Scenario Practice & The Baltimore Waltz

EQ: What is a scenario? How does a playwright create a scenario? How does a playwright use research to help build a scene or play? How do we build our plays to be more dynamic?

LAB: last class you brainstormed some themes or topics for a play your group thinks would be important subject matter for a play. You began to outline your group's idea and shared your idea with the class.

Today, take your idea and conduct some research in the lab. Gather information that you might use to frame or include in a scenario for your play idea.

NOTE: you are working alone on this, although your original idea was from a group effort. The idea is that you conduct your own research as practice and design the play as you deem fit.

A scenario is a playwright's blueprint of his/her story. It includes:

• The working title
• A cast list of characters (with names)
• A basic outline describing your various scenes or acts
• A description of the setting: time, place, (season/weather)
• An idea of the major theme(s) the writer will be working with
• A premise (this play is going to be about...)

If, after your research surrounding your topic, and your scenario writing, if you like your idea, you may begin writing this play as part of your longer play project.

Period 2: Please join us next door to begin reading The Baltimore Waltz by Paula Vogel.

Most plays begin with an EVENT: a unique and significant moment in a character's life (or characters lives). In plays all scenes should be thought of as "events".

Events can be almost anything: an unusual incident, a special occasion, a sudden visit, or any kind of crisis.

An event that starts off the play is called the inciting incident: the point of attack, the turning point in the life of one or more of your characters. Some playwrights call this moment the "disturbance". Whatever term you choose, you want to start off your story with a strong reason for the events in the play to occur. As the play continues (particularly in plays with more than one scene) more events may occur in a story. The inciting incident is the first one.

A protagonist usually confronts the inciting incident from a position of weaker power or disadvantage. Starting with a protagonist who has all his stuff together, who can easily defeat or solve a problem, makes for a boring play.

The beginning of a play ends when the protagonist(s) make(s) a major decision. This major decision should set him or her or them on a collision course with forces that will oppose and perhaps destroy him/her (aka: antagonist). This should be a decision. A decision to act, a decision that causes the antagonist to confront the protagonist, etc. A major decision makes a protagonist active in the plot.

The inciting incident and the major decision help to create the MAJOR DRAMATIC QUESTION: MDQ. The MDQ is, as stated earlier, the question that keeps an audience interested in the plot of your play. The MDQ is also attached to your overall theme. For example: MDQ: will action (and therefore revenge) be possible for Hamlet?

The middle of a play is fraught with a series of obstacles (rising action). During the middle, you need to pay attention to the 3 C's: conflict, crisis, and complication. These 3 C's will lead to the dark moment of your play (more on that later).

Conflict can be person vs. person (often true in plays), person vs. self (also common), person vs. society (common as well if done correctly), and person vs. nature (God, etc.) (not as great, but some plays do this one perfectly.) The more interesting the conflict the more interesting the play. Crises and complications cause the conflict to be more interesting. The crises is a critical moment--a place in time for the protagonist to act, make a decision--that usually has consequences. Complications are problems (usually unforeseen) that arise to thwart or challenge the protagonist.

As you read the play the Baltimore Waltz please note the event, the inciting incident, the protagonist, major decision, the MDQ, the conflict, crisis, and complications in your notes.

HOMEWORK: None. You may begin to write a scene from your research if you'd like.

Night Mother Analysis

EQ: Analyze 'Night Mother. What are some effective ways in which an author presents subject matter that connects with an audience?

After our quiz on 'Night Mother, please get into groups of 4-5 and discuss the following:

• How is this play a plot driven by its characters? 
• Do you feel Marsha Norman is successful in creating an interesting or socially relevant play? 
• Take special note about how with only two characters and a single set, the story unfolds. Examine specific ways in which the playwright keeps us on the edge of our seat.
• Pay attention to character development and conflict. Who wins this play? Which character is the protagonist? Which the antagonist?

