Humaneness
Script Analysis
System

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The source becomes a virtual performance

The Humaneness Script Analysis System is the authoring and scene-encoding component of Humaneness PerformanceNet. It preserves why a fictional character acts, what a scene requires and how a local response should become speech or visible behavior.

Start with dramatic material: a novel, script, screenplay, stage play, radio play or an original authored scene. Read for facts, relationships, actions and contradictions. Build a Character Makeup for each fictional character. For every scene, formulate all seven Dramatic Obligations through that character’s particular makeup, including the scene’s Emotional obligation. Finally, arrange what is said, done and withheld into ordered Acting Beats.

These inputs condition a generator. Audio output realizes the spoken line, breathing, rhythm and pauses. Audiovisual output can also realize gaze, face, body and action. The illustrated proposal also suggests keypoint sequences and avatar controls; these are intended uses of the representation, not demonstrated results.

“Experience” names fictional conditioning. A chunk describes a possible inner stream for the character. It does not assert that an AI model is conscious, that it feels the supplied emotion, or that a viewer can recover that inner stream from the output. A fear of loss can condition composed reassurance; the fear need not become directly detectable.

The division of work. This system stores source-grounded and authored character conditions. The Humaneness Performance Annotation System encodes observable real, reference and synthetic recordings, with interpretation and task-fit review separated. Both use shared taxonomy fields where appropriate. An authored condition is not converted into an observed fact merely because the field name is shared.

Humaneness PerformanceNet

Two systems, one shared descriptive space

The Script Analysis System uses descriptors as conditions: a voice quality to realize, a situation to inhabit, a displayed affect to maintain. The Performance Annotation System uses supported descriptors to encode a recording. Source text, fictional Experience Chunks, observations and viewer responses stay distinct even when they refer to the same character and moment.

Read the source, then make an actor

Keep the text and the interpretation separable

Retain the original passage, scene or utterance and its locator. Mark which character facts are explicit in the source, which are interpretations of the dramatic material, and which are new directorial inventions. An adaptation can add a pause, a bodily action or a thought fragment; identify that addition instead of presenting it as the author’s wording.

Build one persistent character, then vary the encounter

Do not invent a new personality for every emotion label. The same character can command, comfort, joke or confess. A persistent makeup explains what remains recognisable and what changes when a different partner, risk or bodily circumstance becomes important. Licensed reference audio or video can supplement the written design across several behavioral modes; it does not replace the four portraits.

For a reference clip, store the locator, permission basis, behavioral mode and intended use. Say whether it illustrates voice identity, habitual movement, a delivery mode or a specific action. The examples in this volume contain no reference recordings, so their reference-media arrays are empty.

What a structured scene makes possible

Condition speech and audiovisual generators

Give an audio, video or audiovisual generator the source passage, persistent makeup, the current scene’s seven obligations and its ordered beats. Keep the exact spoken words in the outer beat and the unspoken fictional stream in its one Experience Chunk. A model can receive selected voice, expression, action and timing cues without losing the dramatic cause behind them.

Encode scenes for omni models

A structured scene can connect text, source context, permitted reference media and intended action in one representation. This allows a model input to distinguish who the character is, what the encounter means, what happens next and which cues belong to which modality. It is a proposed input organization, not a claim that a particular omni model already understands or reliably executes every field.

Design controlled examples and diverse coverage

Hold the words and character stable while changing one scene obligation, displayed affect, competing impulse or local cue. Use the Situation Taxonomy and scenario catalogs to vary partners, tasks, social constraints and physical circumstances. Record the condition that changed and the family of related variants so later filtering, evaluation or data splits can preserve the comparison.

Prepare the intended side of learning examples

The authored package can supply the requested conditions paired with a rendered take. The Annotation System supplies the separately supported description of that take. A reviewed training example can then pair a condition with eligible observed targets, or compare task-fit labels between alternatives. The script’s hidden feelings are conditioning fiction; they are not automatically correct output annotations or rewards.

Character Makeup

Write a persistent fictional role that the generation model can carry across scenes. Physical, emotional, intellectual and psychological makeup remain four distinct, connected portraits.

For an audiovisual actor, add authored appearance, habitual posture, movement and interaction with the setting. Connect the vocal consequences below to that broader embodiment. Appearance is a design choice from the source or adaptation, not a private fact inferred from a reference voice.

A descriptive profile is not a row of adjectives. It is an account of tendencies, causes, contradictions, contexts, and vocal consequences.

How to write each domain

Each of the four domains uses the same narrative grammar: default tendency → learned or imagined cause → condition of activation → contradictory pull → interpersonal consequence → audible implication. This makes a portrait specific enough for an actor, yet also usable as a generation condition. Scores can complement the portrait, but never replace it.

The four domains - specification level

Physical makeup

Stable and recurrent embodiment relevant to speech: habitual effort, carriage, breath placement, sensory habits, physical energy distribution, and recovery after strain. Do not infer bodily appearance, health diagnoses or exact age from audio alone.

Illustrative causal claim: A practiced crisis worker can retain clean articulation while involuntary breathing narrows under stress.

Emotional makeup

The character’s recurring emotional point of view, attachment habits, trigger sensitivity, emotional availability, and learned regulation style. Distinguish the experience of an emotion from its deliberately displayed mask.

Illustrative causal claim: A person who hides need under usefulness can sound most frightened at the moment they become exceptionally competent.

Intellectual makeup

Modes of attending, interpreting, reasoning and phrasing: analytical versus associative habits, verbal planning, tolerance of ambiguity, certainty calibration, and changes in cognition under load. This is NOT an IQ verdict.

Illustrative causal claim: A careful archivist may articulate evidence beautifully in public yet lose sentence structure when personally implicated.

Psychological makeup

Self-concept, conflicts, values, defensive habits, perceived safety, inner roles and long-range motivations. The domain is a fictional character design, not a diagnosis or a claim that private motives are audible facts.

Illustrative causal claim: A comic protector can sabotage intimacy by creating laughter just as quiet reciprocity becomes possible.

