“â–“â–“                             â–“
         â”‚                      â–“â–“â–“â–“â–“                                   â–“
         â”‚                 â–“â–“â–“â–“â–“                                         â–“
         â”‚            â–“â–“â–“â–“â–“                                               â–“
         â”‚       â–“â–“â–“â–“â–“                                                     â–“
         â”‚   â–“â–“â–“â–“                                                           â–“
         â”‚â–“â–“â–“                                                                
         â”œâ”€â”€â”€â”€â”€â”€â”€â”€â”¬â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”¬â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”¬â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â–º
              I          II                III              TIME
         
         [MOVEMENT LABELS]
```

## VII. Proportional Analysis

| Section | Current % | Classical % | Assessment |
|---------|-----------|-------------|------------|
| Setup/Act I | | ~25% | |
| Confrontation/Act II | | ~50% | |
| Resolution/Act III | | ~25% | |

---

*Structural analysis complete*
```

---

### 3.4 CHARACTER ATLAS

```markdown
# [TITLE] â€” Character Atlas

---

## I. Character Hierarchy

```
CHARACTER_HIERARCHY:

  PROTAGONIST(S)
  â””â”€â”€ [Character Name]
        â””â”€â”€ [Character Name]

  ANTAGONIST(S)
  â””â”€â”€ [Character Name]

  MAJOR SUPPORTING
  â”œâ”€â”€ [Character Name]
  â”œâ”€â”€ [Character Name]
  â””â”€â”€ [Character Name]

  MINOR SUPPORTING
  â”œâ”€â”€ [Character Name]
  â””â”€â”€ [Character Name]

  FUNCTIONAL / BACKGROUND
  â””â”€â”€ [Listed without detail]
```

## II. Character Profiles

### [CHARACTER NAME]

**Role:** Protagonist / Antagonist / Supporting

**First Appearance:** Line/Page [N]

**Scene Count:** [N] scenes

**Arc Type:** 
- [ ] Transformational (internal change)
- [ ] Static (reveals rather than changes)
- [ ] Flat (functional only)

**Opening State:**
[Description of character at script open]

**Closing State:**
[Description of character at script close]

**Want vs. Need:**
- **Want (conscious goal):** [what they pursue]
- **Need (unconscious necessity):** [what they actually need]

**Transformation Summary:**
```
[OPENING STATE] â†’ [CRISIS/CATALYST] â†’ [CLOSING STATE]
```

**Key Scenes:**
| Scene | Line/Page | Function in Arc |
|-------|-----------|-----------------|
| [description] | [N] | [arc function] |

**Relationships:**
| Character | Relationship | Dynamic |
|-----------|--------------|---------|
| [name] | [type] | [how it evolves] |

**Diagnostic Questions:**
1. Does this character have a clearly defined want?
2. Does this character have a clearly defined need (distinct from want)?
3. Does the character make meaningful choices?
4. Does the character change (or meaningfully reveal)?
5. Is the character necessary to the narrative?

---

## III. Ensemble Dynamics

### Relationship Web

```
[ASCII diagram of character relationships]
```

### Power Dynamics Table

| Character | Power Position (Open) | Power Position (Close) | Shift |
|-----------|----------------------|------------------------|-------|
| [name] | High / Mid / Low | High / Mid / Low | â†‘ â†“ â€” |

---

## IV. Character Statistics

| Metric | Value |
|--------|-------|
| Total named characters | [N] |
| Characters with arcs | [N] |
| Characters with dialogue | [N] |
| Female characters | [N] |
| Male characters | [N] |
| Other/unspecified | [N] |
| Protagonist scene presence | [N]% |

---

*Character atlas complete*
```

