Closet screenplay
Related to closet drama, a closet screenplay is a screenplay intended not to be produced/performed but instead to be read by a solitary reader or, sometimes, out loud in a small group. While any published, or simply read, screenplay might reasonably be considered a "closet screenplay," 20th- and 21st-century Japanese and Western writers have created a handful of film scripts expressly intended to be read rather than produced/performed. This class of prose fiction written in screenplay form is perhaps the most precise example of the closet screenplay. This genre is sometimes referred to using a  romanized Japanese neologism: "Lesescenario (レーゼシナリオ)" or, following Hepburn’s romanization of Japanese, sometimes “Rezeshinario.” A portmanteau of the German word "Lesedrama" ("read drama") and the English word "scenario," this term simply means "closet scenario," or, by extension, "closet screenplay." Critical interest. Brian Norman, an assistant professor at Idaho State University, refers to James Baldwin's "One Day When I Was Lost" as a "closet screenplay." The screenplay was written for a project to produce a movie, but the project suffered a setback. After that, the script was published as a literary work. Lee Jamieson's article "The Lost Prophet of  Cinema: The Film Theory of Antonin Artaud" discusses Artaud's three Lesescenarios (listed below) in the context of his "revolutionary film theory." And in "French Film Theory and Criticism: 1907–1939", Richard Abel lists the following critical treatments of several of the Surrealist "published scenario texts" (36) listed in the example section below: Finally, in his article "Production's 'dubious advantage': Lesescenarios, closet drama, and the (screen)writer's riposte," Quimby Melton outlines the history of the Lesescenario form, situates the genre in a historical literary context by drawing parallels between it and Western "closet drama," and argues we might consider certain  instances of closet drama proto-screenplays. The article also argues that writing these sorts of "readerly" performance texts is essentially an act of subversion whereby (screen)writers work in a performance mode only to intentionally bypass production and, thereby, (re)assert narrative representation's textual primacy and (re)claim a direct (re)connection with their audience. The comments section of Melton's article also has an ongoing discussion of the Lesescenario canon. The list of examples below is based on "Production's 'dubious advantage,'" that discussion, and Melton's "Lesecenario Bibliography" at Google Docs. The bibliography contains additional critical works concerned with individual Lesescenarios  and/or the canon at large. Examples. "Alphabetical by author last name. For a full list, please see Melton's aforementioned Google Docs bibliography."