Case Study Practical Drill: Directing and Designing a Key Scene from The Glass Menagerie | 案例分析实战演练：导演与设计《玻璃动物园》核心场景

📚 Case Study Practical Drill: Directing and Designing a Key Scene from The Glass Menagerie | 案例分析实战演练：导演与设计《玻璃动物园》核心场景

In AQA A-Level Drama and Theatre, the ability to interpret a play text for performance is tested through Component 1 (Drama and theatre) and the practical components. Students must step into the shoes of a director, designer, or performer, making informed creative decisions about a set text. This case study drill provides a hands-on framework for tackling such an exam question, using Tennessee Williams’s The Glass Menagerie as a model. The play’s rich symbolism, its nature as a ‘memory play’, and its blend of naturalism and expressionism make it an ideal text for exploring how conceptual choices can transform a scene. We will focus on the opening dinner encounter in Scene One and the haunting final image of Laura blowing out the candles, examining how a director, lighting designer, and set designer might approach these moments with original vision while serving the playwright’s intentions.

在 AQA A-Level 戏剧与剧场课程中，解读剧本以供演出的能力通过 Component 1（戏剧与剧场）和实践部分进行考核。学生必须进入导演、设计师或演员的角色，对指定文本做出明智的创作决定。本案例实战演练为应对这类考试题目提供了一个实用框架，以田纳西·威廉斯的《玻璃动物园》为范本。该剧丰富的象征意义、作为 “回忆剧” 的性质，以及自然主义与表现主义的融合，使其成为探索概念性选择如何改变场景的理想文本。我们将聚焦第一幕的开场晚餐场景以及结尾劳拉吹灭蜡烛的令人难忘的画面，探讨导演、灯光设计师和布景设计师如何在尊重剧作家意图的同时，以原创视角处理这些瞬间。

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1. Understanding the Assessment Objective | 理解评估目标

AQA expects candidates to demonstrate a coherent directorial or design interpretation that is informed by the play’s historical, social, and cultural context. The exam question often requires you to focus on a specific moment in the text and explain the intended impact on an audience. You must show sensitivity to staging, style, and performance conventions of the period, while also justifying modern re-imaginings. This is not simply a description; it is an argument for your creative vision, supported by textual evidence and practical reasoning.

AQA 期望考生展示出连贯的导演或设计解读，并基于该剧的历史、社会和文化背景。试题通常要求你聚焦于文本中的一个特定时刻，并解释对观众的预期影响。你必须展现出对那个时期舞台调度、风格和表演惯例的敏感性，同时也要为现代的重新想象提供理由。这不是简单的描述；而是为你的创意愿景所做的论证，并用文本证据和实际推理来支撑。

In the context of The Glass Menagerie, Williams himself called it a ‘memory play’, giving directors licence to break from strict naturalism. The assessment rewards choices that are bold yet rooted in the script. For example, using expressionist lighting to externalise Tom’s guilt and regret is a valid interpretation, as long as it connects to the character’s emotional truth. Always refer to the original stage directions and the play’s themes of illusion, escape, and fragility.

在《玻璃动物园》的语境中，威廉斯本人称其为 “回忆剧”，赋予了导演打破严格自然主义的许可。评估奖励那些大胆但植根于剧本的选择。例如，利用表现主义灯光外化汤姆的内疚和悔恨是一种有效的解读，只要它与角色的情感真实相关联。始终要参考原始舞台说明以及该剧关于幻觉、逃离和脆弱的主题。

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2. Selecting a Focal Scene: The Wingfield Dinner and Candle Extinction | 选择重点场景：温菲尔德家的晚餐与蜡烛熄灭

The opening of the play establishes the tense dynamics between Amanda, Tom, and Laura. The dinner table exchange—where Amanda instructs Laura to ‘stay fresh and pretty’ and Tom storms off after an argument about his eating habits—is a masterclass in subtext. As a case study, this scene allows a director to map out physical relationships, the rhythm of pauses, and the use of the fire escape. Crucially, the final image of the play, with Tom saying ‘Blow out your candles, Laura’, and Laura doing so, encapsulates the central metaphor of hope extinguished. Both moments hinge on light, sound, and fragile human connections.