A genuine Morris-inspired rehearsal bridge

The Character Obligation entry proposes comparing actor and role, imaging an antecedent life, and choosing stimuli that can generate equivalent impulses. Related entries discuss subpersonalities (available inner roles), externals (outside-in stimuli from people, objects and animals), and imaging (sensory-rich imagined circumstances). Translate these into optional director-provided preparation notes such as “locate a protective impulse,” not guessed truths about the actor. [02, 05-07]

Morris also names Emotional Point of View: a persistent feeling-tone through which a role perceives its world. It is useful as a slowly varying bridge between makeup and the individual scene’s emotional obligation. [13]

The character interview

Questions designed to elicit thick, playable prose rather than shallow categorical tokens.

Physical domain

• 01. Where does the body hold effort when this person is trying to look unaffected?
• 02. What does ordinary breath feel like before anyone makes a demand?
• 03. What repetitive job, craft, habit, or environment has shaped their motor economy?
• 04. How does their vocal behavior change after exertion, pain, fatigue, cold, or relief?
• 05. Which physical gesture accompanies a lie, apology, confession, reassurance, or refusal?
• 06. What can their body do easily, and what requires deliberate management?
• 07. What is their instinctive interpersonal distance and projection level?
• 08. Which physical habit disappears around a beloved or feared partner?
• 09. What precise audible consequence should this physical design have - and which should it NOT imply?

Emotional domain

• 01. What emotional weather does the character carry into a neutral room?
• 02. Which emotion is easiest to show? Which is hardest to allow another person to see?
• 03. What triggers tenderness, envy, shame, anger, grief, relief, or play?
• 04. What is felt, what is displayed, and who benefits from the difference?
• 05. What emotion is a second-order response to another emotion (anger over fear, humor over shame)?
• 06. How quickly do feelings rise, decay, recur or cross-contaminate?
• 07. When does the character solicit comfort directly, indirectly, or not at all?
• 08. Which partner makes them emotionally younger, older, braver or smaller?
• 09. What will happen to the voice when emotional regulation succeeds - and when it slips?

Intellectual domain

• 01. Does thinking proceed in proofs, procedures, images, associations, narratives, or questions?
• 02. How much verbal planning takes place before speech begins?
• 03. How does the person distinguish fact, interpretation, hope and fear?
• 04. What kind of ambiguity do they tolerate intellectually but not personally?
• 05. When challenged, do they explain, inquire, attack, joke, avoid, or go quiet?
• 06. Where does education or specialized craft show up in phrasing, not social stereotypes?
• 07. Does time pressure sharpen thought, flatten it, or make it jump?
• 08. What sound marks genuine discovery rather than an already rehearsed conclusion?
• 09. What intellectual competence becomes a relational liability?

Psychological domain

• 01. What must remain true for the character to feel worthy of love, respect or safety?
• 02. What is the preferred self-image, and which behavior undermines it?
• 03. What private fear is protected by their most admired public strength?
• 04. Which opposing inner roles can take control when the context changes?
• 05. How do they defend against shame, helplessness, dependency or abandonment?
• 06. What moral rule is non-negotiable until a loved person is implicated?
• 07. What recurring story do they tell about their own behavior?
• 08. What does the character need but have difficulty requesting?
• 09. What single event could force a revision of their self-image?

Dramatic Obligations

Dramatic Obligations describe what the current scene means to this particular character. They are interpreted through the Character Makeup, not attached as a generic situation label.

The Emotional obligation is required. State which feelings must be present, mixed, redirected or concealed in this scene. Keep it alongside Time & Place, Relationship, Character, Historic, Thematic and Subtextual. A scene goal or social role does not replace its emotional reality.

For each obligation, connect the source circumstance to a character-specific response. A hospital corridor may be physically quiet for everyone, but for Mara its quiet removes the protection of command language. Her need to be useful changes what an apology costs. The six examples below each include a short “Through this character’s makeup” bridge before all seven obligations.

The seven Morris categories are the foundation; new scene obligations add action, social regulation and model-facing controls.

The seven Morris obligations describe different realities a role must make playable. They are not seven interchangeable emotion labels. The period-specific Historic Obligation must not be collapsed into personal backstory: the latter is material for characterization, while the former concerns the customs and conditions of the historical world. [04, 12]

Relational obligation: a multi-partner matrix

The knowledge-base entry explicitly separates (1) who a partner is to the role and (2) how the role feels toward that partner. Preserve this distinction for every relevant participant, not just for the person being addressed at the instant of speech. A speaker can reassure a junior colleague, fear for an absent responder, and resent a superior - simultaneously. [11]

Proposed obligations beyond Morris

These extensions are a deliberate design choice. Playable actions and obstacles are informed by broader actor-training approaches, especially Uta Hagen’s questions and Stanislavsky-based scene analysis; they should not be attributed to Morris as additional canonical obligations. [19, 20, 22]

Acting Beats and Experience Chunks

A beat is a short, ordered unit of dramatic action. Give it one outward specification and exactly one nested Experience Chunk. The two describe the same moment at different levels.

The outer Acting Beat

Write the exact words and the concrete actions the model should realize. Include an intentional silence where it matters. Add relative order, approximate or prescribed timing when available, and usable voice or physical cues. “Conceal fear” is an inner task; “steady onset, shortened intake, wait before the name” gives the generator a possible realization. Avoid prescribing every muscle or syllable when a less rigid condition can leave room for natural variation.

The single inner chunk

The Experience Chunk is a coherent authored stream rather than a second independent timeline. It may contain sensory impressions, recalled or imagined material, a mundane association, an unfinished thought, an emotion and several competing urges at once. Keep one chunk object per beat even when its contents are mixed. Use empty arrays for dimensions that have no useful authored content; an elaborate memory is not required in every beat.

Choose a boundary because something changes

Begin a new beat when attention, information, impulse, tactic, relationship or bodily constraint changes. A pause or camera cut can coincide with that change, but neither automatically defines it. If two changes need different local directions, split them into two ordered beats, each with its own single chunk.

In the illustrated Juliet example, the authored stream can combine night air, an imagined Romeo, fear of the feud and an unrelated passing thought. That stream conditions the spoken and visible action. It is not a transcription of an AI model’s cognition, and the generated face or voice does not validate it as a hidden fact.

