Sunday, December 16, 2012

Workshop, Revision, & Henrik Ibsen

Workshop: Please get into the following groups and workshop your plays.

Group A: Darren, Taina, Tim, Dominic, Julie, Jack, Vanessa
Group B: Hannah, Caleb, Sierra, Samantae, Neriah, Clara, Amelia

Advice about rewriting:
1. Rewriting requires a plan. What are you going to rewrite? Why are you going to rewrite (apart from the fact that I require it of you?)
2. When you know your script isn't ready and you can't figure out what's wrong, you need a new set of eyes to look at the script as if it were for the first time. Time helps here. But in our case, try to envision the play on stage. What might be some of the problems with the script? Can you fix that?
3. Rewriting is repair work. Your idea or a certain character might be great, but is clouded by other characters, misplaced lines, lack of development, and so on. If you can only correct one thing about your play: what would it be? Then correct that first.
4. Keep asking yourself the same question in #3.
5. Can anything be removed or added to the script? You want to cut redundancies and difficult to perform or non-essential action/dialogue. You want to add details, story, characterization, and conflict where appropriate. You also want to think about MESSAGE and theme. What are you trying to communicate? Have you done that? If not, do it.
During the second period please complete the following two assignments:

1. Revise and create a second draft of your absurdist play (This is essentially due (draft two) Wednesday).
2. Research the playwright: Henrik Ibsen.

A major 19th-century Norwegian playwright, theater director, and poet, Henrik Ibsen is often referred to as "the godfather" of modern drama and is one of the founders of Modernism in theatre. His works are what we call naturalistic.

Naturalism (1865-1900) attempts to go further from realism to suggest that social conditions, heredity, and environment affects human behavior. Plots often revolve around social problems, characters are often drawn from lower classes and the poor, perhaps in an attempt to explain their behavior.

In Hedda Gabler Ibsen explores infidelity and betrayal. His use of the "secret" as a conventional plot device is excellent. Hedda remains one of the most interesting dramatic characters of the 19th (and 20th) centuries--a juicy role for an actress!

HOMEWORK: Please read Hedda Gabler & one other Ibsen play in the collection you pick up. You should have completed your reading of Happy Days and you should remember to post a forum response on Beckett by Friday, Dec. 21. During the break, you will read 2 Ibsen plays (Hedda Gabler) and one other play that is not "A Doll's House". You may finish reading these plays by the end of the week if you do the work now, allowing you to have your break free and clear.

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