该剧的开场建立了阿曼达、汤姆和劳拉之间紧张的关系动态。餐桌上的交流——阿曼达教导劳拉 “保持清新可爱”，而汤姆因饮食习惯之争拂袖而去——堪称潜台词的教科书。作为案例研究，这一场景让导演能够规划身体关系、停顿的节奏以及防火梯的运用。至关重要的是，剧终的画面，汤姆说 “吹灭你的蜡烛吧，劳拉”，而劳拉照做了，浓缩了希望破灭这一核心隐喻。这两个时刻都依赖于光线、声音和脆弱的人类联结。

For a design-focused answer, you might choose the candle-blowing moment. A lighting designer would need to create the gradual dimming of a single candle source, perhaps with a spotlight on Laura’s face that flickers and dies, leaving the stage in black. The sound of Tom’s voice in a voiceover could accompany the light fade, blending memory and reality. Every choice must be intentional and linked to Williams’s note that the play is ‘not realistic’.

对于以设计为重点的回答，你可以选择吹蜡烛的时刻。灯光设计师需要营造出唯一烛光源逐渐变暗的效果，或许用一束聚光灯打在劳拉脸上，闪烁后熄灭，让舞台陷入黑暗。汤姆话外音的声音可以与光线的减弱相配合，融合记忆与现实。每一个选择都必须是有意图的，并与威廉斯所说的该剧 “不是现实主义的” 相呼应。

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3. Directorial Vision: Naturalism with Expressionist Flair | 导演愿景：自然主义融合表现主义

My directorial concept for this production would embrace the play’s duality: the Wingfield apartment is rendered in semi-realistic detail, but memory distorts proportions and colours. In Scene One, the dining table is downstage left, practical and detailed with period tableware, yet the walls are translucent scrims that allow projections of enlarged glass animals or faded Southern mansions. The fire escape looms large, a constant reminder of Tom’s desire for flight. During the candle-blowing ending, the set disintegrates visually: projections of rain or melting glass appear on the scrim, visually echoing Tom’s confession that ‘the world is lit by lightning’.

我对这部作品提出的导演概念将抓住该剧的双重性：温菲尔德公寓以半现实细节呈现，但记忆扭曲了比例和色彩。在第一幕中，餐桌位于舞台前方偏左，实用而细致，摆有年代感的餐具，但墙壁是半透明的纱幕，可以投射放大的玻璃动物或褪色的南方府邸影像。防火梯赫然耸现，时刻提醒着汤姆想要逃离的渴望。在吹蜡烛的结尾，布景在视觉上瓦解：雨水或熔化的玻璃的投影出现在纱幕上，在视觉上呼应汤姆的告白：”世界由闪电照亮”。

This vision requires close collaboration with designers. I would instruct the actor playing Tom to directly address the audience during his monologues, breaking the fourth wall, while the family scenes remain stylistically naturalistic but heightened—Amanda’s Southern charm is exaggerated to the point of caricature until the pain breaks through. The tonal shift from comic bickering to desperate silence must be carefully paced. Blocking would use vertical levels: Tom on the fire escape landing, Amanda below commanding, Laura seated on the floor clutching a glass piece.

这一愿景需要与设计师紧密合作。我会指导扮演汤姆的演员在独白时直接面向观众，打破第四面墙，而家庭场景在风格上保持自然主义但被加强——阿曼达的南方魅力被夸张到近乎讽刺的地步，直到痛苦爆发。从滑稽争吵到绝望沉默的调性转变必须仔细控制节奏。舞台调度会利用垂直层次：汤姆站在防火梯平台上，阿曼达在下发号施令，劳拉坐在地板上紧握一个玻璃动物。

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4. Set Design: Crafting the Memory Play Environment | 布景设计：打造回忆剧环境

The set must communicate ‘memory’ without sacrificing functionality. I propose a unit set with a raised platform stage left representing the fire escape, connected to the apartment by a swaying metal staircase. The interior is framed by transparent gauze screens that can be lit from behind to create dreamlike silhouettes. A large portrait of the absent father hangs grotesquely over the mantelpiece, blinking with a subtle LED light to suggest his lingering presence. The dining table and chairs are genuine 1930s items but slightly scaled down, making the characters appear larger and more trapped.

