Base Tag Set for Drama

This base tag set is intended for use when encoding printed dramatic texts, screen plays or radio scripts, and written transcriptions of any form of performance.

Section discusses elements, such as cast lists, which can appear only in the front or back matter of printed dramatic texts. Section discusses the structural components of performance texts: these include major structural divisions such as acts or scenes (section ); individual speeches (section ); stage directions (section ); and the elements making up individual speeches (section ). Section discusses ways of encoding units which cross the simple hierarchic structure so far defined, such as embedded songs or other masques. Finally, section discusses a small number of additional elements characteristic of screen plays and radio or television scripts, and for representing technical stage directions such as lighting or blocking.

To enable the base tag set for performance texts, the parameter entity TEI.drama must be declared within the document type subset with the value INCLUDE, as further described in section . A document using the base tag set for drama and no additional tag sets will thus begin as follows: ]> ]]> This declaration makes available all of the elements described in this chapter, in addition to the core elements described in chapter . The default structure for dramatic texts is similar to that defined by chapter , as further discussed in section .

Three additional element classes are defined by this base tag set. The dramafront class contains elements which can appear only in the front or back matter of performance texts. The stageDirection class contains a set of elements for specialized stage directions, which can occur between or within speeches. The comp.drama class contains all elements which may appear as components of performance texts, in addition to those defined in the core. The classes are defined using parameter entities as shown below: ]]> The remainder of the DTD fragment defining the base tag set for drama has the following overall shape: %tei.structure.dtd; ]]> Front and Back Matter

In dramatic texts, as in all TEI conformant documents, the header element is followed by a text element, which contains optional front and back matter, and either a body or else a group of nested text elements. For more information on these, see chapter .

The front and back elements are most likely to be of use when encoding preliminary materials in published performance texts. These often contain specific textual elements not generally found in other forms of text. These include: contains a section of front or back matter describing how a dramatic piece is to be performed in general or how it was performed on some specific occasion. contains the prologue to a drama, typically spoken by an actor out of character, possibly in association with a particular performance or venue. contains the epilogue to a drama, typically spoken by an actor out of character, possibly in association with a particular performance or venue. contains a description of the setting, time, locale, appearance, etc., of the action of a play, typically found in the front matter of a printed performance text (not a stage direction). contains a single cast list or dramatis personae.

Elements for encoding each of these specific kinds of front matter are discussed in the remainder of this section, in the order given above. In addition, the front matter of dramatic texts may include the same elements as that of any other kind of text, notably title pages and various kinds of text division, as discussed in section . The encoder may choose to ignore the specialized elements discussed in this section and instead use constructions of the type div type=performance or div1 type=set.

Most other material in the front matter of a performance text will be marked with the default text structure elements described in chapter . For example, the title page, dedication, other commendatory material, preface, etc., in a printed text should be encoding using div or div1 elements, containing headings, paragraphs, and other core tags.

The specialized elements for front and back matter of performance texts are defined as follows: ]]> The Set Element

A special form of note describing the setting of a dramatic text (that is, the time and place of its action) is sometimes found in the front matter. contains a description of the setting, time, locale, appearance, etc., of the action of a play, typically found in the front matter of a printed performance text (not a stage direction). Descriptions of the setting may also appear as initial stage directions in the body of the play, but such descriptions should be marked as stage directions, not set. The set element should be used only where the description forms part of the front matter, as in the following examples: The action of the play is set in Chicago's Southside, sometime between World War II and the present. ]]> ...

...
...
...
Note on the Translation ...
Peer Gynt
Characters ...
The action, which opens in the early years of the last century and closes about fifty years later, takes place partly in the Gudbrand Valley in Norway and on the mountains around it, partly on the Moroccan coast, partly in the Sahara Desert, the asylum in Cairo, at sea, etc. ... ]]>

The set element is formally defined as follows: ]]> Prologues and Epilogues

Many plays in the Western tradition include in their front matter a prologue, spoken by an actor, generally not in character. Similar speeches often also occur at the end of the play, as epilogues. The elements prologue and epilogue are provided for the encoding of such features within the front or back matter, where appropriate. contains the prologue to a drama, typically spoken by an actor out of character, possibly in association with a particular performance or venue. contains the epilogue to a drama, typically spoken by an actor out of character, possibly in association with a particular performance or venue. A prologue may be encoded just like a distinct poem, as in the following example: Prologue, spoken by Mr. Hart Poets like Cudgel'd Bullys, never do At first, or second blow, submit to you; But will provoke you still, and ne're have done, Till you are weary first, with laying on: We patiently you see, give up to you, Our Poets, Virgins, nay our Matrons too. The Persons The SCENE London ]]>