A note about the seriousness of this play's theme:

• Suicide is a potentially preventable public health problem. It accounts for more than 1% of all deaths in the U.S. each year. In 2001, suicide was the 11th leading cause of death in the U.S.
• Among young people aged 15 to 24, suicide is the third most common cause of death. Four times as many men die by suicide as women. And 73% of all suicide deaths are white males.
• Risk factors for thoughts of suicide can vary with age, gender, sexual orientation, and ethnic group. And risk factors often occur in combinations.
• Over 90% of people who die by suicide have clinical depression or another diagnosable mental disorder. Many times, people who die by suicide have a substance abuse problem. Often they have that problem in combination with other mental disorders.
• Adverse or traumatic life events in combination with other risk factors, such as clinical depression, may lead to suicide. But suicide and suicidal behavior are never normal responses to stress.

Other risk factors for suicide include:

• One or more prior suicide attempts
• Family history of mental disorder or substance abuse
• Family history of suicide
• Family violence
• Physical or sexual abuse
• Keeping firearms in the home
• Incarceration
• Exposure to the suicidal behavior of others

Are there warning signs of suicide?
Warning signs that someone may be thinking about or planning to commit suicide include:

• Always talking or thinking about death
• Clinical depression -- deep sadness, loss of interest, trouble sleeping and eating -- that gets worse
• Having a "death wish," tempting fate by taking risks that could lead to death such as driving fast or running red lights
• Losing interest in things one used to care about
• Making comments about being hopeless, helpless, or worthless
• Putting affairs in order, tying up loose ends, changing a will
• Saying things like "it would be better if I wasn't here" or "I want out"
• Sudden, unexpected switch from being very sad to being very calm or appearing to be happy
• Talking about suicide or killing one's self
• Visiting or calling people to say goodbye

Be especially concerned if a person is exhibiting any of these warning signs and has attempted suicide in the past. According to the American Foundation for Suicide Prevention, between 20% and 50% of people who commit suicide have had a previous attempt.

Having read and thought about these facts/details, how does the playwright use some of this statistical information in her play? Can you find specific examples or lines where she has her characters discuss this information in a more informal way? Is the playwright successful in presenting her audience with a powerful message?

In your small groups, brainstorm some themes or topics for a play your group thinks would be important subject matter for a play. Outline your group's idea. Be prepared to share your idea with the class.

• Where would the action of the play take place?
• Would you have a single act, or several? A single scene, or several? Why?
• What would be the basic PREMISE of your play?
• What characters would be needed to tell your story? 
• Would the play end happily or tragically? What are some reasons why this would be your best choice?

Together create an outline (a break down & scene/act summary) of your idea.

HOMEWORK: None. If you're curious about what the ending of 'Night Mother might look like on stage, take a look here. And the film with Sissy Spacek & Anne Bancroft. 

Night Mother; Prop Scene

After our chat and going to the library to pick up "'Night Mother" by Marsha Norman, please return to the lab and work on your "prop" scene assignment from last class. Please turn in your draft of your scene at the end of class.

If you finish or need a break, please begin reading 'Night Mother.

HOMEWORK: Please read 'Night Mother. Be prepared to discuss the who, where, and what of this play, and how the characters interact with each other that causes conflict. 

Wait Until Dark; Prop Scene

Period 1: Please get into groups of 3-4 and read the first scene of Wait Until Dark. As you read, notice how the setting helps create the mood and how the characters interact with it.

Setting is not just TIME, but LOCATION, weather, season, and, in plays: props. Notice what props are used in the scene and for what purpose. What props do each of the characters have in their possession in this scene?

Period 2: In the lab, write a short scene in play format (for play format please refer to the handout) where an OBJECT (prop) plays an important role in the action of the scene. Use what you've read today as inspiration perhaps. If you can't think of a prop, list objects in the setting until you find one that holds some significance.

HOW TO START:

• Choose a WHERE from your settings list
• Choose 1-3 WHO's (characters) from your character list
• Choose a WHAT or major event for your scene from your list
• Choose a prop or object to be a talking point in the scene
• Write

HOMEWORK: Please remember to arrive in the Commons at the beginning of period 3 with a bagged lunch, and clothing appropriate to our field trip.