布景必须传达 “回忆” 而又不牺牲功能性。我提议采用统一布景，舞台左侧一个升高的平台代表防火梯，通过一道摇晃的金属楼梯与公寓相连。室内由透明薄纱屏风围成，可从背后打光，创造梦一般的剪影。一幅缺席父亲的巨大画像怪异地悬挂在壁炉架上方，通过微妙的 LED 灯光闪烁，暗示他挥之不去的身影。餐桌和椅子是真正的1930年代物品，但尺寸略小，使角色显得更大更受困其中。

For the dinner scene, the table is set with mismatched plates, a single, flickering electric candle (later replaced by a real flame for the ending), and a glass unicorn placed conspicuously at Laura’s seat. The floor is covered in a faded floral rug that traps dust and shadows. During the candle-blowing finale, the fire escape platform is bathed in very low blue light, and Tom appears there as a ghostly figure. The set then seems to fold inward as the scrim falls, leaving only Laura and the solitary candle on the bare stage.

在晚餐场景中，桌上摆放着不成套的盘子、一只闪烁的电蜡烛（结尾处会换成真实的火焰），以及显眼地放在劳拉座位旁的玻璃独角兽。地面铺着一张褪色的花卉地毯，积满了灰尘和阴影。在吹蜡烛的终场高潮，防火梯平台沐浴在极暗的蓝色光中，汤姆如幽灵般出现在那里。随后布景似乎向内崩塌，纱幕落下，只留下劳拉和空旷舞台上孤独的蜡烛。

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5. Lighting Design: Mood, Symbolism, and Practicalities | 灯光设计：氛围、象征与实际操作

Lighting is the primary mood-maker in The Glass Menagerie. Williams’s stage directions call for ‘a shaft of very clear light’ on Laura and dimmer, more poetic illumination elsewhere. In Scene One, the dinner table should be lit by a warm, sepia-toned general wash that suggests nostalgia, with a stark white special on the fire escape whenever Tom is near it. The shadows of the fire escape bars can be projected diagonally across the stage, creating a prison-like motif. Laura is frequently picked out in a soft amber light, making her seem both angelic and isolated.

灯光是《玻璃动物园》中主要的氛围营造者。威廉斯的舞台说明要求有一束 “非常清晰的光” 打在劳拉身上，而其他地方使用更暗淡、更有诗意的照明。在第一幕中，餐桌应该由温暖的、棕褐色的整体光照射，暗示怀旧之情，而当汤姆靠近防火梯时，梯子上则打上一道冷白特写光。防火梯铁栏的阴影可以斜向投射到整个舞台，形成牢笼般的母题。劳拉常常被一束柔和的琥珀色光提起，使她看起来既天使般又孤独。

For the candle-blowing moment, practical lighting becomes symbolic. A single candle on the table is the only source of light in the apartment as the scene darkens. A follow spot on Laura’s face flickers in sync with the real flame, controlled by a manual dimmer to simulate dying fire. When she blows out the candle, all lights cut to black simultaneously, holding for a full ten seconds of silence. This creates an uncomfortably long blackout, forcing the audience to sit with the despair. A subtle blue dawn glow then just catches Tom’s face in the final line, showing him forever haunted.

在吹蜡烛的时刻，实际光源变得具有象征意义。随着场景变暗，桌上的一枝蜡烛成为公寓中唯一的光源。一束追光照在劳拉脸上，与真实的火焰同步闪烁，由手动调光器控制，模拟火焰的熄灭。当她吹灭蜡烛时，所有灯光同时熄灭，保持整整十秒钟的寂静。这营造出一个令人不安的长黑场，迫使观众沉浸在绝望中。然后，一束微弱的蓝色黎明微光恰好捕捉到汤姆念最后台词时的脸，表明他永远被过往所困。

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6. Sound Design: Music and the Glass Menagerie | 音效设计：音乐与玻璃动物园

Williams uses a recurring melody he calls ‘The Glass Menagerie’ to underscore emotional moments. In this production, a live cellist positioned at the side of the stage plays a haunting theme composed in a minor key, with occasional glass harmonica notes to suggest fragility. During the dinner argument, the sound of cutlery clattering is amplified through microphones embedded in the table, making the domestic discord uncomfortably intimate. Tom’s voiceover is delivered through surround speakers, creating a sense that his memories envelop the audience.