A prologue or epilogue may also be encoded as a speech, using the sp element described in section . This is particularly appropriate where stage directions, etc., are involved, as in the following example: Written by Colley Cibber, Esq and spoken by Mrs. Cibber Since Fate has robb'd me of the hapless Youth, For whom my heart had hoarded up its truth; By all the Laws of Love and Honour, now, I'm free again to chuse, — and one of you Suppose I search the sober Gallery; -- No, There's none but Prentices — & Cuckolds all a row: And these, I doubt, are those that make 'em so. Pointing to the Boxes. 'Tis very well, enjoy the jest: ]]>

In cases where the prologue or epilogue is clearly a significant part of the dramatic action, it may be preferable to include it in the body of a text, rather than in the front or back matter. In such cases, the encoder (and theatrical tradition) will determine whether or not to regard it as a new scene or division, or simply the final speech in the play. In the First Folio version of Shakespeare's Tempest, for example, Prospero's final speech is clearly marked off as a distinct textual unit by the headings and layout of the page, and might therefore be encoded as back matter: I'le deliver all, And promise you calme Seas, auspicious gales, Be free and fare thou well: please you, draw neere. Exeunt omnes. Epilogue, spoken by Prospero. Now my Charmes are all ore-throwne, And what strength I have's mine owne As you from crimes would pardon'd be, Let your Indulgence set me free.Exit The Scene, an un-inhabited Island. Names of the Actors. Alonso, K. of Naples Sebastian, his Brother. Prospero, the right Duke of Millaine. FINIS ]]>

In many more modern editions, the editors have chosen to regard Prospero's speech as a part of the preceding scene: Prospero I'll deliver all, And promise you calm seas, auspicious gales, Be free and fare thou well. Exit Ariel Please you, draw near. Exeunt all but Prospero Epilogue Now my charms are all o'erthrown, And what strength I have's mine own As you from crimes would pardoned be, Let your indulgence set me free. He awaits applause, then exit. ]]>

Prologues and epilogues are formally defined as follows: ]]> Records of Performances

Performance texts are not only printed in books to be read, they are also performed. It is common practice therefore to include within the front matter of a printed dramatic text some brief account of particular performances, using the following element: contains a section of front or back matter describing how a dramatic piece is to be performed in general or how it was performed on some specific occasion. The perform element may be used to to group any and all information relating to the actual performance of a play or screenplay, whether it specifies how the play should be performed in general or how it was performed in practice on some occasion.

Performance information may include complex structures such as cast lists, or paragraphs describing the date and location of a performance, details about the setting portrayed in the performance and so forth. (See the discussion of these specialized structures elsewhere.) If information for more than one performance is being recorded, then more than one performance element should be used.

Names of persons, places, and dates of particular significance within the performance record may be explicitly marked using the general purpose name, rs type=place and date elements described in section ; the more detailed tagging for names and dates defined by chapter may also be employed. No particular elements for such features as theatres, directors, etc., are proposed at this time.

For example: Death of a Salesman

A New Play by Arthur Miller

Staged by Elia Kazan Cast (in order of appearance) Willy Loman Lee J. Cobb Linda Mildred Dunnock Biff Arthur Kennedy Happy Cameron Mitchell

The setting and lighting were designed by Jo Mielziner.

The incidental music was composed by Alex North.

The costumes were designed by Julia Sze.