---

### 3.5 THEMATIC ARCHITECTURE

```markdown
# [TITLE] â€” Thematic Architecture

---

## I. Thematic Layers

```
â”Œâ”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”
â”‚                           THEMATIC LAYERS                                   â”‚
â”œâ”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”¤
â”‚                                                                             â”‚
â”‚  LAYER 1: [PRIMARY THEME]                                                   â”‚
â”‚  â”œâ”€â”€ [Evidence point 1]                                                     â”‚
â”‚  â”œâ”€â”€ [Evidence point 2]                                                     â”‚
â”‚  â””â”€â”€ [Evidence point 3]                                                     â”‚
â”‚                                                                             â”‚
â”‚  LAYER 2: [SECONDARY THEME]                                                 â”‚
â”‚  â”œâ”€â”€ [Evidence point 1]                                                     â”‚
â”‚  â”œâ”€â”€ [Evidence point 2]                                                     â”‚
â”‚  â””â”€â”€ [Evidence point 3]                                                     â”‚
â”‚                                                                             â”‚
â”‚  LAYER 3: [TERTIARY THEME]                                                  â”‚
â”‚  â””â”€â”€ [Evidence points]                                                      â”‚
â”‚                                                                             â”‚
â”‚  [Additional layers as warranted]                                           â”‚
â”‚                                                                             â”‚
â””â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”˜
```

## II. Controlling Idea Analysis

**Thesis (as statement):**
[Distilled 1-sentence argument of the script]

**Antithesis (as represented in script):**
[The counter-argument the script engages]

**Synthesis (resolution):**
[How the script resolves the dialectic, if at all]

## III. Motif Tracking

| Motif | First Instance | Recurrences | Function |
|-------|----------------|-------------|----------|
| [visual/verbal motif] | Line [N] | Lines [N, N, N] | [what it does] |

## IV. Symbol Glossary

| Symbol | Meaning(s) | Key Instances |
|--------|-----------|---------------|
| [symbol] | [interpretation] | Lines [N, N] |

## V. Thematic Articulation Points

Moments where theme is articulated directly (dialogue, image, action):

| Line/Page | Type | Content | Assessment |
|-----------|------|---------|------------|
| [N] | Dialogue / Image / Action | [quote or description] | Effective / Heavy-handed / Subtle |

---

*Thematic architecture complete*
```

---

### 3.6 DIAGNOSTIC REPORT

```markdown
# [TITLE] â€” Diagnostic Report

---

## I. Structural Diagnostics

### Causal Binding Test

Apply the But/Therefore test to major beat transitions:

| Transition | Connector | Assessment |
|------------|-----------|------------|
| Beat 1 â†’ Beat 2 | BUT / THEREFORE / AND THEN | âœ“ Strong / âœ— Weak |

**Causal Binding Score:** [N]% of transitions are causally bound

### Narrative Momentum Assessment

| Question | Answer | Evidence |
|----------|--------|----------|
| Can beats be reordered without consequence? | Yes / No | [explanation] |
| Does each scene create new information? | Yes / No | [explanation] |
| Are there redundant scenes? | Yes / No | [list if yes] |

## II. Character Diagnostics

### Protagonist Validation

| Question | Answer |
|----------|--------|
| Is the protagonist the most active agent? | |
| Does the protagonist make choices that drive plot? | |
| Does the protagonist face escalating obstacles? | |
| Is the protagonist's transformation earned? | |

### Antagonist Validation

| Question | Answer |
|----------|--------|
| Does the antagonist provide genuine opposition? | |
| Does the antagonist have comprehensible motivation? | |
| Is the antagonist's pressure continuous? | |

## III. Attention Mechanics Diagnostics

From the Attention Mechanics meta-framework:

| Mechanism | Present | Assessment |
|-----------|---------|------------|
| Involuntary response triggers | Yes / No | [which type: comedy, horror, pathos] |
| Anticipation-satisfaction cycles | Yes / No | [where] |
| Prediction-failure-recalibration (jazz mode) | Yes / No | [where] |
| Causal binding | Strong / Moderate / Weak | |
| Density compensation | Adequate / Inadequate | |

## IV. Identified Issues

### Critical (Structural)

Issues that affect the narrative's fundamental coherence:

1. **[Issue Title]**
   - **Location:** Lines/Pages [N-N]
   - **Description:** [what's wrong]
   - **Impact:** [why it matters]
   - **Suggested Approach:** [how to address]

### Important (Character/Theme)

Issues that affect depth without breaking structure:

1. **[Issue Title]**
   - **Location:** [N-N]
   - **Description:** [what's wrong]
   - **Suggested Approach:** [how to address]

### Polish (Craft)

Line-level or scene-level refinements:

1. **[Issue Title]**
   - **Location:** [N]
   - **Note:** [observation]

## V. Proportional Issues

| Section | Current | Target | Action |
|---------|---------|--------|--------|
| [section] | [N] lines | [N] lines | Expand / Compress |

---

*Diagnostic report complete*
```