The inner stream: field guide

The generation contract

Pass the source, persistent character and current scene together. Keep the ordered beats under that scene, with each Experience Chunk nested directly in its own beat.

Do not confuse a request with a result

The outer beat describes desired behavior. The chunk describes fictional inner conditioning. Neither is an observation of a recording. Keep rendering identifiers, actual durations, transcripts and measurements in a separate media record linked by IDs. The Performance Annotation System can describe that output and collect task-fit judgements under the declared modality and context.

A valid beat object

The following is valid JSON for one beat. Empty arrays are intentional: this compact variant adds no sensory image, memory, association or physical action. The supplied full example package contains the richer chunks printed in the dossiers. Null times mean that no exact time was supplied; they do not mean zero seconds.

{
  "id": "mara-solis-scene-1-beat-01",
  "order": 1,
  "outer": {
    "text": "Keep the channel open.",
    "text_anchor": "Keep the channel open.",
    "playable_action": "stabilize",
    "displayed_affect": "authority",
    "action_cues": [],
    "silence_cue": null,
    "timing": {
      "start_s": null,
      "end_s": null,
      "direction": "Ordered relative to the preceding beat; exact duration is not supplied."
    },
    "vocal_cues": [
      "Dry, firm attack on Keep; moderate pace; no theatrical shout."
    ],
    "physical_cues": [],
    "voice_targets": {
      "TEMP": 3,
      "CLRT": 5,
      "TENS": 4,
      "EMPH": 4
    }
  },
  "experience_chunk": {
    "status": "authored_fiction",
    "stimulus_and_effect": "A gap of radio silence threatens the only link. Alarm focuses into a narrow operational priority.",
    "attention": "The silence on the radio and the fragile communication link.",
    "sensations": [],
    "memories": [],
    "associations": [],
    "thought_fragments": [
      "Keep this one connection alive."
    ],
    "emotion": "fear",
    "impulse_and_regulation": "Demand connection immediately.",
    "competing_impulse": "Call for reassurance about Eli before the communication task is secured.",
    "carryover": null
  },
  "source_emotion_labels": [
    "Fear",
    "Concentration"
  ]
}

Machine companions

actor-state-generation.schema.json defines the complete package. actor-state-generation.examples.json contains all three characters, six scenes and twenty-four beats, with the full portraits and scene obligations. These are newly authored companions to this edition and have been validated locally. They are separate from the unavailable files named in the earlier source PDF.

Human-readable control targets

The dossiers retain their original illustrative voice targets and display names beside the codes. A target such as Tempo (TEMP) = 2 is a requested codebook setting, not a measured rate or proof of an emotion. Use the exact selected codebook and inspect its anchors before generation. The prose direction remains the primary reading aid; a numeric target does not override an incompatible dramatic instruction.

The legend follows the pinned source recorded in voice-code-legend.json. In particular, WARM describes perceived low-mid-frequency vocal warmth; it is not an interpersonal-warmth score. Vocal targets remain illustrative instructions, with codebook-specific 0–6 anchors.

Share fields without merging claims

The two systems can describe the same scene without claiming the same knowledge. Preserve the original text, authored design, media and observations as separate records. When a generated take or reference rendition corresponds to a script, link it explicitly; observed timing and segmentation may differ from the planned beats.

Do not fill an unobserved inner state from a script and then label it “observed.” Do not convert a missing visual score into zero for an audio-only example. Do not use a high ordinal value as an automatic positive reward: the high end may describe stronger tension, hostility or another task-dependent attribute.

Mara Solis

Authored character design · two scenes · eight ordered beats. Every beat contains one Experience Chunk. Original portraits and scene detail are retained; new inner-fragment additions are fictional conditioning.

Control is her language of care. Silence is what she cannot manage.

FLOOD-CONTROL OPERATIONS COORDINATOR • CONTEMPORARY PORT CITY; EMERGENCY OPERATIONS AND FAMILY LIFE

Character Makeup / four-domain portrait

Physical disposition

Mara has learned to conserve movement in rooms where panic spreads faster than information. Her shoulders remain apparently level, but she locks the muscles beneath the collarbones when she is accountable for another person's safety. Years of radio work have given her a practical voice: breaths placed before instructions, consonants clean enough to survive static, and deliberate pauses that invite confirmation. She rarely looks outwardly exhausted; fatigue appears first as an extra swallow and a narrowing of her phrases. In private, her body takes much longer than her words to recognize that the emergency is over. This is a playable bodily design, not a claim about a medical condition.

Voice consequence. Low-amplitude starts, clean consonant attacks, economy of breath, and task-first phrasing; pressure tends to sharpen rather than amplify her voice.

Countertendency. After immediate danger passes, delayed bodily release can make even a small admission difficult to voice.

Emotional disposition

Mara feels alarm intensely but considers open alarm an additional burden she would be placing on others. Her habitual emotional point of view is vigilant responsibility: she notices who needs steadiness before she notices her own loneliness. Affection is expressed through useful acts, precise remembering, and preparedness, while personal requests for reassurance feel shamefully indulgent to her. Under urgent pressure she suppresses visible fear; under intimate pressure she suppresses need. Those are different forms of the same protective reflex. She can experience anger when people take risks, yet that anger is often secondary to an almost unbearable fear of losing them. Her tenderness becomes audible only when she ceases to organize the other person's response.

Voice consequence. Her fear often sounds like concentration; deep attachment arrives as a softened final consonant or a sentence that cannot be completed with a directive.

Countertendency. Suppressed fear can leak through breath timing even when pitch and loudness remain controlled.

Intellectual disposition

Mara thinks in dependencies: which gate is open, who has confirmed a level, which piece of evidence is still missing. She is not naturally unemotional; she has trained herself to translate strong feeling into an ordered series of verifiable actions. She distrusts grand declarations because they cannot be checked, and she interrogates the meaning of every ambiguous word before making a consequential choice. In technical conversation her reasoning is rapid and compressed; in a family conversation she can become paradoxically slow, searching for a form of truth that cannot be written as a procedure. The intellectual tension in her portrayal is between procedural competence and the irreducible uncertainty of human relationships.

