Space as character. Hyperdrama scripts are best tailored to particular performance environments. This is because both actors and audience move through this space in real time. Scene transitions only can be guestimated when the actual distance between scenes is considered. Get the space before you write the script -- or create a new kind of theater in which hyperdrama can be performed (see video).
Live action v. film/video. Only hyperdrama in live performance embraces the spontaneity of improvisation and the possibility of scene counterpoints. Hyperdrama on film/video is manipulated to a much higher degree than in live performance, where anything can happen.
Writing the script. In live performance, time scenes and track the action on a flow chart. This saves many headaches later.
Casting the script. In live performance, only use actors skilled at improv and able to handle the stress of going on and off book in a different rhythm every performance.
Rehearsing. Hyperdrama can be rehearsed only in modules. When "set loose" early on, have actors take notes on their scene transition timing difficulties. Try to correct these before performance.
The production. On film/video, hyperdrama is shot and edited the same as traditional narrative.
Shooting
Editing
Assembly. Assemble the clips to offer alternative narrative paths. For example:
a narrative following each actor
a narrative in which the audience chooses where to go at scene transtions
perhaps an assembly as a tradtional linear narrative