The Goe Sheet Character Analysis

The GOTE Sheet †
The GOTE Sheet is a starting point for analyzing any role. Using your imagination, take a blank sheet of paper and answer the following questions about a dramatic character from a play you know. Reread the play first, with the questions in mind, and answer as the character would:
1. Basic information about the character
• Name:
• Sex:
• Age:
• Marital Status:
• Educational Level:
• Economic/Social Status:
2. GOAL: What do I really want? When do I want it?

3. OTHER: From whom (in the play) do I want it? Who in the play can help me?
Who in the play can hurt me? Who is an obstacle? Why? What are my deepest fears? 4. TACTICS: How can I get it? How (and whom) can I threaten? How (and whom) can I induce?

5.
†

Cohen, Robert. Acting One. Boston: Mayfield Company, 1997. 53-54.

Analysis ii:
Character discovery process: 13 guideposts ‡
These are things to think about and mark on your script--AND THEN USE IN YOUR
ACTING!! (NOTE: S=script and N=notes)
1. (N) Relationship: Reviewing your Analysis I sheet, think about the facts and feelings of your relationship. (REMEMBER: LOVE, HATE, and extreme emotions are more interesting than indifference and boredom.)
A. Create a list of characters you have a relationship with. List your a) past and present feelings.
B. What do you think your character's "dream" of the relationship is?
2. (N) Conflict: Look at the obstacles you have in the scene. Play the most active, full choices you can against these obstacles. This is conflict. (THIS IS DICTATED BY YOUR WILL)
A. List your obstacles in the scene. Tell what you do to get past them.
3. (N) The Moment Before: Before you begin a scene, you must know what just happened. In fact, you need to put that in your mind for at least a few moments before you enter. This will make the scene seem alive. (This is called En Medias Res- “In the middle of things,” since
List 3 places where you must communicate to change your partner.
8. (S) Competition. Friendships and romances always contain competition. Find places where you compete for the upper hand, etc. (Arguments are often about competition) A sense of competition can move a scene forward with an incredible energy.
A. List 3 places where competition is clear in your scene.
‡

Shurtleff, Michael. Audition. New York: Broadway Books, 1988.

9. (S) Importance: (This is the same as WILL) You must know at all times what your will level is. A. Mark a % (1%=you care very little and 100% means you would die for it) next to your verbal action on your script.
10. (N & S) Events: A good scene is comprised of numerous events: Moments where some sort of change, confrontation, etc. occurs. These must be found and played for their maximum, realistic dramatic/comic effect.
A. List the major events and tell what they are.
11. (N) Place: You should always spend some time visualizing the place the scene takes place.
What could be there that would help bring out your character, provide an obstacle, etc? Do you have feelings for the place?
A. Describe your feelings about the place
B. Write a detailed paragraph about the place in which the scene is