7 Performance Texts

Contents

This module is intended for use when encoding printed dramatictexts, screen plays or radio scripts, and written transcriptions of anyform of performance.

Section 7.1 Front and 後付 discusses elements, such as cast lists,which can appear only in the front or back matter of printed dramatictexts. Section 7.2 The Body of a Performance Text discusses the structuralcomponents of performance texts: these include major structuraldivisions such as acts and scenes (section 7.2.1 Major Structural Divisions);individual speeches (section 7.2.2 Speeches and Speakers); stage directions(section 7.2.3 Stage Directions); and the elements making up individualspeeches (section 7.2.4 Speech Contents). Section 7.2.5 Embedded Structuresdiscusses ways of encoding units which cross the simple hierarchicstructure so far defined, such as embedded songs or masques.Finally, section 7.3 Other Types of Performance Text discusses a small number ofadditional elements characteristic of screen plays and radio ortelevision scripts, as well as some elements for representingtechnical stage directions such as lighting or blocking.

The default structure for dramatic texts is similar to thatdefined by chapter 4 テキスト構造モジュール, as further discussed insection 7.2.1 Major Structural Divisions.

Two element classes are used by this module.The model.frontPart.drama class suppliesspecialized elements which can appear only in the front or back matterof performance texts. The model.stageLikeclass supplies a set of elements for stage directions and similaritems such as camera movements, which can occur between or withinspeeches.

7.1 Front and 後付

In dramatic texts, as in all TEI-conformant documents, the headerelement is followed by a text element, which contains optionalfront and back matter, and either a body or else agroup of nested text elements. For more informationon these, see chapter 4 テキスト構造モジュール.

The front and back elements are most likely to beof use when encoding preliminary materials in published performancetexts. When the module defined by this chapter is included in aschema, the following additional elements not generallyfound in other forms of text become available as part of the front orback matter:
  • performance contains a section of front or back matter describing how adramatic piece is to be performed in general or how it was performedon some specific occasion.
  • prologue contains the prologue to a drama, typically spoken by an actor out ofcharacter, possibly in association with a particular performance or venue.
  • epilogue contains the epilogue to a drama, typically spoken by an actorout of character, possibly in association with a particular performanceor venue.
  • set (setting) contains a description of the setting, time, locale, appearance,etc., of the action of a play, typically found in the front matter ofa printed performance text (not a stage direction).
  • castList (cast list) contains a single cast list or dramatis personae.

Elements for encoding each of these specific kinds of front matterare discussed in the remainder of this section, in the order givenabove. In addition, the front matter of dramatic texts may includethe same elements as that of any other kind of text, notably titlepages and various kinds of text division, as discussed in section 4.5 前付け. The encoder may choose to ignore the specializedelements discussed in this section and instead use constructions ofthe type div type="performance" or div1type="set".

Most other material in the front matter of a performance text will bemarked with the default text structure elements described in chapter4 テキスト構造モジュール. For example, the titlepage, dedication, other commendatory material, preface, etc., in aprinted text should be encoded using div or div1elements, containing headings, paragraphs, and other core tags.

7.1.1 The Set Element

A special form of note describing the setting of a dramatic text(that is, the time and place of its action) is sometimes found in thefront matter.
  • set (setting) contains a description of the setting, time, locale, appearance,etc., of the action of a play, typically found in the front matter ofa printed performance text (not a stage direction).
Descriptions of the setting may also appear as initial stage directionsin the body of the play, but such descriptions should be marked as stagedirections, not set. The set element should be usedonly where the description forms part of the front matter, as in thefollowing examples:
<front>
 <castList>
  <castItem> ... </castItem>
 </castList>
 <set>
  <p>The action of the play is set in Chicago's
     Southside, sometime between World War II and the
     present.</p>
 </set>
</front>
<front>
 <titlePage/>
 <div type="copyright_page"/>
 <div type="Contents"/>
 <div type="Introduction"/>
 <div type="note">
  <head>Note on the Translation</head>
  <p> ... </p>
 </div>
 <titlePage type="half-title">
  <docTitle>
   <titlePart>Peer Gynt</titlePart>
  </docTitle>
 </titlePage>
 <div type="Dramatis_Personae">
  <head>Characters</head>
  <castList/>
 </div>
 <set>
  <p>The action, which opens in the beginning of the nineteenth
     century, and ends around the 1860s, takes place partly in
     Gudbrandsdalen, and on the mountains around it, partly on the coast
     of Morocco, in the desert of Sahara, in a madhouse at Cairo, at sea,
     etc.</p>
 </set>
 <performance/>
</front>