Voice consequence. Clause structure is modular, numbers receive clear stress, and revisions sound intentional until an emotionally unsolvable question disrupts syntax.

Countertendency. Precision that is helpful professionally can be perceived as avoidance by loved ones.

Psychological disposition

Mara's organizing belief is that she earns belonging by being the person who does not fall apart. This belief makes her admirable and costly: others trust her under fire, but some stop asking whether she can bear what she carries. Her deepest conflict is not courage against cowardice; it is service against the wish to be looked after. She sees herself as honest because she almost never tells literal lies, while overlooking how withholding grief can become its own kind of deception. A useful inner counter-role is the frightened daughter she has long refused to let other people see. When challenged by someone she loves, her defense is to offer a solution before admitting harm.

Voice consequence. Defensiveness is often expressed as helpfulness; authentic vulnerability is the brief loss of the rehearsed answer, not necessarily tears.

Countertendency. She may resist forgiveness that comes before she has named precisely what she did.

01:42, COASTAL FLOOD-CONTROL CENTER, INTERMITTENT RADIO CONTACT DURING A GATE FAILURE

The flood gate has failed. A young field responder, Eli, is missing from the video feed; junior operator Nico is beginning to panic. Mara must keep the radio usable while the room turns toward her for certainty she does not possess.

The seven dramatic obligations

Time & Place. At 01:42, alarm tones, damp clothing, a wall of changing measurements, and a noisy radio tighten every available breath. The place is public, operational, and acoustically unforgiving.

Relationship. Nico is her anxious junior colleague, whom she protects without infantilizing; Eli is the responder she sent toward the gate. She needs both, but only Nico can currently hear her clearly.

Emotional. She feels fear for Eli and a surge of responsibility for Nico. She displays concentration and procedural calm; the gap between felt alarm and shown steadiness is the scene's central pressure.

Character. Her habit of reducing chaos to steps becomes useful and defensive at once. Her reluctance to request comfort keeps her tone functional even when a name becomes hard to speak.

Historic. Contemporary emergency culture values clear protocols, recorded decisions, radio discipline, and accountability. These conventions are social and professional, not Mara's personal backstory.

Thematic. Can responsibility protect other people without turning into a refusal to be vulnerable? The scene frames competence as both gift and prison.

Subtextual. Beneath the instructions: 'Please still be alive, Eli; please let Nico believe I know what comes next.' The unsaid fear rides underneath ordinary operational language.

Proposed extension obligations

Playable objective. Keep both partners responsive long enough to obtain a reliable water-level reading. Stakes. Someone may be injured if the room loses coordination or acts on unconfirmed information.

Obstacles. Radio interference; Missing visual confirmation; Nico’s rising panic; Mara’s own anticipatory guilt.

Social / status. Leader is expected to remain legible and composed; personal panic would consume shared bandwidth. High formal authority over Nico, little immediate control over the field situation.

Knowledge / regulation. She cannot verify Eli’s condition; she explicitly chooses not to claim that she can. Suppress audible panic without deadening the task-based urgency.

Current physiology. Held upper-chest tension, controlled intake before commands, mild breath shortening as uncertainty grows.

LAION situation dimensions for later codebook matching: SOCT · TRGT · ENVI · FATG · POSE

Partner-specific obligations

Junior Operator / nico. Teacher-like trust mixed with fear of failing him; she uses simple steps rather than reprimand. Desired response: Nico regains agency and reads the level.

Field Responder / eli. Professional responsibility with protectiveness she has not admitted to herself. Desired response: Eli gives any intelligible sign of contact.

Ordered Acting Beats

TWO DAYS LATER, FLUORESCENT HOSPITAL CORRIDOR AFTER THE IMMEDIATE CRISIS

Mara’s adult daughter Lena has learned that her mother was safe enough to send updates to colleagues but did not respond to a personal message. The disaster is over; Mara now faces a truth no procedure can rescue her from.

The seven dramatic obligations

Time & Place. Late afternoon in a corridor that is quiet in the wrong way: vending-machine hum replaces alarms. Nothing outside requires command language, so every clipped instruction sounds conspicuous.

Relationship. Lena is Mara's daughter and most persistent witness. She admires Mara's bravery but resents having to guess when the professional role ends and her mother begins.

Emotional. Mara feels shame, affection, and apprehension; she initially offers an explanation that resembles an incident report. The scene asks her to permit regret to replace competence as her audible center.

Character. The same orderly mind that saved time in the flood room now creates emotional distance. Her physical composure becomes a visible attempt not to fall apart in front of her daughter.

Historic. Contemporary parent-child expectations include constant digital availability, making silence feel chosen even when produced by overload and fear.

Thematic. Being indispensable to strangers does not excuse becoming inaccessible to those closest to you.

Subtextual. Under 'I did hear you' lies 'I was frightened of needing you.' Under 'I'm sorry' lies an unfamiliar request: 'Please stay with me while I cannot fix this.'

Proposed extension obligations

Playable objective. Tell the truth without forcing Lena to absolve her. Stakes. Their closeness may remain conditional on Mara’s usefulness rather than mutual trust.

Obstacles. Habitual self-justification; Fear of appearing weak; Lena’s justified anger.

Social / status. Unlike the control room, authority buys her nothing; Lena wants an accountable parent. An old parental authority is present, but Lena controls whether the conversation continues.

Knowledge / regulation. Mara can describe her behavior but cannot know how Lena will receive the apology. Let emotion emerge without using it to solicit instant forgiveness.

Current physiology. Delayed exhaustion and a jaw that releases only after she abandons the explanation.

LAION situation dimensions for later codebook matching: SOCT · TRGT · FATG · ENVI

Partner-specific obligations

Adult Daughter / lena. Love complicated by repeated emotional absence; status shifts from commanding mother to accountable partner. Desired response: Lena hears an apology, not a defense.

Ordered Acting Beats

Theo Marin

Authored character design · two scenes · eight ordered beats. Every beat contains one Experience Chunk. Original portraits and scene detail are retained; new inner-fragment additions are fictional conditioning.