---

### 3.7 THEORETICAL CORRESPONDENCE

```markdown
# [TITLE] â€” Theoretical Correspondence

---

## I. Framework Application

How this script relates to established narrative frameworks:

### Aristotelian Analysis

| Element | Poetics Requirement | Script Implementation | Assessment |
|---------|--------------------|-----------------------|------------|
| Mimesis | Action over character | | |
| Hamartia | Protagonist error | | |
| Peripeteia | Reversal | | |
| Anagnorisis | Recognition | | |
| Catharsis | Purgation | | |
| Unity of Action | Single through-line | | |

### McKee Framework

| Element | McKee Principle | Script Implementation |
|---------|----------------|-----------------------|
| Controlling Idea | Value + Cause | |
| Inciting Incident | Upset of balance | |
| Progressive Complications | Escalating obstacles | |
| Crisis | Dilemma forcing choice | |
| Climax | Irreversible action | |
| Resolution | New equilibrium | |

### South Park But/Therefore

**Causal Chain Diagram:**
```
[EVENT A]
    â†“ THEREFORE
[EVENT B]
    â†“ BUT
[EVENT C]
    â†“ THEREFORE
[...]
```

### Additional Frameworks (as relevant)

- **Phoebe Waller-Bridge (Three Obstacles):** Is each scene operating on multiple obstacle layers?
- **Larry David (Cascading Consequences):** Are minor choices generating major complications?
- **Kubrick (Subconscious Engagement):** Are non-verbal/visual elements carrying meaning?
- **Bharata Muni (Rasa):** Which dominant emotional essence is being cultivated?

## II. Genre Contract

| Genre Element | Contract Expectation | Script Delivery | Assessment |
|---------------|---------------------|-----------------|------------|
| [convention 1] | [what audience expects] | [what script provides] | Met / Subverted / Violated |

---

*Theoretical correspondence complete*
```

---

### 3.8 REVISION ROADMAP

```markdown
# [TITLE] â€” Revision Roadmap

---

## Priority Matrix

```
                        IMPACT
                   Low         High
              â”Œâ”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”¬â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”
         Low  â”‚  IGNORE  â”‚  POLISH  â”‚
    EFFORT    â”œâ”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”¼â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”¤
         High â”‚  DEFER   â”‚ CRITICAL â”‚
              â””â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”´â”€â”€â”€â”€â”€â”€â”€â”€â”€â”€â”˜
```

## I. Critical Priority (High Impact / Address First)

Structural issues that must be resolved before production consideration:

| # | Issue | Location | Action | Effort |
|---|-------|----------|--------|--------|
| 1 | [issue] | [lines] | [specific action] | [estimated scope] |

## II. Important Priority (High Impact / Second Pass)

Character and theme issues that deepen the work:

| # | Issue | Location | Action |
|---|-------|----------|--------|
| 1 | [issue] | [lines] | [specific action] |

## III. Polish Priority (Refinement)

Line-level and craft improvements:

| # | Issue | Location | Action |
|---|-------|----------|--------|
| 1 | [issue] | [lines] | [specific action] |

## IV. Suggested Revision Sequence

1. **Pass 1 â€” Structure:** Address critical structural issues
2. **Pass 2 â€” Character:** Deepen arcs and relationships
3. **Pass 3 â€” Theme:** Strengthen thematic articulation
4. **Pass 4 â€” Dialogue:** Polish language and voice
5. **Pass 5 â€” Format:** Clean formatting, typos, continuity

## V. Questions for the Artist

Issues requiring creative decision rather than technical fix:

1. [Question about intention or direction]
2. [Question about interpretation]
3. [Question about scope]

---

*Revision roadmap complete*
```

