Method, script constellations, organizational constellations, Script constellations work, Gladziejewski, Rainer Paszek

script constellation
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script constellation


Script constellations have developed from family and organizational constellations. Although we deal with fictional subject matter, script constellations provide the same astonishingly powerful effect as that of 'real' constellations. In contrast to family and organizational constellations, solving problems is not the primary goal; rather, working with the dramatic potential of conflict is.

Script constellations work on two levels: on the story level, they reveal the material's inherent drama and offer insight into the relationships between the characters. There is also a second level, in which the future 'audience' is literally able to step into the story. The 'audience' can thus provide us with important feedback as to how a scene, character or relationship affects him/her and if the situation in which he/she finds him/herself provides enough tension and emotion to keep him/her interested. At the same time, the writer gets valuable information about which type of audience might be especially interested in the film. This level can also be used to incorporate the writer into the constellation which is particularly beneficial when there are autobiographical elements in the story or when the writer has a particularly intense emotional connection to one certain character.

How it works

A script constellation begins with the writer, or client, working out the theme of the constellation with us. He then chooses seminar participants (representatives) who will represent his story's characters.
script constellation Participants can also be used to represent abstract aspects of the material, such as 'jealousy' or 'war' or even a foreign country that might be important to the plot. The client then physically positions the representatives in the room. Finally, the client chooses one or more representatives for the 'audience.'

In the course of the script constellation, the representatives, based upon their proximity, distance and eye contact to one another, begin to develop physical reactions and feelings: for example, 'I don't feel good when X turns to her husband.' Or: 'I'm strongly attracted to Y, but only when Z isn't next to him.' Or: ' I get angry when A gets close to me.' Meanwhile, the 'audience' representative is free to move within the constellation and comment upon the events at will. Sometimes a secondary plot might suddenly interest him more than the protagonist's fate. This helps the client come to important conclusions about his story's focus and dramatic potential.  

Working closely with the client, the constellation is constantly modified: representatives are added or dropped and ultimately, the story is allowed to develop. How the representatives move reflects the direction in which the story's inherent dynamic wants to expand.

During the constellation, the client has the unique opportunity to ask the representatives (his own characters) how they feel and what their needs and wants are. Clients might also find it very helpful to step into the character's place for a little while and physically feel the inner life of their character.  

Script constellations for actors

For projects in advanced stages of development, script constellations can also be useful for actors to gain a deeper insight and feeling for their characters.

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