He jokes to keep the door open, then fears anyone walking through it.

COMMUNITY ARTS FACILITATOR AND OCCASIONAL STAND-UP PERFORMER • CONTEMPORARY REGIONAL TOWN, TRANSIT PLATFORMS AND A NEIGHBORHOOD ARTS HALL

Character Makeup / four-domain portrait

Physical disposition

Theo’s body enters conversations before his conclusions do. He tilts toward people, organizes attention with his hands, and uses tiny musical changes of pace to tell an audience where to look. His quick respiratory recovery makes jokes feel effortless, but when an encounter becomes personally consequential, his breath stops arriving at the same convenient points. He habitually smiles through vowels, creating bright resonance that can be mistaken for emotional safety. Alone, he folds inward and grows still, not because he has a secret illness but because performance has temporarily exhausted his preferred way of managing contact. Physical exuberance is his social instrument, not his entire identity.

Voice consequence. Bright inflection, unexpected syllabic speed-ups, elastic pauses before punch lines, and an inviting forward focus.

Countertendency. When sincerity displaces the joke, the sudden absence of bounce reveals more than a loud confession would.

Emotional disposition

Theo genuinely delights in other people, especially when he can give them relief from an awkward or heavy moment. His comic spontaneity is therefore both authentic play and strategic concealment. Anger at abandonment is hard for him to own directly; it emerges first as exaggerated teasing and only later as loneliness. He is quick to detect rejection and even quicker to signal that he has not been injured by it. He longs for stable attachment but resists any conversation in which he must ask for it without the protection of a joke. Unlike a uniformly 'happy' character, his emotional baseline changes with perceived availability: full of light when connection seems possible, abruptly watchful when the other person hesitates.

Voice consequence. Playfulness can mask grief without eliminating it; a punch line may break its own rhythm when the hidden emotion leaks.

Countertendency. Sincerity and comedy sometimes coexist inside the same phrase, creating mixed signals rather than a clean mood switch.

Intellectual disposition

Theo thinks associatively and in social patterns. He remembers the exact phrase that made someone laugh months ago and can reframe a hostile remark before anyone else has processed it. He is perceptive about mood but unreliable in his predictions of what other people privately intend; he often interprets silence as rejection when it may be thoughtfulness. He is verbally inventive and uses metaphors faster than he can test their truth. His conflict is that improvisational intelligence helps him build immediate rapport but can keep him from completing a single frighteningly direct sentence. Under relational strain, a cascade of clever ideas becomes a sophisticated form of interruption.

Voice consequence. Fast association, colorful stress patterns, elastic timing; genuine discovery can be heard when word search replaces prepared cleverness.

Countertendency. He mistakes quick verbal repair for genuine resolution of the other person's hurt.

Psychological disposition

Theo's private rule is that people stay if being with him feels easy. He calls this generosity; sometimes it is a quiet bargain in which he purchases company with entertainment. He has an admirable capacity to turn shame into shared amusement, yet he fears the moment after laughter when the other person can still choose to leave. A disowned part of him wants to be boring, tired, angry, or needy without losing love. He initially treats intimacy as a performance problem and only slowly accepts that another person may wish to remain when there is no performance to reward. The useful acting tension is between his impulse to charm and the harder impulse to remain present.

Voice consequence. He tends to use jokes as deflections; his most truthful moments contain unfilled silences and simple diction.

Countertendency. He may sabotage a tender exchange with one final joke just as emotional safety becomes available.

23:11, NEAR-EMPTY TRAIN PLATFORM; VENDING MACHINES AND DISTANT ARRIVALS

Theo's older sister Ada has returned after nearly a year of scarce contact. He wants an explanation and reassurance but opens with a bit of stand-up, testing whether she will laugh rather than asking why she disappeared.

The seven dramatic obligations

Time & Place. Late-night platform noise makes intimacy both private and exposed. The long bench physically displays the distance he cannot admit is painful.

Relationship. Ada is older, admired, and inconsistently available. Theo feels genuine affection and resentment, wanting her to initiate the apology he fears he cannot demand.

Emotional. Anticipation, anger, longing, and amusement coexist. The outward tone is teasing; the inner stakes are whether she has returned to stay.

Character. His bright energy and associative wit activate automatically. Watch how much faster he makes connections when waiting for the sister's response.

Historic. Contemporary travel and messaging habits make disappearance conspicuous: she could have written. The period creates an expectation of accessible contact without guaranteeing emotional availability.

Thematic. How many jokes can a person tell before they are allowed to say they were hurt?

Subtextual. 'You chose the seat away from me' means 'Are you leaving again?' The insult is a tiny request to be approached.

Proposed extension obligations

Playable objective. Invite Ada to cross the emotional distance without making a naked demand. Stakes. A short reunion may confirm the old pattern of unreliable closeness.

Obstacles. His fear of being needy; Her uncertain willingness to explain; Reflexive comic timing.

Social / status. Siblings are allowed familiar mockery, but shared humor is not the same as repaired trust. Ada decides whether to return; Theo tries to seize control through tone.

Knowledge / regulation. Theo does not know why Ada left or whether she intends to remain. Convert hurt into amusement, but leave audible space where the hurt can surface.

Current physiology. Eager forward lean, quick exhalations, an involuntary breath stop after the apparent punch line.

LAION situation dimensions for later codebook matching: SOCT · ENVI · TRGT · FATG

Partner-specific obligations

Older Sister / ada. Fondness mixed with perceived abandonment; his teasing tests whether their familiar rhythm still exists. Desired response: Ada acknowledges both the joke and the injury beneath it.

Ordered Acting Beats

EARLY EVENING, NEIGHBORHOOD ARTS HALL FOLLOWING A FUNDRAISER FOR A RETIRING MENTOR

Theo is asked to offer a toast to Sal, the mentor who gave him room to fail without withdrawing affection. For once, he chooses to stop being funny at precisely the moment the audience expects another joke.

The seven dramatic obligations

Time & Place. A full room follows an applause swell; the silence afterward feels almost physical. Unlike the railway platform, the audience is not departing, and Theo has time.