For Colored Girls...Discussion; Wait Until Dark Workshop

Period 1: after our writing exercise, please watch the videos about Ntozake Shange's For Colored Girls...Enuf and then we'll hold a Socratic seminar discussing the play. Complete your Socratic seminar sheet and turn in for credit.

Period 2: We will have a workshop on Wait Until Dark. Please welcome Ms. Savastano, a local actress and representative from Geva.

HOMEWORK: None. Go watch some plays during the Rochester Fringe Festival. Bring back your program to get extra credit!

For Colored Girls...Enuf

EQ: How have monologue plays (monodramas) influenced us?

Ntozake Shange's For Colored Girls Who Have Considered Suicide When the Rainbow is Enuf

Recent film trailer by Tyler Perry

Today we are going to read Ntozake Shange's choreo-poem and masterpiece For Colored Girls Who Have Considered Suicide When the Rainbow is Enuf.

Please watch this short interview with the playwright.

We have been reading a series of plays where monologues play an important and powerful role in the storyline of the play. In fact, way, way, way back during the ancient Greek period (about the 5th century BCE), theatre performances began as long "choral" odes--essentially monologues where the chorus sang in what is called a dithyramb.

After a while, the first actor: Thespis (actors are now called thespians) separated himself from the "chorus" and began to play various roles--and dialogue began!

Please take an index card with a specific role. Play that part today.

Spic-o-Rama & For Colored Girls...Enuf

EQ: Why write a one-actor show? What do Mono-dramas (1 person plays) or Monologue Plays offer an audience? How are they similar or different from other plays, other genres of writing (slam poetry, fiction, novels, audio-books, films, etc.)

This morning take a few minutes to watch these videos from the play Spic-O-Rama by John Leguizamo. As you watch the video, consider the script and its characters and themes. After viewing, please gather in groups of 2-3 and take 5-10 minutes to discuss this question:

"One person plays showcase an actor's range and ability while often addressing issues that are sometimes overlooked by mainstream audiences." In regard to Spic-o-Rama, explain:

• How the play showcases John Leguizamo's talent as an actor and writer 
• Why he might have chosen the characters he did to portray in the play, and 
• How he structurally put the play together to create an effective theatrical experience. 
• How is the play similar or different from performance poetry, films, short stories, novels, or non-fiction essays?

Please use specific examples to support your answers. What have we decided?

After your discussion, please return to your seat to complete another pre-writing exercise.

After writing, we will head down to the library to pick up Ntozake Shange's For Colored Girls Who Have Considered Suicide When the Rainbow is Enuf. When we return, please select a character and let's read the play as a class.

HOMEWORK: None. Please get field trip forms completed and turned in by next class!

Characters; African-American Theater Tradition; Monster & Quiz

This morning, please get together in small groups of 3-4 and brainstorm a list of characters. Write these characters, their names, their occupations, and 1-2 physical or personality traits each character has in your notes/journal. 

Example: Sweety Pie, 20-30 year-old beautician. She wears her sleeves rolled up so that we can see her tattoos; there is a comb tucked behind one ear.

Teddy, 60-70 year old businessman (retired). He speaks very loudly and slowly. Always wears a soiled bib.

Kashandra, young woman, student. She smiles a lot and likes to laugh at herself. She only wears purple sweaters.

Try to gather at least 6-10 characters each. Keep this list, as you will use it later in the course.

Giving a voice to the underprivileged, minority, or unnoticed members of our society is one of the excellent things theater can accomplish. Probably more than any other art form, theater has a way of sparking a discussion and, sometimes, debate about important issues easily ignored by more mainstream mass media like film or television. African American actors, directors, and playwrights have held an important place in American Theatre history. Today, let's learn a little more about these talented and important artists.