7.1.2 Prologues and Epilogues

Many plays in the Western tradition include in their front matter aprologue, spoken by an actor, generally not in character. Similarspeeches often also occur at the end of the play, as epilogues. Theelements prologue and epilogue are provided for theencoding of such features within the front or back matter, whereappropriate.
  • prologue contains the prologue to a drama, typically spoken by an actor out ofcharacter, possibly in association with a particular performance or venue.
  • epilogue contains the epilogue to a drama, typically spoken by an actorout of character, possibly in association with a particular performanceor venue.
A prologue may be encoded just like a distinct poem, as in the followingexample:
<front>
 <prologue>
  <head>Prologue, spoken by <name>Mr. Hart</name>
  </head>
  <l>Poets like Cudgel'd Bullys, never do</l>
  <l>At first, or second blow, submit to you;</l>
  <l>But will provoke you still, and ne're have done,</l>
  <l>Till you are weary first, with laying on:</l>
  <l>We patiently you see, give up to you,</l>
  <l>Our Poets, Virgins, nay our Matrons too.</l>
 </prologue>
 <castList>
  <head>The Persons</head>
  <castItem> ... </castItem>
 </castList>
 <set>
  <head>The SCENE</head>
  <p>London</p>
 </set>
</front>
A prologue or epilogue may also be encoded as a speech, using thesp element described in section 3.12.2 舞台芸術向けコア要素. This isparticularly appropriate where stage directions, etc., are involved, asin the following example:
<epilogue>
 <head>Written by <name>Colley Cibber, Esq</name>
   and spoken by <name>Mrs. Cibber</name>
 </head>
 <sp>
  <lg type="stanza">
   <l>Since Fate has robb'd me of the hapless Youth,</l>
   <l>For whom my heart had hoarded up its truth;</l>
   <l>By all the Laws of Love and Honour, now,</l>
   <l>I'm free again to chuse, — and one of you</l>
  </lg>
  <lg type="stanza">
   <l>Suppose I search the sober Gallery; — No,</l>
   <l>There's none but Prentices — &amp; Cuckolds all a row:</l>
   <l>And these, I doubt, are those that make 'em so.</l>
  </lg>
  <stage>Pointing to the Boxes.</stage>
  <lg type="stanza">
   <l>'Tis very well, enjoy the jest:</l>
  </lg>
 </sp>
</epilogue>
In cases where the prologue or epilogue is clearly a significant partof the dramatic action, it may be preferable to include it in the bodyof a text, rather than in the front or back matter. In such cases, theencoder (and theatrical tradition) will determine whether or not toregard it as a new scene or division, or simply the final speech in theplay. In the First Folio version of Shakespeare'sTempest, for example, Prospero's final speech is clearlymarked off as a distinct textual unit by the headings and layout of thepage, and might therefore be encoded as back matter:
<text>
 <body>
  <div1 type="scene">
   <sp>
    <l part="Y">I'le deliver all,</l>
    <l>And promise you calme Seas, auspicious gales,</l>
    <l>Be free and fare thou well: please you, draw neere.</l>
    <stage>Exeunt omnes.</stage>
   </sp>
  </div1>
 </body>
 <back>
  <epilogue>
   <head>Epilogue, spoken by Prospero.</head>
   <sp>
    <l>Now my Charmes are all ore-throwne,</l>
    <l>And what strength I have's mine owne</l>
    <l>As you from crimes would pardon'd be,</l>
    <l>Let your Indulgence set me free.</l>
   </sp>
   <stage>Exit</stage>
  </epilogue>
  <set>
   <p>The Scene, an un-inhabited Island.</p>
  </set>
  <castList>
   <head>Names of the Actors.</head>
   <castItem>Alonso, K. of Naples</castItem>
   <castItem>Sebastian, his Brother.</castItem>
   <castItem>Prospero, the right Duke of Millaine.</castItem>
  </castList>
  <trailer>FINIS</trailer>
 </back>
</text>
In many modern editions, the editors have chosen to regardProspero's speech as a part of the preceding scene:
<sp>
 <speaker>Prospero</speaker>
 <l part="Y">I'll deliver all,</l>
 <l>And promise you calm seas, auspicious gales,</l>
 <l>Be free and fare thou well. <stage type="exit">Exit Ariel</stage>
   Please you, draw near. <stage type="exit">Exeunt all but Prospero</stage>
  <note place="margin">Epilogue</note>
 </l>
 <l>Now my charms are all o'erthrown,</l>
 <l>And what strength I have's mine own</l>
 <l>As you from crimes would pardoned be,</l>
 <l>Let your indulgence set me free.</l>
</sp>
<stage type="mix">He awaits applause, then exit.</stage>

7.1.3 Records of Performances

Performance texts are not only printed in books to be read, they arealso performed. It is common practice therefore to include within thefront matter of a printed dramatic text some brief account of particularperformances, using the following element:
  • performance contains a section of front or back matter describing how adramatic piece is to be performed in general or how it was performedon some specific occasion.
The performance element may be used to group any and allinformation relating to the actual performance of a play or screenplay,whether it specifies how the play should be performed in general or howit was performed in practice on some occasion.

Performance information may include complex structures such as castlists, or paragraphs describing the date and location of a performance,details about the setting portrayed in the performance and so forth.(See the discussion of these specialized structures in section 7.1 Front and 後付 above.) Ifinformation for more than one performance is being recorded, then morethan one performance element should be used, wherever possible.

Names of persons, places, and dates of particular significance withinthe performance record may be explicitly marked using the generalpurpose name, rs type="place" and dateelements described in section 3.5.4 日付や時間.No particular elements for such features as stagehouses,directors, etc., are proposed at this time.

For example:
<performance>
 <head>Death of a Salesman</head>
 <p>A New Play by Arthur Miller</p>
 <p>Staged by Elia Kazan</p>
 <castList>
  <head>Cast</head>
  <note rend="small type flush left" place="inline">(in order of appearance)</note>
  <castItem>
   <role>Willy Loman</role>
   <actor>Lee J. Cobb</actor>
  </castItem>
  <castItem>
   <role>Linda</role>
   <actor>Mildred Dunnock</actor>
  </castItem>
  <castItem>
   <role>Biff</role>
   <actor>Arthur Kennedy</actor>
  </castItem>
  <castItem>
   <role>Happy</role>
   <actor>Cameron Mitchell</actor>
  </castItem>
<!-- ... -->
 </castList>
 <p>The setting and lighting were designed by
 <name>Jo Mielziner</name>.</p>
 <p>The incidental music was composed by <name>Alex North</name>.</p>
 <p>The costumes were designed by <name>Julia Sze</name>.</p>
 <p>Presented by <name rend="unmarked">Kermit Bloomgarden</name>
   and <name rend="unmarked">Walter Fried</name> at the
 <rs type="place">Morosco Theatre in New York</rs> on
 <date when="1949-02-10">February 10, 1949</date>.</p>
</performance>
Or:
<performance>
 <p>La Machine Infernale a été
   représentée pour la première fois au
 <rs type="place-theatre">théâtre Louis-Jouvet</rs>
  <rs type="place-theatre">(Comédie des
     Champs-élysées)</rs>
  <date>le 10 avril 1934</date>,
   avec les décors et les costumes de
 <name>Christian Bérard.</name> ... </p>
</performance>