Presented by Kermit Bloomgarden and Walter Fried at the Morosco Theatre in New York on February 10, 1949. ]]> Or:

La Machine Infernale a été représentée pour la première fois au théâtre Louis-Jouvet (Comédie des Champs-Élysées) le 10 avril 1934, avec les décors et les costumes de Christian Bérard. ]]>

The performance element is formally defined as follows: ]]> Cast Lists

A cast list is a specialized form of list, conventionally found at the start or end of a play, usually listing all the speaking and non-speaking roles in the play, often with additional description (Cataplasma, a maker of Periwigges and Attires) or the name of an actor or actress (Old Lady Squeamish. Mrs Rutter). Cast lists may be encoded with the general purpose list element described in section , but for more detailed work the following specialized elements are provided: contains a single cast list or dramatis personae. groups two or more individual castItem elements within a cast list. contains a single entry within a cast list, describing either a single role or a list of non-speaking roles. Attributes include: characterizes the cast item. Sample values include: the item describes a single role. the item describes a list of non-speaking roles. the name of a dramatic role, as given in a cast list. describes a character's role in a drama. Full name of an actor appearing within a cast list. Cast lists often have an internal structure of their own; it is quite usual to find, for example, nobility and commoners, or male and female roles, presented in different groups or sublists. Roles are also often grouped together by their function, for example: Sons of Cato: Portius Marcus

A cast list relating to a specific performance may be accompanied by notes about the time or place of that performance, indicating (for example) the name of the theatre where the play was first presented, the name of the producer or director, and so forth. When the cast list relates to a specific performance, it should be embedded within a performance element (see section ), as in the following example:

The first performance in Great Britain of Waiting for Godot was given at the Arts Theatre, London, on 3rd August 1955. It was directed by Peter Hall, and the décor was by Peter Snow. The cast was as follows:

Estragon: Peter Woodthorpe Vladimir: Paul Daneman ... ]]>

In this example, the castItem elements have no substructure. If desired, however, their components may be more finely distinguished using the elements role, roleDesc, and actor. For example, the first cast item above might be encoded as follows: Vladimir: Paul Daneman ]]>

The global id attribute may be used to specify a unique identifier for the role element, where it is desired to link speeches within the text explicitly to the role, using the who attribute, as further discussed in section below.

The occasionally lengthy descriptions of a role sometimes found in written play scripts may be marked using the roleDesc element, as in the following example: Tom Thumb the Great a little hero with a great soul, something violent in his temper, which is a little abated by his love for Huncamunca Young Verhuyk ]]> For non-speaking or un-named roles, a castItem may contain a roleDesc without an accompanying role, for example Costermonger ]]>

When a list of such minor roles is given together, the type attribute of the castItem should indicate that it contains more than one role. The encoder may or may not elect to encode each separate constituent within such a composite castItem. Thus, either of the following is acceptable: Constables, Drawer, Turnkey, etc. Constables, Drawer, Turnkey, etc. ]]>

A group of cast items forming a distinct subdivision of a cast list may be marked as such by using the special purpose castGroup element. The rend attribute should be used to indicate whether this grouping is indicated in the text by layout alone (i.e. the use of whitespace), by long braces or by some other means. A castGroup consists of an optional heading, (represented as usual by a head element) followed by a series of castItem elements. friends of Mathias WalterMr Frank Hall HansMr F.W. Irish ]]>

The following example demonstrates the use of the castGroup element to structure the whole of a castList, reflecting the way it is presented on the page: Mendicants Aafaa Femi Johnson BlindmanFemi Osofisan Goyi Wale Ogunyemi Cripple Tunji Oyelana Si Bero Sister to Dr Bero Deolo Adedoyin Two old women Iya AgbaNguba Agolia Iya MateBopo George Dr Bero Specialist Nat Okoro Priest Gbenga Sonuga The old man Bero's father Dapo Adelugba ]]>

The castList element and its components have the following formal definitions: ]]> The Body of a Performance Text

The body of a performance text may be divided into structural units, variously called acts, scenes, stasima, entr'actes, etc. All such formal divisions should be encoded using an appropriate text-division element (div, div1, div2, etc.), as further discussed in section . Whether divided up into such units or not, all performance texts consist of sequences of speeches (see ) and stage directions (see ). Speeches will generally consist of a sequence of chunk-level items: paragraphs, verse lines, stanzas, or (in case of uncertainty as to whether something is verse or prose) seg elements (see ).

The boundaries of formal units such as verse lines or paragraphs do not always coincide with speech boundaries. Units such as songs may be discontinuous or shared among several speakers. As described below in section , such fragmentation may be encoded in a relatively simple fashion using the linkage and aggregation mechanisms defined in chapter . Major Structural Divisions

Large divisions in drama such as acts, scenes, stasima, or entr'actes are indicated by numbered or unnumbered div elements, as described in section . The type and n attributes may be used to define the type of division being marked, and to provide a name or number for it, as in the following example: Night—Faust's Study (i) Outside the City Gate ]]>

Where the largest divisions of a performance text are themselves subdivided, most obviously in the case of plays traditionally divided into acts and scenes, further nested text-division elements may be used, as in this example: Act One Pa Ubu, Ma Ubu Pa Ubu

Pschitt!