This morning, let's read about Dael Orlandersmith as a contemporary playwright & actor (and faculty member). Spend a few minutes (up to 28 minutes for the full program) to watch the interview with Dael Orlandersmith. As you watch, consider some of the themes and issues she deals with in her writing.

Then read "A Brief Overview of the History of African American Theatre" and identify at least 3 things you learned from this article. Be prepared to hand these notes in as a "ticket out the door."

Apply what you've learned to the play Monster. Complete the quiz on the play Monster.

HOMEWORK: Please read the play Spic-o-Rama by John Leguizamo. Be prepared to discuss the play Monday, September 15.

Talking With; Monster; Character

Please read the handout about Jane Martin this morning. Follow up your reading with a 15 minute period of reading. After reading silently (alone) you will form small groups to conduct some analysis of the characters in the play.

NOTE: If you completed the play on your own, spend your time writing a monologue draft. Use Jane Martin's script and the monologues in Talking With as a model.

If you missed it, read about Jane Martin here.

Let's view a few of the following clips from the script Talking With.

As you watch these scenes from Talking With, pay attention to how the playwright engages the audience and tells an interesting story that develops the single speaking character. Notice how the actor portrays this character. Is the author's words more effective or is the performance more compelling to you as an audience? What does this suggest about the nature of performance?

Clear Glass Marbles (monologue, page 19-22)
Clear Glass Marbles (monologue, page 19-22)

Audition. (monologue, page 25-27)
Audition

Twirler (part)

Rodeo (monologue, page 31-34)

French Fries (monologue, page 61-63)

Marks (monologue, page 67-69).

Let's conduct a class discussion. Your response can include answers to any or all of these questions:

• What did you think about the play as a whole? Did it surprise you or please you or frustrate you? Explain why you reacted to the play in this way.
• What is the premise of "Talking With"? In a sentence or two, explain what you think is the premise or main idea/theme of the play. Is this premise interesting? Do you think people would pay to see this play?
• The "audience" for each character changes as the play continues. How does the author help a viewer or reader understand who the character in question is "talking with..."? Overall, by the end of the play, who do you think the playwright Jane Martin is "Talking with...?" Support your opinion.
• What challenges and stage requirements are necessary to produce this play? How has Jane Martin anticipated a low-budget, black box theater being able to produce her play? What did you learn about staging from the monologues you read and watched?
• Why are the monologues in the order that Martin puts them? What is the reason to start and end the play with the monologues she does?
• After reading about Jane Martin, what amuses or interests you in her as a writer? How might the idea of "Theatricality" (artificial life involving conflict) infuse the script and the whole experience of seeing this play on stage.

With time remaining in the class, get together in small groups of 3-4 and brainstorm a list of characters. Write these characters, their names, their occupations, and 1-2 physical or personality traits each character has in your notes/journal. Keep this list, as you will use it later in the course.

HOMEWORK: Please read Dael Orlandersmith's "Monster" for Thursday. Bring your scripts back with you to discuss this play next class.

Talking With; Loveliest Afternoon of the Year

Together, let's read the play: The Loveliest Afternoon of the Year by John Guare.

Theatre vocabulary to know:

• Monologue: an extended speech delivered by one person/character.
• Dramatic Monologue: a long or extended speech delivered by one character addressing another character or group of characters.
• Interior Monologue: In fiction or prose, the description or speech (in 1st person POV, for example) where a character exhibits (shows/tells) the thoughts, feelings, and associations passing through a character's mind.
• Soliloquy: an extended speech by one person addressed directly to an audience. Usually the character is alone on stage.
• Monologue Play (one-person show; monodrama): A solo performance, featuring an actor, comedian, or entertainer.

Please read the handout about Jane Martin this morning. Follow up your reading with a 15 minute period of reading. After reading silently (alone) you will form small groups to conduct some analysis of the characters in the play.

NOTE: If you completed the play on your own, spend your time writing a monologue draft. Use Jane Martin's script and the monologues in Talking With as a model.

If you missed it, read about Jane Martin here.

Let's view a few of the following clips from the script Talking With.