Relationship. Sal is mentor and reliable witness, not a replacement parent. Sal has modeled the ordinary act of staying through awkwardness.

Emotional. Gratitude, sadness at an ending, and a manageable fear of intimacy overlap. Theo shows warmth without hiding every tremor under comic energy.

Character. His inventiveness remains, but he directs it toward a simple reversal: turning a habit of filling silence into a gift of silence.

Historic. A contemporary public tribute normally rewards fluent gratitude and buoyancy; Theo gently violates the expectation of nonstop entertainment.

Thematic. Belonging can survive an interval in which nobody is performing.

Subtextual. 'Thank you for staying' means 'You proved I could be loved when I had nothing entertaining to offer.'

Proposed extension obligations

Playable objective. Offer Sal sincere acknowledgment without converting their relationship into a staged punch line. Stakes. The tribute may become one more act of concealment unless Theo takes a personal risk.

Obstacles. Audience expectation; Reflexive humor; Fear of losing the mentor’s stabilizing presence.

Social / status. Public speeches are a social performance, but a measured private truth can briefly reorganize the room. Theo has the microphone; Sal holds the deeper emotional authority.

Knowledge / regulation. He cannot control whether the audience experiences sincerity as uncomfortable. Allow vulnerability while retaining enough steadiness to complete the toast.

Current physiology. Breathing slows with a deliberate pause; a tremor appears on breath renewal, not continuously.

LAION situation dimensions for later codebook matching: SOCT · TRGT · ENVI · POSE

Partner-specific obligations

Retiring Mentor / sal. Warmth without debt-collection: Sal offered a model of durable presence. Desired response: Sal feels seen without being made responsible for Theo’s tears.

Ordered Acting Beats

Evelyn Hart

Authored character design · two scenes · eight ordered beats. Every beat contains one Experience Chunk. Original portraits and scene detail are retained; new inner-fragment additions are fictional conditioning.

She protects truth by narrowing her voice, until truth requires it to open.

MUNICIPAL RECORDS CUSTODIAN • FICTIONAL ENGLISH-SPEAKING INDUSTRIAL CITY IN 1934

Character Makeup / four-domain portrait

Physical disposition

Evelyn uses physical restraint as both occupational practice and social armor. She stands as if a record drawer might slide open unless she keeps the entire room in balance. Fine-motor tasks have trained her to favor small exact gestures; after years in poorly heated archives, she takes an extra moment to warm her hands before handling delicate paper. Her speaking voice is grounded and economical, neither ceremonially grand nor theatrically frail. When unsettled, her breath remains disciplined but the release of sentence-final consonants becomes unusually careful. An unusual condition of her performance is that the audience can hear the amount of effort she spends not appearing distressed. Her physical world is constructed for this fiction; no audible trait diagnoses arthritis or other disease.

Voice consequence. Measured air, lower-mid habitual placement, quiet friction before difficult names, and sentences that land with exact boundaries.

Countertendency. Strongly maintained stillness makes a small vocal fracture narratively large.

Emotional disposition

Evelyn's emotional point of view is watchful dignity. She is capable of affection and moral outrage but fears both will be used to discount her competence in public. At work she converts outrage into impeccable citation; in private she can be unexpectedly gentle with someone who has been excluded or publicly dismissed. Her tenderness is not demonstrative, and she interprets direct demands for reassurance as a threat to the other's autonomy. The cost is loneliness disguised as principled independence. When evidence implicates someone she loved, grief and loyalty do not disappear; they form a contradictory emotional obligation that her procedural language can contain only for a short time. Her most powerful shift is from formal certainty to admitted uncertainty.

Voice consequence. Controlled gravity, little ornament, warmth expressed by permitting unfinished thought rather than by sudden sweetness.

Countertendency. She tends to substitute precision for emotional admission precisely when her values are most challenged.

Intellectual disposition

Evelyn is a meticulous source critic. She notices chronological gaps, provenance errors, and the difference between an assertion and something a surviving document can actually support. Her habitual syntax makes explicit the limits of knowledge: she prefers 'the record suggests' to 'everyone knows.' She is also cognitively proud, sometimes mistaking caution for neutrality when it is partly fear of personal exposure. She can hold two incompatible interpretations in mind without rushing to dissolve them, yet she struggles to bring that tolerance of ambiguity into family history. Under public attack, her reasoning becomes even clearer, while under private shock it fragments into a list of facts that no longer answers the human question in front of her.

Voice consequence. Distinctive stress on evidential words, patient clause boundaries, and suddenly shortened syntax when the world outruns analysis.

Countertendency. The ability to distinguish claims from evidence can become a defensive refusal to state her own stake.

Psychological disposition

Evelyn has built her identity around being difficult to intimidate and impossible to buy. She regards the archive as a refuge from the social rituals that rank people by family ties, reputation, and access. Yet her own reputation matters to her, particularly because she remembers how often she had to defend the legitimacy of her work. She has a powerful moral self-image: keeper of the record rather than participant in the story. The suppressed contradiction is that preserving evidence can expose people she loves, including herself. In public her protective self demands immaculate calm; in a trusted one-to-one exchange a less practiced part wants to share both the evidence and the cost of carrying it. That second voice is present even before she permits it audible form.

Voice consequence. Public certainty may be a shield; private confession gains force through reduced structure and unmistakable hesitations.

Countertendency. She can become unfair to close partners when she mistakes their empathy for an invitation to compromise standards.

1934, MUNICIPAL HEARING ROOM, AFTERNOON; COLLEAGUES AND PRESS LISTENING

Chair Bell pressures Evelyn to certify that missing pages prove misconduct by an absent clerk. Evelyn is unsure, dislikes the clerk's politics, and yet refuses to substitute her preference for documentation. A junior assistant, Miles, watches her risk her position.

The seven dramatic obligations

Time & Place. The municipal hearing room magnifies restrained sounds; the distance to the chair requires projection without theatrical amplitude. An open ledger sits between her and the committee.

Relationship. Bell possesses institutional authority but not Evelyn's technical expertise. Miles is a junior colleague for whom Evelyn wants to model intellectual courage without romanticizing its cost.