威廉斯使用一段他称之为 “玻璃动物园” 的反复出现的旋律来强调情感时刻。在这部制作中，一位大提琴手被安排在舞台一侧，现场演奏一首小调主题，带有偶尔的玻璃琴音以暗示脆弱。在晚餐争吵时，餐具碰撞的声音通过嵌入桌子的麦克风放大，让家庭内的争吵令人不安地亲密。汤姆的画外音通过环绕扬声器传出，营造出他的记忆将观众包裹起来的感觉。

For the candle-blowing scene, the music slowly fades until only the faint sound of a heartbeat remains, synchronising with the flickering candle light. Laura’s final action is accompanied by the sound of a single, pure bell strike, as if a glass object has shattered. Then, complete silence for the blackout. After ten seconds, Tom’s voice whispers over the darkness: ‘Blow out your candles, Laura…’ echoing as if in an empty hall, leaving a lasting aural impression of regret.

在吹蜡烛的场景中，音乐逐渐消失，只剩下微弱的心跳声，与闪烁的烛光同步。劳拉最后的动作伴随一声纯净的钟声，仿佛某个玻璃制品破碎了。然后，在黑场中是彻底的寂静。十秒后，汤姆的声音在黑暗中低语：”吹灭你的蜡烛吧，劳拉……” 像在空荡荡的大厅里回响，留下挥之不去的悔恨听觉印象。

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7. Costume Design: Character Through Clothing | 服装设计：通过衣着塑造角色

Costumes in this production must straddle period accuracy and expressionistic exaggeration. Amanda wears a faded, once-elegant chiffon dress from the 1920s, a visual reminder of her lost youth. She constantly adjusts a loosening sash, a physical manifestation of her slipping control. Tom’s warehouse uniform is deliberately ill-fitting and stained, emphasising his entrapment and rebellion. Laura will wear a simple, high-necked dress in pale lavender, and later for the gentleman caller scene, a dress that is slightly too girlish and tight, making her discomfort visible.

本剧的服装必须在时代精确性与表现主义夸张之间取得平衡。阿曼达穿着一件褪色的、曾优雅一时的1920年代雪纺连衣裙，是逝去青春的视觉提醒。她不停地调整一条松动的腰带，是控制力缺失的身体化表现。汤姆的仓库制服故意不合身且有污渍，强调他的束缚与叛逆。劳拉将穿一条淡紫色的简单高领连衣裙，而在绅士访客场景，一条略显孩子气、稍紧的裙子，突显出她的不安。

For the final candle-blowing, Laura’s appearance is transformed. She is now in silhouette, but her dress appears looser, almost ethereal. When the light catches her, we see she is barefoot, signalling a release from social expectation. Tom, on the fire escape, wears a seaman’s coat, the future he longs for but which now looks like a costume on a ghost. The contrast between the faded domestic clothes and Tom’s nautical coat reinforces the theme of escape versus stagnation.

在最后的吹蜡烛环节，劳拉的外形发生了变化。她现在处于剪影之中，但她的裙子显得更宽松，几乎空灵。当灯光捕捉到她时，我们看到她赤着脚，标志着从社会期望中解脱。站在防火梯上的汤姆穿着一件水手大衣，那是他渴望的未来，但此刻看起来像是幽灵身上的戏服。褪色的家居服与汤姆的水手装之间的对比强化了逃离对停滞的主题。

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8. Performance Style: Blocking and Actor Choices for Key Roles | 表演风格：关键角色的调度与演员选择

The dinner scene requires detailed blocking to reveal power dynamics. Amanda sits at the head of the table, reinforcing her maternal authority. Laura sits to her right, head bowed, while Tom occupies the opposite end, constantly ready to bolt. When Amanda chastises Tom for his eating, the actor playing Tom should push his chair back with a loud scrape, a jolt that physically disrupts the domestic order. His walk to the fire escape is deliberately slow, daring Amanda to stop him. The actor must convey simmering resentment through taut shoulders and clenched jaw rather than shouting, making the eventual outburst more impactful.

晚餐场景需要细致的场位调度来揭示权力动态。阿曼达坐在桌首，强化她的母亲权威。劳拉坐在她右侧，低垂着头，而汤姆坐在对面一端，随时准备逃脱。当阿曼达责备汤姆的吃相时，扮演汤姆的演员应当发出刺耳的声音猛地推开椅子，这一冲撞在物理上破坏了家庭秩序。他走向防火梯的步伐刻意缓慢，挑衅着阿曼达去阻止他。演员必须通过紧绷的肩膀和紧咬的牙关传达压抑的愤恨，而非大喊大叫，从而使最终的爆发更具冲击力。

For Laura in the candle moment, the actress must execute the blow as a deliberate, almost ritualistic action. She should look not at Tom but at the audience, with a soft smile suggesting both surrender and triumph. The director would instruct her to physically release tension from her neck and shoulders, letting the candle extinguish mark the moment she finally accepts her reality—or perhaps escapes it. Tom’s final line should be delivered not as a cry but as an exhausted whisper, his face lit from below, creating an eerie, confessional intimacy.