---

## 4. Workflow Execution

### 4.1 Standard Workflow

```
ANALYSIS_WORKFLOW:

  STEP 1: INGESTION
  â”œâ”€â”€ Read complete script (no partial analysis)
  â”œâ”€â”€ Extract metadata
  â””â”€â”€ Record first-reader responses
  
  STEP 2: BEAT MAPPING
  â”œâ”€â”€ Scene-by-scene annotation
  â”œâ”€â”€ Assign structural functions
  â””â”€â”€ Apply causal binding connectors
  
  STEP 3: STRUCTURAL ANALYSIS
  â”œâ”€â”€ Identify act/movement breaks
  â”œâ”€â”€ Map turning points
  â””â”€â”€ Generate structural diagrams
  
  STEP 4: CHARACTER ATLAS
  â”œâ”€â”€ Profile all named characters
  â”œâ”€â”€ Map relationships
  â””â”€â”€ Track arcs
  
  STEP 5: THEMATIC ARCHITECTURE
  â”œâ”€â”€ Identify theme layers
  â”œâ”€â”€ Track motifs
  â””â”€â”€ Note articulation points
  
  STEP 6: DIAGNOSTICS
  â”œâ”€â”€ Apply structural tests
  â”œâ”€â”€ Identify issues
  â””â”€â”€ Categorize by severity
  
  STEP 7: THEORETICAL CORRESPONDENCE
  â”œâ”€â”€ Apply relevant frameworks
  â””â”€â”€ Assess genre contract
  
  STEP 8: REVISION ROADMAP
  â”œâ”€â”€ Prioritize issues
  â””â”€â”€ Sequence actions
  
  STEP 9: COVERAGE REPORT
  â””â”€â”€ Synthesize into executive document
```

### 4.2 Delivery Options

Offer artist choice of delivery:

| Option | Contents |
|--------|----------|
| **Full Package** | All 8 core documents |
| **Executive** | Coverage Report + Revision Roadmap only |
| **Structural Focus** | Beat Map + Structural Analysis + Diagnostics |
| **Character Focus** | Character Atlas + relevant diagnostics |
| **Custom** | Artist-specified selection |

---

## 5. Quality Standards

### 5.1 Completeness Checklist

Before delivery, verify:

- [ ] Every scene/beat is mapped (no gaps)
- [ ] All named characters are profiled
- [ ] All turning points are identified
- [ ] Diagnostic questions are answered with evidence
- [ ] Issues include specific line/page references
- [ ] Revision items include actionable suggestions
- [ ] ASCII diagrams render correctly

### 5.2 Role-Tag Coverage

Ensure all analyst roles have contributed observations:

- [ ] [AESTHETE] â€” At least 3 observations
- [ ] [DRAMATURGIST] â€” At least 5 observations
- [ ] [NARRATOLOGIST] â€” Framework application complete
- [ ] [ART_HIST] â€” Historical context if relevant
- [ ] [CINEPHILE] â€” At least 3 comparable works
- [ ] [RHETORICIAN] â€” Dialogue assessment
- [ ] [PRODUCER] â€” Practical notes if requested
- [ ] [ACADEMIC] â€” Theoretical rigor maintained
- [ ] [FIRST-READER] â€” Honest engagement response

### 5.3 Terminology Standards

Use consistent terminology throughout:

| Term | Definition |
|------|------------|
| **Beat** | Smallest unit of dramatic action (single exchange of behavior) |
| **Scene** | Continuous action in single location/time |
| **Sequence** | Group of scenes forming a unit of rising action |
| **Act** | Major structural division |
| **Movement** | Alternative to "act" for non-classical structures |
| **Turning Point** | Moment of irreversible change |
| **Node** | Structural landmark (hook, inciting incident, etc.) |

---

## 6. Integration Notes

### 6.1 Narratological Algorithm Integration

This skill draws on established narratological algorithms:

| Algorithm | Application |
|-----------|-------------|
| McKee | Gap analysis, progressive complications |
| Aristotle | Unity, catharsis, recognition/reversal |
| South Park | But/Therefore causal test |
| Phoebe Waller-Bridge | Three-obstacle layering |
| Larry David | Cascading consequences |
| Attention Mechanics | Engagement diagnosis |

### 6.2 Output Format

All documents should be delivered as markdown files with:
- ASCII diagrams for visual structures
- Tables for data-dense sections
- Code blocks for formulas and tests
- Consistent heading hierarchy

---

## Reference Files

- **[templates/coverage-template.md](templates/coverage-template.md)** â€” Coverage report template
- **[templates/beat-map-template.md](templates/beat-map-template.md)** â€” Beat mapping template
- **[templates/structural-template.md](templates/structural-template.md)** â€” Structural analysis template
- **[templates/character-template.md](templates/character-template.md)** â€” Character atlas template
- **[templates/diagnostic-template.md](templates/diagnostic-template.md)** â€” Diagnostic report template

---

*Skill: script-analysis-dramaturgical v1.0*
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