A room in Pa Ubu's house, where a magnificent collation is set out Act Two Scene One Scene Two ]]>

In the example above, the div2 element has been used to represent the French scene convention, (where the entrance of each new set of characters is marked as a distinct unit in the text) and the div1 element to represent the acts into which the play is divided. The elements chosen are determined only by the hierarchic position of these units in the text as a whole. If the text had no acts, but only scenes, then the scenes might be represented by div1 elements. Equally, if a play is divided only into acts, with no smaller subdivisions, then the div1 element might be used to represent acts. The type should be used, as above, where it is desired to make explicit the name associated with a particular category of subdivision.

As an alternative to the use of these numbered divisions, the encoder may represent all subdivisions with the same element, the unnumbered div. The second act in the above example would then be represented as follows: Act Two

Scene One
Scene Two
]]>

For further discussion of the use of numbered and unnumbered divisions, see section . Speeches and Speakers

The following elements are used to identify speeches and speakers in a performance text: An individual speech in a performance text, or a passage presented as such in a prose or verse text. Attributes include: identifies the speaker of the part by supplying an ID. A specialized form of heading or label, giving the name of one or more speakers in a dramatic text or fragment.

As noted above, the structure of many performance texts may be analysed as multiply hierarchic: a scene of a verse play, for example, may be divided into speeches and, at the same time, into verse lines. The end of a line may or may not coincide with the end of a speech, and vice versa. Other structures, such as songs, may be discontinuous or split up over several speeches. For some purposes it will be appropriate to regard the verse-structure as the fundamental organizing principle of the text, and for others the speech structure; in some cases, the choice between the two may be arbitrary. The discussion in the remainder of this chapter assumes that it is the speech-based hierarchy which most prominently determines the structure of performance texts, but the same mechanisms could be employed to encode a view of a performance text in which individual speeches were entirely subordinate to the formal units of prose and verse. SGML's CONCUR feature also allows for two (or more) such conflicting hierarchic views to be presented in a single document. For more detailed discussion and examples of alternative treatments of this fundamental issue, refer to chapter .

The who attribute and the speaker element are both used to indicate the speaker or speakers of a speech, but in rather different ways. The speaker element is used to encode the word or phrase actually used within the source text to indicate the speaker: it may contain any string or prefix, and may be thought of as a highly specialized form of stage direction. The value of the who attribute however is a unique code, probably made up by the transcriber, which will unambiguously identify the character to whom the speech is assigned. To enforce this uniqueness, the base tag set for drama defines the value of this attribute as IDREFS. This means that the codes included in it must correspond with codes which are specified elsewhere in the document as identifiers for particular elements, typically the role element in the cast list where the character is named or described, as discussed in above. Menaechmus Peniculus Menaechmus Responde, adulescens, quaeso, quid nomen tibist? Peniculus Etiam derides, quasi nomen non noveris? Menaechmus Non edepol ego te, quot sciam, umquam ante hunc diem Vidi neque novi; ... ]]>

If present, a speaker element may only appear as the first part of a sp element. The distinction between the speaker element and the who attribute makes it possible to encode uniformly characters whose names are not indicated in a uniform fashion throughout the play, or characters who appear in disguise, as in the following examples: . Henry Higgins The Notetaker ]]>

If the speaker attributions are completely regular (and may thus be reconstructed mechanically from the values given for the who attribute), or are of no interest for the encoder of the text (as might be the case with editorially supplied attributions in older texts), then the speaker element need not be used; the former example above then might look like this: Menaechmus Peniculus Responde, adulescens, quaeso, quid nomen tibist? Etiam derides, quasi nomen non noveris? Non edepol ego te, quot sciam, umquam ante hunc diem Vidi neque novi; ... ]]>

More than one IDREF may be listed as value for the who attribute if the speech is spoken by more than one person, as in the following example: Nano and Castrone sing Fools, they are the only nation Worth men's envy or admiration ]]>