对于吹蜡烛时刻的劳拉，女演员必须以一种慎重的、近乎仪式的动作吹熄蜡烛。她不应看向汤姆，而应看向观众，带着一丝轻柔的微笑，既表示屈服也暗示胜利。导演会指导她让颈部和肩部放松，让蜡烛的熄灭标志着她最终接受现实——或者也许从中逃离——的时刻。汤姆最后的台词不应像哭喊，而应像一个疲惫的低语，他的脸自下照明，创造出一种诡异、忏悔式的亲密感。

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9. Audience Engagement and Theatrical Conditions | 观众参与与演出条件

Given that The Glass Menagerie was originally performed on a proscenium stage with a transparent fourth wall, an AQA answer should consider the theatrical conditions of the intended venue. For this production, I would stage it in a small thrust-stage theatre, with the audience on three sides, intensifying the claustrophobia. The fire escape extends into a vomitory, allowing Tom to enter and exit through the audience, blurring the line between memory and present reality. When he delivers direct address, he can move into the aisles, drawing viewers into his guilt.

考虑到《玻璃动物园》最初是在镜框式舞台上表演，且具有透明的第四面墙，一篇 AQA 的作答应考虑预期演出场地的剧场条件。对于这部制作，我选择在一个小型伸出式舞台剧场中上演，观众环绕三面，强化幽闭恐惧感。防火梯延伸到一个出入口，让汤姆能够穿过观众上下场，模糊记忆与当下现实之间的界限。当他说旁白时，他可以走进过道，将观众拉入他的内疚之中。

The candle-blowing moment capitalises on the intimacy of the thrust stage. With Lisa, the actress playing Laura, seated at the table only a few feet from the nearest spectators, her breath is audible in the silence. The real candle’s flicker is viscerally shared. When darkness falls, the audience is plunged into the same black void as the characters, experiencing symbolic ‘blindness’. This use of shared space deepens empathy and aligns with Williams’s desire to create a ‘poetic’ reality.

吹蜡烛的时刻利用伸出式舞台的亲密性。扮演劳拉的演员丽莎坐在桌边，离最近的观众只有几英尺远，在寂静中她的呼吸清晰可闻。真正蜡烛的闪烁被感同身受地共享。当黑暗降临，观众与角色一同坠入同样的黑暗虚空，体验象征性的 “失明”。这种共享空间的运用加深了同情，也与威廉斯希望创造 “诗意” 现实的愿望相吻合。

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10. Rehearsal Strategies and Practical Exercises | 排练策略与实战练习

To realise this production, a director must run focused workshops. For the dinner scene, I would use an exercise where actors play the scene without any words except the stage directions, letting physical action convey tension. Then we would add the text but with a ‘subtext aloud’ pass, where actors speak their inner thoughts before each line, exposing the gap between speech and truth. For Laura’s candle moment, I would guide the actress through a ‘glass object’ improvisation: she imagines herself as one of her glass animals, fragile and illuminated, then gradually ‘shatters’ into stillness, discovering the stillness of acceptance.

为了实现这部制作，导演必须开展有针对性的工作坊。对于晚餐场景，我会采用一个练习，让演员排除台词，只根据舞台说明进行表演，用身体行动传达张力。然后我们会加入文本，但进行 “潜台词朗读” 环节，演员在每句台词前说出内心想法，暴露语言与真实之间的差距。对于劳拉的蜡烛时刻，我会引导女演员进行 “玻璃物体” 即兴表演：她想象自己是她的一件玻璃动物，脆弱且被照亮，然后逐渐 “碎裂” 进入静止状态，从而发现接纳的宁静。

Designers should also rehearse their cues with the actors. A lighting board operator must practise the flicker-to-black sequence repeatedly to match Laura’s breath. The sound designer can work with the cellist to fine-tune the tempo so that the heartbeat rhythm is exactly synchronized with the dimming light. These technical rehearsals ensure that the poetic metaphors are physically precise and reliable under exam or performance conditions.