7.1.4 Cast リスト

A cast list is a specialized form of list,conventionally found at the start or end of a play, usually listing allthe speaking and non-speaking roles in the play, often with additionaldescription (‘Cataplasma, a maker of Periwigges and Attires’) orthe name of an actor or actress (‘Old Lady Squeamish. MrsRutter’). Cast lists may be encoded with the general purposelist element described in section 3.7 リスト, but formore detailed work the following specialized elements are provided:
  • castList (cast list) contains a single cast list or dramatis personae.
  • castGroup (cast list grouping) groups one or more individual castItemelements within a cast list.
  • castItem (cast list item) contains a single entry within a cast list, describingeither a single role or a list of non-speaking roles.
    typecharacterizes the cast item.
A castItem element may contain any mixture of elementstaken from the model.castItemPart class,members of which (when this module is included) are:
  • role the name of a dramatic role, as given in a cast list.
  • roleDesc (role description) describes a character's role in a drama.
  • actor Name of an actor appearing within a cast list.
Cast lists often have an internal structure of their own; it is quiteusual to find, for example, nobility and commoners, or male and femaleroles, presented in different groups or sublists. Roles are also oftengrouped together by their function, for example:
  • Sons of Cato:
    • Portius
    • Marcus
A cast list relating to a specific performance may be accompanied bynotes about the time or place of that performance, indicating (forexample) the name of the theatre where the play was first presented, thename of the producer or director, and so forth. When the cast listrelates to a specific performance, it should be embedded within aperformance element (see section 7.1.3 Records of Performances), as inthe following example:
<performance>
 <p>The first performance in Great Britain of <title>Waiting for
     Godot</title> was given at the Arts Theatre, London, on
 <date when="1955-08-03">3rd August 1955</date>. It was directed by
 <name>Peter Hall</name>, and the décor was by <name>Peter
     Snow</name>. The cast was as follows:</p>
 <castList>
  <castItem>Estragon: Peter Woodthorpe</castItem>
  <castItem>Vladimir: Paul Daneman</castItem>
  <castItem> ... </castItem>
 </castList>
</performance>
In this example, the castItem elements have no substructure.If desired, however, their components may be more finely distinguishedusing the elements role, roleDesc, and actor.For example, the second cast item above might be encoded as follows:
<castItem>
 <role xml:id="vlad">Vladimir</role>:
<actor>Paul Daneman</actor>
</castItem>

The global xml:id attribute may be used to specify a uniqueidentifier for the role element, where it is desired to linkspeeches within the text explicitly to the role, using thewho attribute, as further discussed in section 7.2.2 Speeches and Speakers below.

The occasionally lengthy descriptions of a role sometimes found inwritten play scripts may be marked using the roleDesc element,as in the following example:
<castItem>
 <role>Tom Thumb the Great</role>
 <roleDesc>a little hero with a great soul, something violent in his
   temper, which is a little abated by his love for Huncamunca</roleDesc>
 <actor>Young Verhuyk</actor>
</castItem>
For non-speaking or un-named roles, a castItem may contain aroleDesc without an accompanying role, for example
<castItem>
 <roleDesc>Costermonger</roleDesc>
</castItem>
When a list of such minor roles is given together, thetype attribute of the castItem should indicate thatit contains more than one role. The encoder may or may not elect toencode each separate constituent within such a compositecastItem. Thus, either of the following is acceptable:
<castItem type="list">Constables, Drawer, Turnkey, etc.</castItem>
<castItem type="list">
 <roleDesc>Constables,</roleDesc>
 <roleDesc>Drawer,</roleDesc>
 <roleDesc>Turnkey,</roleDesc>
etc.

</castItem>
A group of cast items forming a distinct subdivision of a cast listmay be marked as such by using the special purpose castGroupelement. The rend attribute may be used to indicatewhether this grouping is indicated in the text by layout alone (i.e. theuse of whitespace), by long braces or by some other means. AcastGroup may contain an optional heading (represented asusual by a head element) followed by a series ofcastItem elements:
<castGroup rend="braced">
 <head>friends of Mathias</head>
 <castItem>
  <role>Walter</role>
  <actor>Mr Frank Hall</actor>
 </castItem>
 <castItem>
  <role>Hans</role>
  <actor>Mr F.W. Irish</actor>
 </castItem>
</castGroup>
Alternatively, the encoder may prefer to regard the phrase‘friends of Mathias’ as a role description, and encode the aboveexample as follows:
<castGroup rend="braced">
 <roleDesc>friends of Mathias</roleDesc>
 <castItem>
  <role>Walter</role>
  <actor>Mr Frank Hall</actor>
 </castItem>
 <castItem>
  <role>Hans</role>
  <actor>Mr F.W. Irish</actor>
 </castItem>
</castGroup>
This version has the advantage that all role descriptions are treatedalike, rather than in some cases being treated as headings. On theother hand there are also cases, such as the following, where therole description does function more like a heading:
<castList>
 <castGroup>
  <head rend="braced">Mendicants</head>
  <castItem>
   <role>Aafaa</role>
   <actor>Femi Johnson</actor>
  </castItem>
  <castItem>
   <role>Blindman</role>
   <actor>Femi Osofisan</actor>
  </castItem>
  <castItem>
   <role>Goyi</role>
   <actor>Wale Ogunyemi</actor>
  </castItem>
  <castItem>
   <role>Cripple</role>
   <actor>Tunji Oyelana</actor>
  </castItem>
 </castGroup>
 <castItem>
  <role>Si Bero</role>
  <roleDesc>Sister to Dr Bero</roleDesc>
  <actor>Deolo Adedoyin</actor>
 </castItem>
 <castGroup>
  <head rend="braced">Two old women</head>
  <castItem>
   <role>Iya Agba</role>
   <actor>Nguba Agolia</actor>
  </castItem>
  <castItem>
   <role>Iya Mate</role>
   <actor>Bopo George</actor>
  </castItem>
 </castGroup>
 <castItem>
  <role>Dr Bero</role>
  <roleDesc>Specialist</roleDesc>
  <actor>Nat Okoro</actor>
 </castItem>
 <castItem>
  <role>Priest</role>
  <actor>Gbenga Sonuga</actor>
 </castItem>
 <castItem>
  <role>The old man</role>
  <roleDesc>Bero's father</roleDesc>
  <actor>Dapo Adelugba</actor>
 </castItem>
</castList>

7.2 The Body of a Performance Text

The body of a performance text may be divided into structural units,variously called acts, scenes, stasima, entr'actes, etc. All suchformal divisions should be encoded using an appropriate text-divisionelement (div, div1, div2, etc.), as furtherdiscussed in section 7.2.1 Major Structural Divisions. Whether divided up into suchunits or not, all performance texts consist of sequences of speeches(see 7.2.2 Speeches and Speakers) and stage directions (see 7.2.3 Stage Directions).Speeches will generally consist of a sequence ofchunk-level items: paragraphs, verse lines, stanzas, or(in case of uncertainty as to whether something is verse or prose)seg elements (see 7.2.4 Speech Contents).

The boundaries of formal units such as verse lines or paragraphs donot always coincide with speech boundaries. Units such as songs may bediscontinuous or shared among several speakers. As described below insection 7.2.5 Embedded Structures, such fragmentation may be encoded in arelatively simple fashion using the linkage and aggregation mechanismsdefined in chapter 16 Linking, Segmentation, and Alignment.