The sp and speaker elements are both declared within the core tag set (see section ). Stage Directions

Both between and within the speeches of a written performance text, it is normal practice to include a wide variety of descriptive directions to indicate non-verbal action. The following elements are provided to represent these: contains any kind of stage direction within a dramatic text or fragment. Attributes include: indicates the kind of stage direction. Suggested values include: describes a setting. describes an entrance. describes an exit. describes stage business. is a narrative, motivating stage direction. describes how a character speaks. gives some detail about a character. describes a location. more than one of the above marks the actual entrance or exit of one or more characters on stage. Attributes include: identifies the character or characters performing the movement. characterizes the movement, for example as an entrance or exit. Suggested values include: character is entering the stage. character is exiting the stage. character moves on stage specifies the direction of a stage movement. Sample values include: stage left stage right centre stage identifies the performance or performances in which this movement occurred as specified.

A satisfactory typology of stage directions is difficult to define. Certain basic types such as entrance, exit, setting, delivery, are easily identified. But the list is not a closed one, and it is not uncommon to mix types within a single direction. No closed set of values for the type attribute is therefore proposed at the present time, though some suggested values are indicated in the list below, which also indicates the range of possibilities. The throne descends. Music Enter Husband as being thrown off his horse. Exit pursued by a bear. He quickly takes the stone out. To Lussurioso. Aside. Not knowing what to say. Disguised as Ansaldo. At a window. Having had enough, and embarrassed for the family. ]]>

Where possible, the values used for the type attribute on stage elements should be defined within the tagUsage element of the TEI header (described in section ). For example: This element is used for all stage directions, editorial or authorial. The TYPE attribute on this element takes one or more of the following values: ]]>

The stage element may appear both between and within sp elements. It may contain a mixture of phrase level elements, possibly combined into paragraphs, as in the following example:

Scene. &mdash A room furnished comfortably and tastefully but not extravagantly ... The floor is carpeted and a fire burns in the stove. It is winter.

A bell rings in the hall; shortly afterwards the door is heard to open. Enter NORA humming a tune ... Nora

Hide the Christmas Tree carefully, Helen. Be sure the children do not see it till this evening, when it is dressed. To the PORTER taking out her purse How much? ]]>

The stage element may also be used in non-theatrical texts, to mark sound effects or musical effects, etc., as further discussed in section .

The move element is intended to help overcome the fact that the stage directions of a printed text may often not provide full information about either the intended or the actual movement of actors etc. on stage. It may be used to keep track of entrances and exits in detail, so as to know which characters are on stage at which time. Its attributes permit a relatively formal specification for movements of characters, using user-defined codes to identify the characters involved (the who attribute), the direction of the movement (type attribute), and optionally which part of the stage is involved (where attribute). For stage-historical purposes, a perf attribute is also provided; this allows the recording of moves as taken in different performances of the same text.

The move element should be located at the position in the text where the move is presumed to take place. This will often coincide with a stage direction, as in the following simple example: Enter Bellafront mad. ]]>

The move element can however appear independently of a stage direction, as in the following example: Gent.

Neither to you, nor any one; having no witness to confirm my speech. Lo you! here she comes. This is her very guise; and, upon my life, fast asleep.

]]>

The stage element is defined by the core TEI tag set (see section ). The move element is defined as follows: ]]> Speech Contents

The actual speeches of a dramatic text may be composed of running text, which must be formally organized into paragraphs, in the case of prose (see section ), verse lines or line groups in that of verse (see section ), or seg elements, in case of doubt as to whether the material should be treated as verse or prose. The following elements, all of which are defined in the core, are available for marking units of prose or verse within speeches: marks paragraphs in prose. marks the start of a new (typographic) line in some edition or version of a text. Attributes include: indicates the number or other value associated with the line which follows the point of insertion of this lb. indicates the edition or version in which the line break is located at this point. contains a single, possibly incomplete, line of verse. Attributes include: specifies whether or not the line is metrically complete. Legal values are: the line is metrically incomplete either the line is complete, or no claim is made as to its completeness the initial part of an incomplete line a medial part of an incomplete line the final part of an incomplete line contains a group of verse lines functioning as a formal unit e.g. a stanza, refrain, verse paragraph, etc. contains any arbitrary phrase-level unit of text.

