Acts? or Scenes? Opinions please.

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If that's your main concern, the needs of the production will trump whatever you write anyway, and for good reason -- the audience will experience the play on the stage, so what you wrote at the top of a given page won't be transmitted to them. So you need to tailor your act breaks to that, or else be prepared to have your act breaks willfully ignored by the needs of the production.

For instance: my theater company is producing a trilogy right now. I'm in the first play of that trilogy, which is five scenes long and takes place almost entirely over the course of one day:

1 - 3am, basically an intro scene, in a chicken coop of a farm -- pgs 1-5
2 - dawn, a good bit happens, in the farm's back yard -- pgs 6-22
3 - mid-day, at a local laundry, several big revelations and a lot of development, ends on a pretty high note -- pg 22-40
4 - twilight, a MONSTER of a scene where EVERYTHING GOES CRAZY back at the farm's back yard - pgs 41-97 (!)
5 - a year later, an epilogue at a circus, pgs 97-99

The whole thing runs about 90 minutes. Thanks to the handy "down the middle" splitting after the revelations in scene 3, we could certainly have an intermission then, thus making the show two acts of roughly equal length, but instead we chose to run straight through. The effect is one of rising tension and it really works for this show, in this space (where we don't need to do any set transitions and can just split the stage into three spaces for the bulk of the play's action, and then use lights to cut out the set for the circus epilogue). The third play in the trilogy, with almost the exact same running time, does have an intermission, although I haven't seen it yet so I'm not sure of its structure or the specific reasoning -- likely it has to do with technical things like costume and set changes, or because a particularly devastating revelation happens right at the end of Act 1 that we want to give the audience time to digest and react to it. Ideally, both.

The point is, our playwright could very well have written "Act 1" and "Act 2" in the first play, but we would have made the production choice to ignore her and go straight through; she could also have made the third play a series of scenes (and, knowing her, she probably did) without labeling acts, but the director made the call to put in an intermission regardless, due to production needs.

As a rule of thumb, if a show is running an hour or less (ie <60 pages), you don't want an intermission, as it will take all the tension right out. If it's running between 60 and 100 minutes, it's usually fine to skip an intermission, from a production standpoint, although you can have one for the reasons above. The audience won't get too antsy, and smokers and bathroom-visitors will survive an hour and a half in their seats. Longer than that, though, and production teams will want to consider an intermission; after 2 hours it's pretty much required, usually around the 70-minute mark. Two intermission shows are rare, and usually are VERY long or require huge changes of set and costume, twice. Since producers will frown at anything like this -- both of these reasons cost money -- it's best to avoid the situation if you can, lest you find your work "unproducable". So the usual production solution for a three act play is to do Acts I and II together, an intermission, and then Act III. In turn, most three-act plays are written with this sort of production in mind, which is to say that the first two acts, together, run a little longer than the third act by itself, and time for costume changes is built into the scenes themselves.

So, to sum up, reasons for an act break, production-wise:

- long running time of the play as a whole (ideally 90+ minutes)
- technical reasons (set and costume transition, and/or clean up of a messy special effect like blood, spilled wine, etc)
- huge revelation(s) at the end of a scene a little more than midway through

Nowhere in here is "what the playwright wrote on the page," although if the playwright is saavy, he will account for these accordingly.

can i help ? what is the problem ?

I just did it again!

See that little reply button? See the dialog box?

I've had slippery fingers today and keep hitting the wrong keys - I've deleted and lost posts and put my comments in the wrong place. I can't seem to delete the box where the comment originally appeared, so I reposted it and then explained myself.

Or more precisely move a comment to below the post to which it is a response?

I think that's true for the Western brain. I don't think it's true for people from other cultural backgrounds necesserily. Even us, the French have a more non linear way of thinking for the most part ( French movies anyone ? )

I've built time for actors to make costume changes into the play.  One thing I do when directing is make a grid as to which characters are in which scenes.  I do this when I am trying to figure out which actors to call for rehearsal.  But I think as a writer, if you realize that when an actor goes off and then immediately comes back on in a different costume or that the time has changed, we need to re-think the logistics of how to do that in the theatre.  A lot of times in my play, a character exits a few minutes before the end of a scene.  They are always justified in doing so, but sometimes I know that they are in the next scene and need to go off and re-enter.  My protagonist is onstage nearly the whole play.  However, there are instances when he leaves (and the other characters talk about him) and then he is onstage at the top of the next scene.  At other instances, for dramatic effect, one scene melds into the other.  I do that because I am trying to draw parallels between characters or exemplify a relationship.  Be mindful that if it's a long play--the actors do need to catch their breath sometimes.  (Even Hamlet isn't in every scene.)

Best,

Dean

But if you want to have a scene or an act break, one place to do it is when the tension has been high for a long time. You can give the actors and the audience a break. The audience may not want to have it broken - because they want to know more right? They want to find out what's going to happen next. Draw out the suspense with an act break.

Or don't. If your show is 90 minutes, people can sit through that and actors shouldn't have any problem either. But it's nice of you to think of them.

I've recently seen a show that was:

110 minutes without an intermission. I did not mind.

6 hours long and the audience could come and go. I wanted to stay.

7 hours long with 2 ten minute breaks and an hour for dinner.

Does that help?

Cheers,
Elizabeth

Because that was really bugging me.

See: Rules are meant to be broken cdthomas

My scenes might be acts, because they're long, and I want to give the actors at least one break.  How do I tell, when there are few breaks in the action?

I know there's a certain je nesais qua about writing without an outline, but I think it saves time in the long run.  You might think it robs you of spontaneity, but I find it gives me direction.  I think Cark Jung said that we dream in tree parts.  Beginning, middle and end.  Even if you split the play into two acts, it likely has three movements.  It's kind of the way we are programed for story telling I think.

Dean 

Here's a better link than the first one It gives a break down of The Crucible.

Don't worry about the screenplay stuff, it's a good explanation of 3 act structure.

I'm loath to tell you that you're definitively writing a 3 act play without knowing the action of your play. But it  sounds like you have enough scenes to support a 3 act structure. Since it's a first draft, there's no harm in structuring the play in the way that seems most right to you.

Unless you're having problems. Then I'd say it's time to get more specific.

For example:

What is the scene break down in those last two groups of scenes? How many scenes will there be? I don't understand what you mean by a scene a week - 2 weeks, 3 week, 4, 5? How does each scene move the action forward?

Or try this exercise. Play the action of your play backwards scene by scene or you can write it down whichever way makes it clearer for you. If you're unsure of what happens next, maybe this will clear it up for you. How is each scene essential to the action of your play? Or in other words, which piece of the puzzle do we need so that we know what is happening in the story?

I'm also interested in scene 1. You say it could happen whenever - most likely now.  Which is it? Because it makes a huge difference. Could it happen in the middle of act 1, or start act 2 or could it be the last scene of your play? If the anwer is no - then it's time to get specific about what happens in that scene and how it relates to the rest of the play. And why is it the begining?

Also: what importance does time play? How do the shifts in time move the action forward or what do they reveal about the characters?

Check this out. It may help you or it may confuse you. It's just information.

Hope that helps!

Cheers,
Elizabeth