7.2.1 Major Structural Divisions

Large divisions in drama such as acts, scenes, stasima, or entr'actesare indicated by numbered or unnumbered div elements, asdescribed in section 4.1 本文の下位区分. The type andn attributes may be used to define the type of division beingmarked, and to provide a name or number for it, as in the followingexample:
<body>
 <div1 type="scene" n="1">
  <head>Night—Faust's Study (i)</head>
 </div1>
 <div1 type="scene" n="2">
  <head>Outside the City Gate</head>
 </div1>
</body>
Where the largest divisions of a performance text are themselvessubdivided, most obviously in the case of plays traditionally dividedinto acts and scenes, further nested text-division elements may be used,as in this example:
<body>
 <div1 type="act" n="1">
  <head>Act One</head>
  <div2 type="scene" n="1">
   <stage>Pa Ubu, Ma Ubu</stage>
   <sp>
    <speaker>Pa Ubu</speaker>
    <p>Pschitt!</p>
   </sp>
  </div2>
  <div2 type="scene" n="2">
   <stage>A room in Pa Ubu's house, where a magnificent
       collation is set out</stage>
  </div2>
 </div1>
 <div1 type="act" n="2">
  <head>Act Two</head>
  <div2 type="scene" n="1">
   <head>Scene One</head>
  </div2>
  <div2 type="scene" n="2">
   <head>Scene Two</head>
  </div2>
 </div1>
</body>

In the example above, the div2 element has been used torepresent the ‘French scene’ convention, (where theentrance of each new set of characters is marked as a distinct unit inthe text) and the div1 element to represent the acts into whichthe play is divided. The elements chosen are determined only by thehierarchic position of these units in the text as a whole. If the texthad no acts, but only scenes, then the scenes might be represented bydiv1 elements. Equally, if a play is divided only into‘acts’, with no smaller subdivisions, then the div1element might be used to represent acts. The type should beused, as above, to make explicit the name associatedwith a particular category of subdivision.

As an alternative to the use of numbereddivisions, the encoder may represent all subdivisions with the sameelement, the unnumbered div. The secondact in the above example would then be represented as follows:
<div type="act" n="2">
 <head>Act Two</head>
 <div type="scene" n="1">
  <head>Scene One</head>
 </div>
 <div type="scene" n="2">
  <head>Scene Two</head>
 </div>
</div>

For further discussion of the use of numbered and unnumbereddivisions, see section 4.1 本文の下位区分.

7.2.2 Speeches and Speakers

The following elements are used to identify speeches and speakers ina performance text:
  • sp (speech) An individual speech in a performance text, or a passage presented as such in a prose or verse text.
  • speaker A specialized form of heading or label, giving the name ofone or more speakers in a dramatic text or fragment.

As noted above, the structure of many performance texts may beanalysed as multiply hierarchic: a scene of a verse play, for example,may be divided into speeches and, at the same time, into verse lines.The end of a line may or may not coincide with the end of a speech, andvice versa. Other structures, such as songs, may be discontinuous orsplit up over several speeches. For some purposes it will beappropriate to regard the verse-structure as the fundamental organizingprinciple of the text, and for others the speech structure; in somecases, the choice between the two may be arbitrary. The discussion inthe remainder of this chapter assumes that it is the speech-basedhierarchy which most prominently determines the structure of performancetexts, but the same mechanisms could be employed to encode a view of aperformance text in which individual speeches were entirely subordinateto the formal units of prose and verse. For more detailed discussion andexamples of various treatments of this fundamental issue, refer tochapter 20 Non-hierarchical Structures.

The who attribute and the speaker element areboth used to indicate the speaker or speakers of a speech, but in ratherdifferent ways. The speaker element is used to encode the wordor phrase actually used within the source text to indicate the speaker:it may contain any string or prefix, and may be thought of as a highlyspecialized form of stage direction. The value of the whoattribute however is a unique code, probably made up by the transcriber,which will unambiguously identify the character to whom the speech isassigned. To enforce this uniqueness, the base tag set for dramadefines the value of this attribute as IDREFS. This means that thecodes included in it must correspond with codes which are specifiedelsewhere in the document as identifiers for particular elements,typically the role element in the cast list where the characteris named or described, as discussed in 7.1 Front and 後付 above.
<castList>
 <castItem>
  <role xml:id="menae">Menaechmus</role>
 </castItem>
 <castItem>
  <role xml:id="penic">Peniculus</role>
 </castItem>
</castList>
<sp who="#menae">
 <speaker>Menaechmus</speaker>
 <l>Responde, adulescens, quaeso, quid nomen tibist?</l>
</sp>
<sp who="#penic">
 <speaker>Peniculus</speaker>
 <l>Etiam derides, quasi nomen non noveris?</l>
</sp>
<sp who="#menae">
 <speaker>Menaechmus</speaker>
 <l>Non edepol ego te, quot sciam, umquam ante hunc diem</l>
 <l>Vidi neque novi; ...</l>
</sp>
If present, a speaker element may only appear as the firstpart of an sp element. The distinction between thespeaker element and the who attribute makes itpossible to encode uniformly characters whose names are not indicated ina uniform fashion throughout the play, or characters who appear indisguise, as in the following examples:
<castList>
 <castItem>
  <role xml:id="hh">Henry Higgins</role>
 </castItem>
</castList>
<sp who="#hh">
 <speaker>The Notetaker</speaker>
 <p> ... </p>
</sp>
If the speaker attributions are completely regular (and may thus bereconstructed mechanically from the values given for the whoattribute), or are of no interest for the encoder of the text (as mightbe the case with editorially supplied attributions in older texts), thenthe speaker element need not be used; the former example abovethen might look like this:
<castList>
 <castItem>
  <role xml:id="menaechmus">Menaechmus</role>
 </castItem>
 <castItem>
  <role xml:id="peniculus">Peniculus</role>
 </castItem>
</castList>
<sp who="#menaechmus">
 <l>Responde, adulescens, quaeso, quid nomen tibist?</l>
</sp>
<sp who="#peniculus">
 <l>Etiam derides, quasi nomen non noveris?</l>
</sp>
<sp who="#menaechmus">
 <l>Non edepol ego te, quot sciam, umquam ante hunc diem</l>
 <l>Vidi neque novi; ...</l>
</sp>
More than one identifier may be listed as value for the whoattribute if the speech is spoken by more than one person, as in thefollowing example:
<castList>
 <castItem>
  <role xml:id="nan">Nano</role>
 </castItem>
 <castItem>
  <role xml:id="cas">Castrone</role>
 </castItem>
</castList>
<stage>Nano and Castrone sing</stage>
<sp who="#nan #cas">
 <l>Fools, they are the only nation</l>
 <l>Worth men's envy or admiration</l>
</sp>

The sp and speaker elements are both declaredwithin the core module (see section 3.12 韻文・舞台芸術中の一節).