Emotional. She feels anger at coercion and fear of dismissal, while showing controlled professional conviction. The slight tremor she resists matters more than any open accusation.

Character. Her meticulous intellectual makeup becomes action: speak only what the pages justify. Her psychological need to remain incorruptible gives precision a moral charge.

Historic. The fictional 1934 social environment places weight on hierarchy, public decorum, paper evidence, institutional reputation, and formal address. These are authored period circumstances, not a history textbook claim.

Thematic. An archive is not honest because its keeper sounds certain; it is honest when uncertainty cannot be bullied into a convenient story.

Subtextual. 'Ask me what the gap proves' means 'I will not become your instrument, even if you can punish me.'

Proposed extension obligations

Playable objective. Prevent an unsupported conclusion from entering the official record. Stakes. Both the clerk’s reputation and the credibility of the archive are at risk.

Obstacles. Committee pressure; Risk to employment; Her own dislike of the absent clerk; Her need for public dignity.

Social / status. Deference is expected in the hearing; dissent must travel through controlled formal language. Bell controls proceedings; Evelyn controls documentary expertise.

Knowledge / regulation. She knows pages are missing, not why they are missing. Constrain anger into factual precision, without flattening the ethical urgency.

Current physiology. Rigid posture at the lectern, economical breath, controlled jaw effort under public attention.

LAION situation dimensions for later codebook matching: SOCT · TRGT · ENVI · POSE

Partner-specific obligations

Committee Chair / chair_bell. Adversarial respect: she follows formal address but refuses epistemic submission. Desired response: Bell stops presenting conjecture as established fact.

Junior Archive Assistant / miles. Professional mentorship; she wants him to learn that accuracy sometimes has a price. Desired response: Miles sees courage as method rather than bravado.

Ordered Acting Beats

1934, UNHEATED ARCHIVE STORAGE ROOM, EVENING; PAPERS SPREAD ON A SMALL TABLE

A private letter suggests that Esther's father knowingly altered a municipal record. Evelyn recognized his writing immediately, concealed that recognition for an hour, and now must tell Esther before the finding becomes public.

The seven dramatic obligations

Time & Place. The enclosed archive reduces projection to intimate speech. Cold air, paper dust, and a close listener turn normally impersonal evidence into an immediate bodily presence.

Relationship. Esther is a brilliant younger colleague who trusts Evelyn's honesty. Evelyn fears that confessing her own delay will feel like betrayal rather than care.

Emotional. Protectiveness, guilt, dread, and grief compete. She tries to remain factual but can no longer separate evidence from the listener's impending loss.

Character. The disciplined archivist becomes an unreliable narrator of her own choices. Intellectual precision survives, but her psychological self-image is punctured by the admission of concealment.

Historic. Reputation and kinship in this fictional 1934 setting create professional and family consequences. The paper letter is physically present and cannot be dismissed as a rumor.

Thematic. The cost of telling the truth is greatest when the person harmed is not an abstraction.

Subtextual. 'I pretended I did not' means 'I failed you for one hour because I could not bear to be the messenger.'

Proposed extension obligations

Playable objective. Tell Esther the material fact and own the delay without making her carry Evelyn’s guilt. Stakes. The assistant may lose trust in both her family story and her mentor.

Obstacles. Esther’s likely distress; Her loyalty to Esther; Her shame at postponing disclosure.

Social / status. Privacy permits direct speech but does not remove the ethical duty of disclosure. Evelyn holds information and workplace authority; Esther owns the emotional consequences.

Knowledge / regulation. Handwriting appears recognizable; the full meaning of the letter still requires interpretation. Stop using procedural formality to escape responsibility; do not force emotional resolution.

Current physiology. Voice moved closer and lowered; breath suspension before her admission.

LAION situation dimensions for later codebook matching: SOCT · TRGT · ENVI · CLMT

Partner-specific obligations

Junior Colleague / esther. Mutual regard with an asymmetry of experience, authority, and access to evidence. Desired response: Esther receives the truth and can decide what it means to her.

Ordered Acting Beats

Build, generate and review

Use the Script Analysis System to prepare a virtual actor’s inputs. Use the Performance Annotation System for the resulting performance or a permitted reference recording; keep intended conditions and supported observations in separate records.

1. Read and locate the source. Preserve text, roles, scene boundaries and source locators. Mark direct source facts, interpretation and new inventions.
2. Build the characters. Write all four makeup portraits, contradictions and possible realization consequences. Add only permitted reference media, with a clear intended use.
3. Interpret the scene. Fill all seven Dramatic Obligations for each character, including Emotional. Connect each scene’s meaning to that character’s makeup and partner relations.
4. Order the beats. Anchor dialogue exactly where it exists. State concrete actions or silence where there is no speech. Add usable timing and delivery cues.
5. Write one chunk per beat. Specify the fictional inner stream and its continuity. Keep thoughts unspoken unless the source actually gives them as dialogue. Remove inner detail that does not help the performance.
6. Validate and generate. Check the schema, IDs, text anchors, ordering and availability of assets. Then send the selected character, scene and beat package to a generator that supports the desired modality.
7. Inspect the rendered result. Preserve the actual transcript and timing. Use the Performance Annotation System to describe available evidence and task fit. Compare variants without treating the authored inner stream as an observed psychological fact.
8. Revise the design deliberately. If the result is too broad, change a specific cause, action, timing cue or local realization. Preserve other conditions when testing a controlled alternative.

Checks that matter before a model call

• Every scene has all seven obligations and a character-specific interpretation.
• Every beat has exactly one Experience Chunk object, not zero, not a list of independent chunks.
• Every non-null text anchor occurs in the scene’s source text. Repeated matching words need an occurrence or span distinction in production data.
• Beat IDs are unique, orders are consecutive and carryover points to the preceding beat in the same scene.
• A non-speaking beat has a concrete action or silence; missing timing is null, not a fabricated timestamp.
• Speaker or avatar identity references, permitted media, modality requests and codebook choices are explicit.
• Prompted emotions, desired vocal targets, actual output and observer judgements remain separate.