As members of the class metrical, the elements l and lg share the following attributes: contains a user-specified encoding for the conventional metrical structure of the element. specifies the rhyme scheme applicable to a group of metrical lines.

As a member of the class divn, the element lg also bears the following attributes: specifies whether or not the division is fragmented by some other structural element, for example a speech crossing across two stanzas. Legal values are: the division is incomplete in some respect either the division is complete, or no claim is made as to its completeness. the initial part of an incomplete division a medial part of an incomplete division the final part of an incomplete division specifies a name conventionally used for this level of subdivision, e.g. act, volume, book, section, canto, etc.

In many texts, prose and verse may be inextricably mingled; particularly in earlier printed texts, prose may be printed as verse or verse as prose, or it may be impossible to distinguish the two. In cases of doubt, an encoder may prefer to tag the dubious material consistently as verse, to tag it all as prose, to follow the typography of the source text, or to use the neutral seg element to contain the speech itself. When this question arises, the tagUsage element in the encodingDesc element of the header should be used to record explicitly what policy has been adopted.

The part attribute of the l and lg elements provides one simple way of indicating where the boundaries of a speech and of a verse line or line group do not coincide. The encoder may simply indicate that a line or line group is incomplete by specifying the value Y or N, as in the following example: Now, now my clients Begin their visitation! Vulture, kite, Raven, and gorcrow, all my birds of prey, That think me turning carcase, now they come: I am not for 'em yet. Re-enter MOSCA with the gown, etc. How now? the news? ]]>

Alternatively, where the fragments of the line or line group are consecutive in the text (though possibly interrupted by stage directions), the values i (initial), m (medial) and f (final) may be used: If you do meet Horatio and Marcellus, The rivals of my watch, bid them make haste. Enter Horatio and Marcellus. I think I hear them. — Stand! Who's there? Friends to this ground. And liegemen to the Dane. ]]>

In dramatic texts, the lg or line group element is most often of use for the encoding of songs and other stanzaic material, as further discussed in the next section. Line groups may be fragmented across speakers in the same way as individual lines, and the same set of attributes is available to record this fact. In the following example, a lg element is used to represent one verse of a song, which is divided between several voices: Song &mdash Sir Joseph I am the monarch of the sea, The ruler of the Queen's Navee. Whose praise Great Britain loudly chants. Cousin Hebe And we are his sisters and his cousins and his aunts! Rel. And we are his sisters and his cousins and his aunts! ]]> These elements are all defined in the core, and are thus available to every TEI document without formality. A more detailed discussion of the encoding of verse is provided in chapter . Embedded Structures

Although primarily composed of speeches, performance texts often contain other structural units such as songs or strophes which are shared among different speakers. More generally, complex nested structures of plays within plays, interpolated masques, or interludes are far from uncommon. In more modern material, comparably complex structural devices such as flashback or nested playback are equally frequent. In all kinds of performance material, it may be necessary to indicate several actions which are happening simultaneously.

A number of different devices are available within the TEI scheme to support these complexities in the general case. Texts may be composite or self-nesting (see section ) and multiple hierarchies may be defined (see chapter ). The TEI encoding scheme provides a variety of linking mechanisms, which may be used to indicate temporal alignment and aggregation of fragmented structures. In this section we provide a few specific examples of the application of these techniques to performance texts: the use of embedded text elements the use of the part attribute on fragmentary lg elements the use of the next and prev attributes on fragments of embedded structures to join them into a larger whole the use of the join element to define a virtual element composed of the fragments indicated Full information and descriptions are provided in other chapters of this document, as indicated in the individual discussions.

When an song appears, in its entirety, within a single speech, it may be treated as an extended quotation or as an embedded text element, or both, according to the preference of the encoder. In the following example, an embedded song is treated as a self-standing text: Kelly (calmly).

Aha, so you've bad minds along with th' love of gain. You thry to pin on others th' dirty decorations that may be hangin' on your own coats. (He points, one after the other at Conroy, Bull, and Flagonson. Lilting): Who were you with last night? Who were you with last night? Will you tell your missus when you go home Who you were with last night?

Flagonson (in anguished indignation).

This is more than a hurt to us: this hits at the decency of the whole nation!

 ]]> It might, however, also be treated simply as a quotation: Kelly (calmly).