7.2.3 Stage Directions

Both between and within the speeches of a written performance text,it is normal practice to include a wide variety of descriptivedirections to indicate non-verbal action. The following elements areprovided to represent these:
  • stage (stage direction) contains any kind of stage direction within a dramatic text orfragment.
    typeindicates the kind of stage direction.
  • move/ (movement) marks the actual entrance or exit of one or more characters on stage.
    typecharacterizes the movement, for example as an entrance or exit.
    wherespecifies the direction of a stage movement.
    perf(performance) identifies the performance or performances in which this movement occurred as specified.
A satisfactory typology of stage directions is difficult to define.Certain basic types such as ‘entrance’, ‘exit’,‘setting’, ‘delivery’, are easily identified. But the list isnot a closed one, and it is not uncommon to mix types within a singledirection. No closed set of values for the type attribute istherefore proposed at the present time, though some suggested values areindicated in the list below, which also indicates the range ofpossibilities.
<stage type="setting">The throne descends.</stage>
<stage type="setting">Music</stage>
<stage type="entrance">Enter Husband as being thrown off his horse.</stage>
<stage type="exit">Exit pursued by a bear.</stage>
<stage type="business">He quickly takes the stone out.</stage>
<stage type="delivery">To Lussurioso.</stage>
<stage type="delivery">Aside.</stage>
<stage type="delivery">Not knowing what to say.</stage>
<stage type="costume">Disguised as Ansaldo.</stage>
<stage type="location">At a window.</stage>
<stage type="novelistic">Having had enough, and embarrassed
for the family.</stage>
Where possible, the values used for the type attribute onstage elements should be defined within the tagUsageelement of the TEI header (described in section 2.3.4 タグ付け宣言).For example:
<tagUsage gi="stage">This element is used for all stage directions,
editorial or authorial. The type= attribute on this element takes
one or more of the following values:
<list type="gloss">
  <label>setting</label>
  <item>describes the set</item>
  <label>blocking</label>
  <item>describes movement across stage, position, etc.</item>
  <label>business</label>
  <item>describes movement other than blocking</item>
  <label>delivery</label>
  <item>describes how the line is said</item>
  <label>motivation</label>
  <item>describes character's emotional state or through line</item>
 </list>
</tagUsage>
The stage element may appear both between and withinsp elements. It may contain a mixture of phrase levelelements, possibly combined into paragraphs, as in the followingexample:
<div1 n="1" type="act">
 <stage type="setting">
  <p>Scene. — A room furnished comfortably and
     tastefully but not extravagantly ...
     The floor is carpeted and a fire burns in the stove.
     It is winter.</p>
  <p>A bell rings in the hall; shortly afterwards the
     door is heard to open. Enter NORA humming a tune ...</p>
 </stage>
 <sp>
  <speaker>Nora</speaker>
  <p>Hide the Christmas Tree carefully, Helen. Be sure the
     children do not see it till this evening, when it is
     dressed. <stage type="delivery">To the PORTER taking
       out her purse</stage> How much?</p>
 </sp>
</div1>

The stage element may also be used in non-theatricaltexts, to mark sound effects or musical effects, etc., as furtherdiscussed in section 7.3 Other Types of Performance Text.

The move element is intended to help overcome the fact thatthe stage directions of a printed text may often not provide fullinformation about either the intended or the actual movement of actorsetc. on stage. It may be used to keep track of entrances and exits indetail, so as to know which characters are on stage at which time. Itsattributes permit a relatively formal specification for movements ofcharacters, using user-defined codes to identify the characters involved(the who attribute), the direction of the movement(type attribute), and optionally which part of the stage isinvolved (where attribute). For stage-historical purposes, aperf attribute is also provided; this allows the recording ofdifferent move elements as taken in different performances of the same text.

The move element should be located at the position in thetext where the move is presumed to take place. This will often coincidewith a stage direction, as in the following simple example:
<castList>
 <castItem>
  <role xml:id="bella">Bellafront</role>
 </castItem>
</castList>
<stage type="entrance">
 <move who="#bella" type="enter"/>
Enter Bellafront mad.
</stage>
The move element can however appear independently of a stagedirection, as in the following example:
<castList>
 <castItem>
  <role xml:id="lm">Lady Macbeth</role>
 </castItem>
 <castItem>
  <role xml:id="g1">First Gentleman</role>
 </castItem>
<!-- ... -->
</castList>
<sp who="#g1">
 <speaker>Gent.</speaker>
 <p>Neither to you, nor any one; having no witness
   to confirm my speech. <move who="#lm" type="enter" where="C"/>
   Lo you! here she comes. This is her very guise; and,
   upon my life, fast asleep.</p>
</sp>

7.2.4 Speech Contents

The actual speeches of a dramatic text may be composed of runningtext, which must be formally organized into paragraphs, in the case ofprose (see section 3.1 段落), verse lines or line groups inthat of verse (see section 3.12 韻文・舞台芸術中の一節), or segelements, in case of doubt as to whether the material should be treatedas verse or prose. The following elements, all of which are defined inthe core, are particularly useful when marking units of prose or verse withinspeeches:
  • p (paragraph) marks paragraphs in prose.
  • lb/ (line break) marks the start of a new (typographic) line in someedition or version of a text.
    ed(edition) indicates the edition or version in which the line break is locatedat this point
  • l (verse line) contains a single, possibly incomplete, line of verse.
    partspecifies whether or not the line is metrically complete.
  • lg (line group) contains a group of verse lines functioning as a formal unit,e.g. a stanza, refrain, verse paragraph, etc.
As a member of the classes att.typedand att.divLike, thelg elementalso bears the following attributes:
  • att.typed provides attributes which can be used to classify or subclassify elements in any way.
    typecharacterizes the element in some sense, using any convenient classification scheme or typology.
    subtypeprovides a sub-categorization of the element, if needed
  • att.divLike provides attributes common to all elements which behave in the same way as divisions.
    org(organization) specifies how the content of the division is organized.
    sampleindicates whether this division is a sample of the original source and if so, from which part.
    partspecifies whether or not the division is fragmented by some other structural element, for example a speech which is divided between two or more verse stanzas.
When the verse module is included in aschema, the elements land lg also gain additional attributes through theirmembership of the class att.metrical:
  • att.metrical defines a set of attributes which certain elements may use torepresent metrical information.
    met(metrical structure, conventional) contains a user-specified encoding for the conventionalmetrical structure of the element.
    rhyme(rhyme scheme) specifies the rhyme scheme applicable to a group of verse lines.

