script-analysis-dramaturgical

What this skill does

# 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:

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

### 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
  ├── Read script completely without annotation
  ├── Note immediate emotional/engagement responses
  └── Capture [FIRST-READER] reactions

  PHASE 2: STRUCTURAL READ  
  ├── Identify act breaks (even if unconventional)
  ├── Mark turning points and structural nodes
  └── Note temporal structure and time span

  PHASE 3: ANALYTICAL READ
  ├── Annotate scene-by-scene
  ├── Tag every beat with function
  └── Map character arcs and transformations

  PHASE 4: SYNTHESIS
  ├── Cross-reference observations
  ├── Identify patterns across readings
  └── 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:

  ┌─────────────────────────────────────────────────────────────────┐
  │                    CORE DOCUMENTS (8)                           │
  ├─────────────────────────────────────────────────────────────────┤
  │  1. COVERAGE REPORT           Executive summary + recommendation│
  │  2. BEAT MAP                  Exhaustive scene-by-scene mapping │
  │  3. STRUCTURAL ANALYSIS       Act/movement architecture         │
  │  4. CHARACTER ATLAS           All characters + arcs             │
  │  5. THEMATIC ARCHITECTURE     Theme layers + motif tracking     │
  │  6. DIAGNOSTIC REPORT         Structural problems + solutions   │
  │  7. THEORETICAL CORRESPONDENCE Framework mapping                │
  │  8. REVISION ROADMAP          Prioritized action items          │
  └─────────────────────────────────────────────────────────────────┘

  ┌─────────────────────────────────────────────────────────────────┐
  │                  OPTIONAL SUPPLEMENTS                           │
  ├─────────────────────────────────────────────────────────────────┤
  │  A. PRODUCTION NOTES          Budget/casting/feasibility        │
  │  B. COMPARATIVE ANALYSIS      Genre comps and influences        │
  │  C. DIALOGUE ANALYSIS         Language patterns and voice       │
  │  D. VISUAL GRAMMAR            Camera/staging/spectacle          │
  │  E. MARKET POSITIONING        Audience + commercial assessment  │
  └─────────────────────────────────────────────────────────────────┘
```

---

## 3. Document Templates

### 3.1 COVERAGE REPORT

```markdown
# [TITLE] — 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 | ○○○○○ | |
| Structure | ○○○○○ | |
| Character | ○○○○○ | |
| Dialogue | ○○○○○ | |
| Theme | ○○○○○ | |
| Market Potential | ○○○○○ | |

Rating key: ●●●●● (5) = Exceptional | ●●●●○ (4) = Strong | ●●●○○ (3) = Competent | ●●○○○ (2) = Needs Work | ●○○○○ (1) = Significant Issues

## Recommendation

[ ] RECOMMEND — Ready for production consideration
[ ] CONSIDER — Strong elements, development needed
[ ] PASS — 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)] — [specific point of comparison]
- [Title (Year)] — [specific point of comparison]
- [Title (Year)] — [specific point of comparison]

---

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

---

### 3.2 BEAT MAP

The beat map is the **exhaustive*