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

Method, constellation for documentaries, hidden agenda, documentary constellation, Gladziejewski

script constellation
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script constellation


Script constellations have developed from family and organizational constellations. Even when dealing with fictional subject matter, script constellations provide the same astonishingly powerful effect as in documentary 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 different levels: On the story level, they reveal the material's inherent drama and offer insight into the relationships between the characters. There may also be a second level, in which your future 'audience' is literally able to step into the story. The 'audience' can thus provide you with important feedback as to whether your story 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 interested in the film. On yet another level the author can be incorporated into the constellation, which has proved particularly beneficial for documentary constellations. However, when there are autobiographical elements in the fiction story or when the writer has a particularly intense emotional connection to one of his characters, it can also help to put the author into the fiction constellation.

Fasten your seatbelts...

We begin by working out the goal of the constellation together. You then choose among the participants of the workshop those who will represent your protagonists and other aspects of your story. They can represent aspects as abstract as 'jealousy' or 'war' or even a country that might be important for the story. You then carefully place the representatives in the room.

In the course of the constellation, the representatives, based upon their proximity, distance and eye contact to one another, begin to develop physical reactions and feelings. For example: 'I feel sick with X breathing down my neck.' 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.' If there is a representative for the film-audience, he or she may comment upon the events at will. He/she might feel more attracted to a secondary plot or a minor character than to the protagonist's fate. This helps you come to important conclusions about your story's focus and dramatic potential.  

Working closely together, we can modify the constellation according to your needs and your initial goal. Representatives can be added or dropped, while your story is allowed to develop in front of your eyes. All through the constellation, you will get the possibility to ask your representatives how they feel and what their needs and wants are. You can also step into your character's place for a little while and physically feel what they feel.

Sometimes it can be appropiate to do a 'concealed' script constellation, which means participants and representatives know very little or nothing about the story or the character/aspect they represent and only move within the constellation according to their feelings - to often astonishing results.  

After a smooth landing you will have the oppurtunity to gather last comments from the representatives and share your insights with the group - that is only if you want to...

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