Test whether the hierarchy helps

Compare a simple emotion prompt with full character-and-scene conditioning, then with the same design plus local beats and chunks. Hold the source text and output identity stable. Ask whether the response remains character-consistent, locally responsive, intelligible, restrained where needed and faithful to the intended action. Test the inner chunk as a design variable; it is not ground truth about any model’s mental state.

Research foundations

The generation design draws on acting concepts while extending their representation for virtual actors. The distinctions below preserve the original research attribution and its limits.

What Eric Morris actually contributes - and where the proposed annotation architecture begins.

Character Obligation, not cosmetic makeup

In Schuhmann’s structured knowledge-base entry, the Character Obligation concerns building a role across four broad domains: physical, emotional, intellectual, and psychological. The actor compares themselves with the role, uses imaginative backstory where useful, and makes personally usable choices that stimulate the role’s behavior. This is the closest directly verified framework for the “character makeup” requested here. The retrieved material does not establish a canonical, numbered Morris checklist of subfields under those four domains; the detailed subfields in this report are an original operationalization. [02]

The same knowledge base describes characterization as a process of bringing the role into the actor’s available experience rather than impersonating a separate person. Its four evidence channels are what a writer says, what others say about the character, what the character says about themselves, and what they do. It particularly points to subpersonalities, external stimuli and affective-memory work as rehearsal routes. That matters conceptually, but a retrospective audio label must never assert which private rehearsal route the human performer used. [03, 05-07]

Three research claims that should remain distinct

Morris: from character condition to lived response

The repository’s description of the Morris craft explicitly separates Obligations (realities the actor must create), Choices (personally meaningful stimuli selected to help make them real), and Choice Approaches (methods for working with those choices). In the present specification, the output should describe the dramatic construct and its perceptible manifestation; the private choice or technique can be included only when supplied by the actor or director. [04]

Responsiveness, regulation and the local phrase

The Morris-derived responsive sequence is stimulus → effect → response → expression. In the generation design, this motivates a causal connection between the outer beat and its authored inner chunk. It does not mean that a fixed control sheet reproduces a human performer’s unpremeditated lived experience. A local turn may arise from a partner’s reaction, a new thought, an involuntary body response or a decision to mask an emotion. [09, 10]

The original phrase questions remain useful for authoring: What just happened? What did the figure attend to? What could it mean to them? What urge appeared? What did they decide to do to the listener? Which contradictory urge did they restrain? What changed in breath, rhythm, melody, articulation, loudness and silence? What would another plausible dramatic interpretation be?

Felt state, displayed affect and vocal realization remain separate. James Gross’s work on expressive suppression versus reappraisal motivates the distinction between inner experience, expressive behavior and physiology. This is conceptual motivation for the fictional design; it is not permission to diagnose an inner emotion from a clip or a claim that a generator experiences that emotion. [21]

Vocal vocabulary and testing

A crosswalk to audio vocabularies: complementary measurements, never a substitute for causal dramaturgy.

The inherited sources cite a 57-dimension base VoiceNet rubric and a separate 59-dimension voice-taxonomies version, 40 EmoNet labels, 82 VocalBurst categories and 289 Situation scenarios in 11 dimensions. These are source-specific inventories. In Humaneness PerformanceNet, the PerformanceNet Taxonomy has 82 descriptive fields of its own; its count is unrelated to that older 82-category VocalBurst inventory. Use the pinned VoiceNet and EmoNet codebooks and the shared Situation Taxonomy volume for the applicable current representation. Preserve historical references rather than silently equating differing inventories. [15–17]

Generation tests and optional reference analysis

The Script Analysis package is assembled forward from source material and authored design. Optional analysis of permitted reference performances can inform voice or movement choices, but a recording does not supply verified private memories, motives or inner experience. Generate controlled variants from the same source text, then use the Annotation System to encode the rendered evidence separately. The following tests retain the original research questions as proposed tests, not demonstrated results.

Sources and implementation files

Naming continuity. Humaneness Script Analysis System is the current name of the framework previously presented as Actor-State Atlas. The four supplied illustrations and inherited bibliographic titles retain that historical name. Their content is integrated into the same three-layer architecture; they do not identify a separate current system. Existing schema filenames, field names, source codes and stable HTML IDs remain unchanged for traceability.

What is supplied with this edition

The new generation schema and example package are in the editable data/ folder. The examples preserve the original three fictional character dossiers and reorganize all twenty-four beats around one outer specification and one Experience Chunk. The revision audit records retained source units, relocated research material and newly authored inner fields.

Legacy companion availability. The original PDF named actor_state_dictionary_v1.schema.json and actor_state_illustrative_examples_v1.json, but those files were not supplied. Its printed hierarchy sketch used explanatory ellipses. This edition replaces that sketch in the main reading path with valid JSON and supplies its own separately named schema and examples; it does not reconstruct or claim validation of the missing legacy files.

Illustrated source and editorial additions

Actor-State Atlas: Three Layers Illustrated, supplied three-page research proposal, 17 October 2026, provides the four reproduced illustrations and the explicit “one nested Experience Chunk per beat” architecture. The source research standard is dated 15 October 2026. This generation revision incorporates the requested source-text → character → scene → beat-and-chunk workflow, complete machine companions and new authored inner fragments while preserving the original portraits, scene obligations and vocal directions.

The images are reproduced as supplied. Their references to inner experience describe fictional character conditioning. Their multimodal outputs are proposed applications. No generated recording, empirical controllability result or AI-consciousness claim is supplied by this document.

Source fidelity and design boundaries

The authorial interpretation of Morris is based on a secondary, machine-extracted knowledge base that cites seven books. Some entries contain unknown page references, so the best way to settle fine distinctions in a publication-quality scholarly edition would be to consult the printed works directly. The public acting resources are used for context, not to collapse all approaches into one acting tradition.

There is no claim in this document that Eric Morris, LAION, Schuhmann, or any acting school endorses the proposed dictionary or sample interpretations. The sample personae and their dialogue were invented for this project; no sourced dramatic dialogue was copied.

Inherited references

The heading and citations below are inherited from the source. Link destinations have been recovered from embedded PDF hyperlinks where printed URLs were abbreviated. This is a provenance list, not a fresh verification of the linked resources.