As you watch these scenes from Talking With, pay attention to how the playwright engages the audience and tells an interesting story that develops the single speaking character. Notice how the actor portrays this character. Is the author's words more effective or is the performance more compelling to you as an audience? What does this suggest about the nature of performance?

Clear Glass Marbles (monologue, page 19-22)
Clear Glass Marbles (monologue, page 19-22)

Audition. (monologue, page 25-27)
Audition

Twirler (part)

Rodeo (monologue, page 31-34)

French Fries (monologue, page 61-63)

Marks (monologue, page 67-69).

Let's conduct a class discussion. Your response can include answers to any or all of these questions:

• What did you think about the play as a whole? Did it surprise you or please you or frustrate you? Explain why you reacted to the play in this way.
• What is the premise of "Talking With"? In a sentence or two, explain what you think is the premise or main idea/theme of the play. Is this premise interesting? Do you think people would pay to see this play?
• The "audience" for each character changes as the play continues. How does the author help a viewer or reader understand who the character in question is "talking with..."? Overall, by the end of the play, who do you think the playwright Jane Martin is "Talking with...?" Support your opinion.
• What challenges and stage requirements are necessary to produce this play? How has Jane Martin anticipated a low-budget, black box theater being able to produce her play? What did you learn about staging from the monologues you read and watched?
• Why are the monologues in the order that Martin puts them? What is the reason to start and end the play with the monologues she does?
• After reading about Jane Martin, what amuses or interests you in her as a writer? How might the idea of "Theatricality" (artificial life involving conflict) infuse the script and the whole experience of seeing this play on stage.

WRITING/HOMEWORK: If you did not complete your reading of this play, finish it up and bring your script back with you next class. In your journal (not to be turned in) write a monologue of your own. We'll use this draft later in the course.

Welcome!

Welcome back, class of 2016. I hope you all had a restful and enjoyable summer. But here we are again. This year is partly devoted to writing scripts (both theatrical and for the screen). What you learn here can help you improve your fiction "dialogue" skills, examine the use of conflict in your plots, play and experiment with language and poetry, as well as make you a better psychologist (dealing with people in crisis), all the while honing your writer's craft and developing your writer's voice.

Today, after reviewing the course criteria, getting lockers, and discussing some changes around SOTA, we will get started with a required writing activity, read a bit, and start on a couple assignments to begin this course.

IMPORTANT INFORMATION:

Check this blog each class period for agendas, deadlines, educational information, advice, and a whole lot of links to enhance your education. All you have to do is read and click. You are responsible for reading and interacting with the material I post on the blog.

If you're absent or missed something in class, please check the blog to get caught up. As indicated above, each new class period usually includes a new post. If you have a question about an assignment and are too embarrassed to speak to me in public (or you have a question that you think you will forget to ask), feel free to use the comment section.

On our link page you will also find some useful tools for this course. During the course I will direct your attention to these tools for your use in this class and for use in Contemporary Writers.

Today, let's begin playwriting with a baseline writing exercise. You will need a notebook, the essay paper/booklet provided, and a writing utensil.

• The task is simple. Write a complete scene (with a definite beginning, middle, and end) in script format. 

• Limit your cast of characters to no more than four (4). Two or three (2-3) works best. Setting, writing style, and theme is completely up to you. 

• Be creative. Focus on the task of writing. Let your words flow from you without a lot of editing or over thinking this exercise. Trust your instincts as an artist and writer! 

•  If you need a prompt, choose one of the following starters: 

•  A policeman, a newlywed, a certified letter 

•  A widow, her half-sister, and a secret 

•  One character walks in to a familiar place but meets someone unexpected

• You will have 20-25 minutes to write.

If you happen to finish early and the rest of the class is still writing, please begin reading "Talking With" by Jane Martin. After we write our baseline, we'll discuss playwriting and get started reading some plays.

HOMEWORK: Read Talking With by Jane Martin. Bring the play script with you to our next class. Please share the course criteria sheet with your parents/guardians.