In many texts, prose and verse may be inextricably mingled;particularly in earlier printed texts, prose may be printed as verse orverse as prose, or it may be impossible to distinguish the two. Incases of doubt, an encoder may prefer to tag the dubious materialconsistently as verse, to tag it all as prose, to follow the typographyof the source text, or to use the neutral abelement to contain the speech itself. When this question arises, thetagUsage element in the encodingDesc element of theheader may be used to record explicitly what policy has been adopted.

Even where they can reliably be distinguished, a single speech may frequentlycontain a mixture of prose (marked as p) and verse (marked asl or — if stanzaic — lg).

The part attribute of the l and lgelements provides one simple way of indicating where the boundaries of aspeech and of a verse line or line group do not coincide. The encodermay simply indicate that a line or line group is metrically incomplete byspecifying the value Y or N, as in the following example:
<sp>
 <speaker>Face</speaker>
 <l part="Y">Believ't, I will.</l>
</sp>
<sp>
 <speaker>Subtle</speaker>
 <l part="Y">Thy worst. I fart at thee.</l>
</sp>
<sp>
 <speaker>Doll</speaker>
 <l>Ha' you your wits? Why gentlemen! For love —</l>
</sp>
<sp>
 <speaker>Face</speaker>
 <l part="Y">Sirrah, I'll strip you—.</l>
</sp>
<sp>
 <speaker>Subtle</speaker>
 <l part="Y">What to do? Lick figs</l>
 <l part="Y">Out at my—</l>
</sp>
<sp>
 <speaker>Face</speaker>
 <l part="Y">Rogue, rogue, out of all your sleights.</l>
</sp>
Alternatively, where the fragments of the line or line group areconsecutive in the text (though possibly interrupted by stagedirections), the values I (initial), M (medial), and F (final)may be used to indicate how metrical lines should be reconstituted:
<sp>
 <speaker>Face</speaker>
 <l part="I">Believ't, I will.</l>
</sp>
<sp>
 <speaker>Subtle</speaker>
 <l part="F">Thy worst. I fart at thee.</l>
</sp>
<sp>
 <speaker>Doll</speaker>
 <l>Ha' you your wits? Why gentlemen! For love —</l>
</sp>
<sp>
 <speaker>Face</speaker>
 <l part="I">Sirrah, I'll strip you—.</l>
</sp>
<sp>
 <speaker>Subtle</speaker>
 <l part="M">What to do? Lick figs</l>
 <l part="I">Out at my—</l>
</sp>
<sp>
 <speaker>Face</speaker>
 <l part="F">Rogue, rogue, out of all your sleights.</l>
</sp>
In dramatic texts, the lg or line group element is mostoften of use for the encoding of songs and other stanzaic material, asfurther discussed in the next section. Line groups may be fragmentedacross speakers in the same way as individual lines, and the same set ofattributes is available to record this fact. In the following example,an lg element is used to represent one verse of a song, which isdivided between several voices:
<stage type="head">Song — Sir Joseph</stage>
<sp>
 <lg type="song" part="I">
  <l>I am the monarch of the sea,</l>
  <l>The ruler of the Queen's Navee.</l>
  <l>Whose praise Great Britain loudly chants.</l>
 </lg>
</sp>
<sp>
 <speaker>Cousin Hebe</speaker>
 <lg type="song" part="M">
  <l>And we are his sisters and his cousins and his aunts!</l>
 </lg>
</sp>
<sp>
 <speaker>Rel.</speaker>
 <lg type="song" part="F">
  <l>And we are his sisters and his cousins and his aunts!</l>
 </lg>
</sp>
These elements are all defined in the core, and are thus available toevery TEI document without formality. A more detailed discussion of theencoding of verse is provided in chapter 6 韻文.

7.2.5 Embedded Structures

Although primarily composed of speeches, performance texts oftencontain other structural units such as songs or strophes which areshared among different speakers. More generally, complex nestedstructures of plays within plays, interpolated masques, or interludesare far from uncommon. In more modern material, comparably complexstructural devices such as flashback or nested playback are equallyfrequent. In all kinds of performance material, it may be necessary toindicate several actions which are happening simultaneously.

A number of different devices are available within the TEI scheme tosupport these complexities in the general case. Texts may be compositeor self-nesting (see section 4.3.1 複合テキスト) and multiplehierarchies may be defined (see chapter 20 Non-hierarchical Structures). The TEIencoding scheme provides a variety of linking mechanisms, which may beused to indicate temporal alignment and aggregation of fragmentedstructures. In this section we provide a few specific examples of theapplication of these techniques to performance texts:
  • the use of the floatingText element
  • the use of the part attribute on fragmentarylg elements
  • the use of the next and prev attributes onfragments of embedded structures to join them into a larger whole
  • the use of the join element to define a‘virtual element’ composed of the fragmentsindicated
When the whole of a song appears within a single speech, it mayrequire no special treatment if it is considered to form a partof the speech:
<sp>
 <speaker>Kelly</speaker>
 <stage>(calmly).</stage>
 <p>Aha, so you've bad minds along with th' love of gain.
   You thry to pin on others th' dirty decorations that
   may be hangin' on your own coats.</p>
 <stage>(He points, one after the other at Conroy, Bull,
   and Flagonson. Lilting)</stage>
 <lg type="song">
  <l>Who were you with last night?</l>
  <l>Who were you with last night?</l>
  <l>Will you tell your missus when you go home</l>
  <l>Who you were with last night?</l>
 </lg>
</sp>
<sp>
 <speaker>Flagonson</speaker>
 <stage>(in anguished indignation).</stage>
 <p>This is more than a hurt to us: this hits at the
   decency of the whole nation!</p>
</sp>
If however, the song is to be regarded as forming a distinct item,perhaps with its own front and back matter, it may be better to regardit as a floating text:
<sp>
 <speaker>Kelly</speaker>
 <stage>(calmly).</stage>
 <p>Aha, so you've bad minds along with ...</p>
</sp>
<stage>(He points, one after the other at Conroy, Bull,
and Flagonson. Lilting):</stage>
<floatingText>
 <front>
  <titlePart>Kelly's Song</titlePart>
 </front>
 <body>
  <l>Who were you with last night?</l>
  <l>Who were you with last night?</l>
  <l>Will you tell your missus when you go home</l>
  <l>Who you were with last night?</l>
 </body>
</floatingText>

When an embedded structure extends across more than one spelement, each of its constituent parts must be regarded as a distinctfragment; the problem then facing the encoder is to reconstitute theinterrupted whole in some way.