Aha, so you've bad minds along with th' love of gain. (He points, one after the other at Conroy, Bull, and Flagonson. Lilting): Who were you with last night? Who were you with last night? Will you tell your missus when you go home Who you were with last night? ]]>

When an embedded structure extends across more than one sp element, each of its constituent parts must be regarded as a distinct fragment; the problem then facing the encoder is to reconstitute the interrupted whole in some way.

As already noted above, the part attribute may be used to indicate that an l element contains a partial, not a complete, verse line. The same attribute may be used on the lg element, to indicate that the line group is partial rather than complete, thus: Kelly (wheeling quietly in his semi-dance, as he goes out): Goodbye to holy souls left here, Goodbye to man an' fairy; Widda Machree (wheeling quietly in her semi-dance, as she goes out): Goodbye to all of Leicester Square, An' the long way to Tipperary. ]]>

When the fragments of a song are separated by other intervening dialogue, or even when not, they may be linked together with the next and prev attributes defined in section . For example, the line groups making up Ophelia's song might be encoded as follows: Elsinore. A room in the Castle. Enter Ophelia, distracted. Ophelia

Where is the beauteous Majesty of Denmark?

Queen

How now, Ophelia?

 Ophelia Singing How should I your true-love know From another one? By his cockle hat and staff And his sandal shoon. Queen

Alas, sweet lady, what imports this song?

 Ophelia

Say you? Nay, pray you mark.

Sings He is dead and gone, lady, He is dead and gone; At his head a grass-green turf, At his heels a stone.

O, ho!

 ]]>

The next and prev attributes are discussed in section : they form part of the additional tag set for alignment and linking, and are therefore not automatically available to dramatic texts. To enable this tag set as well as the base tag set for drama, the document type declaration of a document might take the following form: ]> ]]> See chapter for general discussion of the way in which TEI tag sets are enabled.

The fragments of Ophelia's song might also be linked together using the join mechanism described in section . The join element is specifically intended to encode the fact that several discontiguous elements of the text together form one virtual element. Using this mechanism, the example might be encoded as follows: Elsinore. A room in the Castle. Queen

How now, Ophelia?

Ophelia Singing How should I your true-love know From another one? By his cockle hat and staff And his sandal shoon. Queen

Alas, sweet lady, what imports this song?

 Ophelia

Say you? Nay, pray you mark.

Sings He is dead and gone, lady, He is dead and gone; At his head a grass-green turf, At his heels a stone.

O, ho!

 ]]> The location of the join element is not significant; here it has been placed shortly after the conclusion of the song, in order to have it close to the fragments it unifies.

Like the next and prev attributes, the join element requires the additional tag set for linking, which is selected as shown above. Simultaneous Action

In printed or written versions of performance texts, a variety of techniques may be used to indicate the temporal alignment of speeches or actions. Speeches may be printed vertically aligned on the page, or braced together; stage directions (e.g. Speaking at the same time) are also often used. In operatic or musical works in particular, the need to indicate timing and alignment of individual parts of a song may lead to very complex layout.

One simple method of indicating the temporal alignment of speeches or actions is to use the corresp attribute discussed in section , as in the following example: Mangan wildly

Look here: I'm going to take off all my clothes.

he begins tearing off his coat. Lady Utterword

Mr Mangan!

 Captain Shotover

Whats that?

 Hector

Ha! ha! Do. Do.

 Ellie

Please dont.

 in consternation Mrs. Hushabye catching his arm and stopping him

Alfred: for shame! Are you mad?

 ]]>

In the original, the stage direction in consternation is printed opposite a brace grouping all four speeches, indicating that all four characters speak at once, and that the stage direction applies to all of them. In the example, the stage element has been moved to an arbitrary place, and the four speeches with which it is to be associated are specified by identifier as the value of the corresp attribute. This attribute, which is enabled by the linking tag set, provides the simplest way of indicating the temporal alignment of speeches or actions in a play.

More powerful and more precise mechanisms for temporal alignment are defined in chapter . These would be appropriate for encodings the focus of which is on the actual performance of a text rather than its structure or formal properties. The tag set described in that chapter includes a large number of other detailed proposals for the encoding of such features as voice quality, prosody, etc., which might be relevant to such a treatment of performance texts. Other Types of Performance Text

Most of the elements and structures identified thus far are derived from traditional theatrical texts. Although other performance texts, such as screen plays or radio scripts, have not been discussed specifically, they can be encoded using the elements and structures listed above. Encoders may however find it convenient to use, as well, the additional specialized elements discussed in this section. For scripts containing very detailed technical information, the tech element discussed in section may also be useful.