设计师也应该与演员一同排练他们的提示。灯光操作员必须反复练习从闪烁到黑暗的序列，以配合劳拉的呼吸。音效设计师可以与大提琴手合作，微调节拍，使心跳节奏与调暗的灯光完全同步。这些技术排练确保诗意的隐喻在考试或演出条件下能够物理上精确且可靠。

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11. Common Pitfalls and How to Avoid Them | 常见误区与避免方法

A common mistake when answering an AQA case study question is to describe what happens in the play rather than how you would stage it. Instead of saying ‘Laura is shy’, state ‘I would direct the actress to keep her hands clasped around a glass unicorn, only releasing it when Jim speaks directly to her, using the prop as a physicalisation of her withdrawal.’ Another pitfall is neglecting the production’s context: Williams wrote for a 1944 audience with specific cultural codes. Even if you set your production in a modern context, you must acknowledge the original temporal setting and its themes.

回答 AQA 案例分析题时常犯的一个错误是描述剧中发生了什么，而非你将如何将其搬上舞台。不要说 “劳拉很害羞”，而应该说 “我会指导女演员双手紧握玻璃独角兽，只有当吉姆直接对她说话时才松开，利用道具将她退缩的内心外化。” 另一个误区是忽视制作背景：威廉斯是为1944年的观众写作，带有特定的文化密码。即使你将制作背景设定在现代，你必须承认原来的时代设定及其主题。

Students often focus on one design element in isolation. The exam rewards holistic thinking. For instance, when discussing the candle-blowing scene, link the lighting fade to the sound of Tom’s whispered line and Laura’s costume change—all working together to create a unified aesthetic. Finally, avoid vague language like ‘I would make the lighting moody’; instead specify colours, angles, and equipment (e.g., ‘I would use a 650W Fresnel with a deep blue gel from a low angle stage left to cast elongated shadows’).

学生常孤立地聚焦于某一个设计元素。考试奖励整体性思维。例如，在讨论吹蜡烛场景时，将灯光渐变与汤姆的低语声和劳拉的服装变化联系起来——所有元素协同工作以创造统一的美学。最后，避免使用模糊的语言，比如 “我会让灯光变得忧郁”；而应具体说明颜色、角度和设备（例如，”我会使用一台650瓦的菲涅尔灯，加上深蓝色色片，自舞台左侧低角度投射，以投下拉长的阴影”）。

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12. Sample Exam-Style Response Structure | 考试答题范例结构

A strong answer should begin by clearly stating your chosen specialism (e.g., ‘As a lighting designer, my concept for this scene…’) and outlining the overall vision. Then, analyse the specific moment, referring to the actor’s movement, use of space, and intended audience response. Link every choice back to Williams’s intentions and the play’s themes of memory, escapism, and fragility. Use quotations from the text to anchor your ideas, but keep them brief. Conclude by evaluating the impact: how would your choices make the audience understand Tom’s guilt or Laura’s quiet strength?

一篇强有力的答案应开篇明确指出你选择的专长（例如，”作为灯光设计师，我对这一场景的概念是……”），并概述整体愿景。然后，分析具体的时刻，提及演员的移动、空间运用和预期的观众反应。将每一个选择都与威廉斯的意图以及该剧关于记忆、逃避和脆弱的主题相联系。引用剧本中的内容来支撑你的观点，但要简短。最后评估影响：你的选择将如何让观众理解汤姆的内疚或劳拉平静的力量？

Time management is crucial. During a written exam, allocate about 35 minutes to the case study question. Spend five minutes planning your concept and selecting which details to highlight. Then write in a clear, analytical style, using paragraphs to separate design areas. A brief sketch of the stage layout with arrows indicating light or movement can clarify your vision, even in a written paper. Always proofread to ensure you have not lapsed into description but maintained a strong directorial or design voice.

时间管理至关重要。在笔试中，分配给案例分析题大约35分钟。花五分钟规划你的概念并选择要突出的细节。然后以清晰、分析性的风格书写，用段落分隔不同的设计领域。即使是在书面答题中，一张简略的舞台布局草图，用箭头标示光线或移动，也可以阐明你的设想。一定要检查，确保你没有陷入描述，而是保持了强有力的导演或设计师口吻。

Published by TutorHao | Drama Revision Series | aleveler.com

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