As already noted above, the part attribute may be used toindicate that an l element contains a partial, not a complete,verse line. The same attribute may be used on the lg element,to indicate that the line group is partial rather than complete, thus:
<sp>
 <speaker>Kelly</speaker>
 <stage>(wheeling quietly in his semi-dance,
   as he goes out):</stage>
 <lg type="stanza" part="I">
  <l>Goodbye to holy souls left here,</l>
  <l>Goodbye to man an' fairy;</l>
 </lg>
</sp>
<sp>
 <speaker>Widda Machree</speaker>
 <stage>(wheeling quietly in her semi-dance,
   as she goes out):</stage>
 <lg type="stanza" part="F">
  <l>Goodbye to all of Leicester Square,</l>
  <l>An' the long way to Tipperary.</l>
 </lg>
</sp>
When the fragments of a song are separated by other interveningdialogue, or even when not, they may be linked together with thenext and prev attributes defined in section16.7 Aggregation.For example, the line groups making up Ophelia's songmight be encoded as follows:
<div1 n="4" type="act">
 <div2 n="5" type="scene">
  <stage>Elsinore. A room in the Castle.</stage>
  <stage type="setting">Enter Ophelia, distracted.</stage>
  <sp>
   <speaker>Ophelia</speaker>
   <p>Where is the beauteous Majesty of Denmark?</p>
  </sp>
  <sp>
   <speaker>Queen</speaker>
   <p>How now, Ophelia?</p>
  </sp>
  <sp>
   <speaker>Ophelia</speaker>
   <stage>Singing</stage>
   <lg
     next="#Tl2"
     xml:id="Tl1"
     type="song"
     part="Y">
    <l>How should I your true-love know</l>
    <l>From another one?</l>
    <l>By his cockle hat and staff</l>
    <l>And his sandal shoon.</l>
   </lg>
  </sp>
  <sp>
   <speaker>Queen</speaker>
   <p>Alas, sweet lady, what imports this song?</p>
  </sp>
  <sp>
   <speaker>Ophelia</speaker>
   <p>Say you? Nay, pray you mark.</p>
   <stage>Sings</stage>
   <lg
     prev="#Tl1"
     xml:id="Tl2"
     type="song"
     part="Y">
    <l>He is dead and gone, lady,</l>
    <l>He is dead and gone;</l>
    <l>At his head a grass-green turf,</l>
    <l>At his heels a stone.</l>
   </lg>
   <p>O, ho!</p>
  </sp>
<!-- need better example of nested text -->
 </div2>
</div1>

The next and prev attributes are discussed insection 16.7 Aggregation: they form part of the modulefor alignment and linking; this module must therefore be inclued in aschema if they are to be used, as further discussed in section 1.2 TEIスキーマの定義.

The fragments of Ophelia's song might also be linked together usingthe join mechanism described in section 16.7 Aggregation.The join element is specifically intended to encode the factthat several discontiguous elements of the text together form one‘virtual’ element. Using this mechanism, the examplemight be encoded as follows:
<text>
 <body>
  <div1 n="4" type="act">
   <div2 n="5" type="scene">
    <stage type="setting">Elsinore. A room in the Castle.</stage>
    <sp>
     <speaker>Queen</speaker>
     <p>How now, Ophelia?</p>
    </sp>
    <sp>
     <speaker>Ophelia</speaker>
     <stage type="delivery">Singing</stage>
     <lg xml:id="TL1" type="song" part="Y">
      <l>How should I your true-love know</l>
      <l>From another one?</l>
      <l>By his cockle hat and staff</l>
      <l>And his sandal shoon.</l>
     </lg>
    </sp>
    <sp>
     <speaker>Queen</speaker>
     <p>Alas, sweet lady, what imports this song?</p>
    </sp>
    <sp>
     <speaker>Ophelia</speaker>
     <p>Say you? Nay, pray you mark.</p>
     <stage type="delivery">Sings</stage>
     <lg xml:id="TL2" type="song" part="Y">
      <l>He is dead and gone, lady,</l>
      <l>He is dead and gone;</l>
      <l>At his head a grass-green turf,</l>
      <l>At his heels a stone.</l>
     </lg>
     <p>O, ho!</p>
     <join type="lg" targets="#TL1 #TL2"/>
    </sp>
   </div2>
  </div1>
 </body>
</text>
The location of the join element is not significant; here ithas been placed shortly after the conclusion of the song, in order tohave it close to the fragments it unifies.

Like the next and prev attributes, thejoin element requires the additional module for linking, whichis selected as shown above.

7.2.6 Simultaneous Action

In printed or written versions of performance texts, a variety oftechniques may be used to indicate the temporal alignment of speeches oractions. Speeches may be printed vertically aligned on the page, orbraced together; stage directions (e.g. ‘Speaking at the sametime’) are also often used. In operatic or musical works inparticular, the need to indicate timing and alignment of individualparts of a song may lead to very complex layout.

One simple method of indicating the temporal alignment of speeches oractions is to use the corresp attribute discussed insection 16.4 Correspondence and Alignment, as in the following example:
<sp>
 <speaker>Mangan</speaker>
 <stage type="delivery">wildly</stage>
 <p>Look here: I'm going to take off all my clothes.</p>
 <stage type="action">he begins tearing off his coat.</stage>
</sp>
<sp xml:id="dr-s1">
 <speaker>Lady Utterword</speaker>
 <p>Mr Mangan!</p>
</sp>
<sp xml:id="dr-s2">
 <speaker>Captain Shotover</speaker>
 <p>Whats that?</p>
</sp>
<sp xml:id="dr-s3">
 <speaker>Hector</speaker>
 <p>Ha! ha! Do. Do.</p>
</sp>
<sp xml:id="dr-s4">
 <speaker>Ellie</speaker>
 <p>Please dont.</p>
</sp>
<stage corresp="#dr-s1 #dr-s2 #dr-s3 #dr-s4" xml:id="dr-d1" type="delivery">in consternation</stage>
<sp>
 <speaker>Mrs. Hushabye</speaker>
 <stage type="action">catching his arm and stopping him</stage>
 <p>Alfred: for shame! Are you mad?</p>
</sp>

In the original, the stage direction ‘in consternation’ isprinted opposite a brace grouping all four speeches, indicating that allfour characters speak at once, and that the stage direction applies toall of them. In the example, the stage element has been movedto an arbitrary place, and the four speeches with which it is to beassociated are specified by identifier as the value of thecorresp attribute. This attribute, which is enabled by thelinking module, provides the simplest way of indicating the temporalalignment of speeches or actions in a play.