Like other texts, screen plays and television or radio scripts may be divided into text divisions marked with div or div1, etc. Within units corresponding with the traditional act and scene, further subdivisions or sequences may be identified, composed of individual shots, each associated with a single camera angle and setting. Shots and sequences should be encoded using an appropriate text-division element (i.e., a div3 element if numbered division elements are in use and the next largest unit is a div2, or a div element if un-numbered divisions are in use) specifying sequence or shot as the value of the type attribute, as appropriate.

It is normal practice in screenplays and radio scripts to distinguish directions concerning camera angles, sound effects, etc., from other forms of stage direction. Such texts also generally include far more detailed specifications of what the audience actually sees: descriptions of actions and background, etc. Scripts derived from cinema and television productions may also include texts displayed as captions superimposed on the action. All of these may be encoded using the general purpose stage element discussed in section , and distinguished by means of its type attribute. Alternatively, or in addition, the following more specific elements may be used, where clear distinctions can be made: describes the visual context of some part of a screen play in terms of what the spectator sees, generally independent of any dialogue. describes a particular camera angle or viewpoint in a screen play. Attributes include: characterizes the camera angle in some respect, e.g. as a close-up, medium shot, etc. contains the text of a caption or other text displayed as part of a film script or screenplay. describes a sound effect or musical sequence specified within a screen play or radio script. Attributes include: categorizes the sound in some respect, e.g. as music, special effect, etc. indicates whether the sound overlaps the surrounding speeches or interrupts them. Sample values include: the sound is heard between the surrounding speeches the sound overlaps the surrounding speeches unknown or inapplicable

Some examples of the use of these elements follow: Angle on Olivia. Ryan's wife, standing nervously alone on the sidelines, biting her lip. She's scared and she shows it. ]]>

Where particular words or phrases within a direction are emphasized (by change of typeface or use of capital letters), an appropriate phrase-level element may be used to indicate the fact, as in the following examples, where certain words in the original are given in small capitals: George glances at the window--and freezes. New angle--shock cut Out the window the body of a dead man suddenly slams into frame. He dangles grotesquely, held up by his coat caught on a protruding bolt. George gasps. The train whistle screams. ]]> Ext. TV control van—Early morning. The T.V. announcer from the Ryan interview stands near the Control Van, the lake in b.g. T.V. Announcer

Several years ago, Jack Ryan was a highly successful hydroplane racer....

]]>

All of these elements, like other stage directions, can appear both within and between speeches. TV Announcer VO

Working with Ryan are his two coworkers— Strut Bowman, the mechanical engineer— Angle on Strut standing in the tow boat, walkie-talkie in hand, watching Ryan carefully. —and Roger Dalton, a rocket systems analyst, and one of the scientists from the Jet Propulsion Lab....

]]> Benjy

Now to business.

Ford and Zaphod

To business.

 Glasses clink. Benjy

I beg your pardon?

 Ford

I'm sorry, I thought you were proposing a toast.

 ]]> Zoom in to overlay showing some stock film of hansom cabs galloping past. London, 1895. The residence of Mr Oscar Wilde. Suitably classy music starts. Mix through to Wilde's drawing room. A crowd of suitably dressed folk are engaged in typically brilliant conversation, laughing affectedly and drinking champagne. Prince of Wales

My congratulations, Wilde. Your latest play is a great success.

]]> Technical Information

Traditional stage scripts may contain additional technical information about such production-related factors as lighting, blocking (that is, detailed notes on actors' movements) or props required at particular points. More technical information about intended production effects may also appear in published versions of screen plays or movie scripts. Where these are presented simply as marginal notes, they may be encoded using the general-purpose note element defined in section . Alternatively, they may be formally distinguished from other stage directions by using the specialized tech element: describes a special purpose stage direction that is not meant for the actors. Attributes include: categorizes the technical stage direction. Suggested values include: a lighting cue. a sound cue. a prop cue. a blocking instruction identifies the performance or performances to which this technical direction applies.

Like stage directions, tech elements can appear anywhere within a speech or between speeches.

The elements discussed in the section are formally defined as follows: ]]>