More powerful and more precise mechanisms for temporal alignment aredefined in chapter 8 Transcriptions of Speech. These would be appropriate forencodings the focus of which is on the actual performance of a textrather than its structure or formal properties. The module describedin that chapter includes a large number of other detailed proposals forthe encoding of such features as voice quality, prosody, etc., whichmight be relevant to such a treatment of performance texts.

7.3 Other Types of Performance Text

Most of the elements and structures identified thus far are derivedfrom traditional theatrical texts. Although other performance texts,such as screenplays or radio scripts, have not been discussedspecifically, they can be encoded using the elements and structureslisted above. Encoders may however find it convenient to use, as well,the additional specialized elements discussed in this section. Forscripts containing very detailed technical information, thetech element discussed in section 7.3.1 Technical Information may alsobe useful.

Like other texts, screenplays and television or radio scripts maybe divided into text divisions marked with div ordiv1, etc. Within units corresponding with the traditional‘act’ and ‘scene’, further subdivisions or sequences may beidentified, composed of individual ‘shots’, each associated witha single camera angle and setting. Shots and sequences should beencoded using an appropriate text-division element (i.e., adiv3 element if numbered division elements are in use and thenext largest unit is a div2, or a div element ifun-numbered divisions are in use) specifying sequence orshot as the value of the type attribute, asappropriate.

It is normal practice in screenplays and radio scripts to distinguishdirections concerning camera angles, sound effects, etc., from otherforms of stage direction. Such texts also generally include far moredetailed specifications of what the audience actually sees:descriptions of actions and background, etc. Scripts derived fromcinema and television productions may also include texts displayed ascaptions superimposed on the action. All of these may be encoded usingthe general purpose stage element discussed in section 7.2.3 Stage Directions, and distinguished by means of its typeattribute. Alternatively, or in addition, the following more specificelements may be used, where clear distinctions can be made:
  • view describes the visual context of some part of a screen play interms of what the spectator sees, generally independent of anydialogue.
  • camera describes a particular camera angle or viewpoint in a screen play.
  • caption contains the text of a caption or other text displayed as part ofa film script or screenplay.
  • sound describes a sound effect or musical sequence specified within ascreen play or radio script.
    typecategorizes the sound in some respect, e.g. as music, special effect, etc.
    discreteindicates whether the sound overlaps the surrounding speeches or interrupts them.
Some examples of the use of these elements follow:
<camera>Angle on Olivia.</camera>
<view>Ryan's wife, standing nervously alone on the sidelines,
biting her lip. She's scared and she shows it.</view>
Where particular words or phrases within a direction are emphasized(by change of typeface or use of capital letters), an appropriatephrase-level element may be used to indicate the fact, as in thefollowing examples, where certain words in the original are given insmall capitals:
<view>George glances at the window--and freezes.
<camera>New angle--shock cut</camera> Out the window
the body of a dead man suddenly slams into
<hi>frame</hi>. He dangles grotesquely,
held up by his coat caught on a protruding bolt.
George gasps. The train <hi>whistle</hi> screams.</view>
<view>Ext. TV control van—Early morning.
The <name>T.V. announcer</name> from the Ryan interview
stands near the Control Van, the lake in b.g.</view>
<sp>
 <speaker>T.V. Announcer</speaker>
 <p>Several years ago, Jack Ryan was a highly
   successful hydroplane racer ...</p>
</sp>
All of these elements, like other stage directions, can appear bothwithin and between speeches.
<sp>
 <speaker>TV Announcer VO</speaker>
 <p>Working with Ryan are his two coworkers—
   Strut Bowman, the mechanical engineer—
 <view>
   <camera>Angle on Strut</camera>
     standing in the tow boat, walkie-talkie in hand,
     watching Ryan carefully.</view>
   —and Roger Dalton, a rocket
   systems analyst, and one of the scientists
   from the Jet Propulsion Lab ...</p>
</sp>
<sp>
 <speaker>Benjy</speaker>
 <p>Now to business.</p>
</sp>
<sp>
 <speaker>Ford and Zaphod</speaker>
 <p>To business.</p>
</sp>
<sound>Glasses clink.</sound>
<sp>
 <speaker>Benjy</speaker>
 <p>I beg your pardon?</p>
</sp>
<sp>
 <speaker>Ford</speaker>
 <p>I'm sorry, I thought you were proposing a toast.</p>
</sp>
<camera>Zoom in to overlay showing some stock film
of hansom cabs galloping past.</camera>
<caption>London, 1895.</caption>
<caption>The residence of Mr Oscar Wilde.</caption>
<sound>Suitably classy music starts.</sound>
<view>Mix through to Wilde's drawing room. A crowd of suitably
dressed folk are engaged in typically brilliant conversation,
laughing affectedly and drinking champagne.</view>
<sp>
 <speaker>Prince of Wales</speaker>
 <p>My congratulations, Wilde. Your latest play is a great success.</p>
</sp>

7.3.1 Technical Information

Traditional stage scripts may contain additional technicalinformation about such production-related factors as lighting,‘blocking’ (that is, detailed notes on actors'movements), or props required at particular points. More technicalinformation about intended production effects may also appear inpublished versions of screenplays or movie scripts. Where these arepresented simply as marginal notes, they may be encoded using thegeneral-purpose note element defined in section 3.8 注釈, Annotation, and Indexing.Alternatively, they may be formally distinguished fromother stage directions by using the specialized tech element:
  • tech (technical stage direction) describes a special-purpose stage direction that is notmeant for the actors.
    typecategorizes the technical stage direction.
    perf(performance) identifies the performance or performances to which thistechnical direction applies.

Like stage directions, tech elements can appear anywherewithin a speech or between speeches.

7.4 舞台芸術モジュール

The module described in this chapter makes available the followingcomponents:
Module drama: Performance texts
The selection and combination of modules to form a TEI schema is described in1.2 TEIスキーマの定義.

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