2 Person Scene Due; The Baltimore Waltz

Lab: 1st period. Please complete a draft of your monologue 2-person scenes. Print or share your Google Doc with me by end of day today. If you finish your scene work before the bell, make sure you have read The Baltimore Waltz background material--you'll appreciate the play more, if you do.

Things to do before you're done:

1. Correct grammar, formatting, etc.
2. Give your play a title
3. Read over your script--preferably out loud to catch difficult lines, awkward sentences, vague or uninteresting parts, etc. Cut and revise these sections.
4. Feel free to borrow a style from Mamet or other playwrights in regards to dialogue.
5. Remove unnecessary or distracting stage directions.
6. Look over your work one more time before submitting/printing.

When you have completed your work, please watch "Dutchman" from the posted link or the one below. Also, check out these videos:

• Oleanna with Bill Pullman & Julia Stiles. 
• Oleanna at the Old Vic (ending scene)
• Oleanna (full movie, 1994; with William H. Macy)
• 'Night Mother (trailer, movie with Sissy Spacek & Anne Bancroft)
• How I Learned to Drive, Interview with Paula Vogel: Women in Theatre

Classroom: 2nd period. Let's discuss Dutchman and any lingering remarks about Oleanna. Then, let's begin reading The Baltimore Waltz in class.

HOMEWORK: Complete The Baltimore Waltz on your own. Summarize the scenes we do not read in class. Your summary should be direct and concise. Answer: what happens in each scene? Hand this in as participation credit next class.

Vocabulary to know: Suggested Setting or Suggested Set: A setting on stage in which only a few set pieces or lighting or other technical elements take the place of elaborate set construction. Suggested sets are usually not very realistic, but use metaphor to suggest a theme or meaning for the action of the play.

Oleanna: Day 2; Dutchman

LAB: (1st period)

Please spend your time in the lab writing your 2-person scenes inspired by your monologue draft. If you finish early, please feel free to view "Dutchman" by Amiri Baraka (55 min). Please turn in your answers to the previous homework for this play by end of the lab period.

You will likely need more room than what is provided to adequately answer the questions. Write your answers SEPARATELY from the question handout sheet. Answers will count as a quiz grade for this play.

Amiri Baraka was also a poet! Read a few of Amiri Baraka's poems here. Maybe one will inspire a scene.

CLASSROOM: (2nd period)

We will complete our reading of Oleanna, and discuss the play (and Dutchman).

WRITING EXERCISE: Scene starter exercise.

HOMEWORK: Please read the background materials for the play: The Baltimore Waltz by Paula Vogel. We will be reading this play next class. Continue writing your 2 person scenes. Plan to finish a draft by next class.

David Mamet's Oleanna

LAB: (7:30 - 7:45 only)

Please spend the first few minutes of today's class working on your 2-person scene, using your monologue to anchor your story.

Make sure before you leave the lab today, that you take a look at this information about David Mamet.

David Mamet (you can learn more about this writer by clicking on the link and reading his short bio) is a popular playwright, screenwriter, novel writer, and director. He won the Pulitzer Prize in 1984 for Glengarry Glen Ross. His most recent plays include November (with Nathan Lane) in 2008, Race in 2009, and HBO's production of the series Phil Spector (2013) with Al Pacino & Helen Mirren.

Our next play will be Oleanna by David Mamet. William H. Macy starred in the original production (and the movie based on the play). Read a little about the play on the script. Sign up for various roles as we read today. In particular we will be discussing Mamet's use and style of writing dialogue.

HOMEWORK: Please read Amiri Baraka's play Dutchman. Answer the 6 discussion questions using textual evidence to support your answers. You will likely need more room than what is provided to adequately answer the questions. Write your answers SEPARATELY from the question handout sheet. Answers will count as a quiz grade for this play.

Read a few of Amiri Baraka's poems. Learn a little about who this writer was.

'Night Mother Discussion; Intro to Mamet's Oleanna

In the lab this morning, compare/contrast the two ending monologues/performances:

• 'Night Mother at the Union Theater (start at: 1:09:30)
• 'Night Mother

After comparing/contrasting, turn in your comparison for participation credit (use the graphic organizer if you need structure), then move on to the monologue scene project. Don't forget to turn in your homework from last class!
Monologue Scene Project:

Place your monologue in the beginning, middle or end of a scene. Whichever position you choose for your monologue placement (beginning, middle, end...), create a second character and have that character enter just before, just after, or during the monologue. Begin to build a short scene between this second character and your monologue character. Refer to the handout for play script format if you need to. Formatting counts.

This scene is not due yet.

CLASSROOM:
We will discuss 'Night Mother:

• Conflict
• Structural Unity
• Inciting incident
• Major Dramatic Question (MDQ)
• Major Decision
• Dark Moment/Crisis
• Enlightenment
• Catharsis
• Costumes/Props
• Staging

Credo by Craig Lucas and No One Will Be Immune by David Mamet.

David Mamet (you can learn more about this writer by clicking on the link and reading his short bio) is a popular playwright, screenwriter, novel writer, and director. He won the Pulitzer Prize in 1984 for Glengarry Glen Ross. His most recent plays include November (with Nathan Lane) in 2008, Race in 2009, and HBO's production of the series Phil Spector (2013) with Al Pacino & Helen Mirren.

Our next play will be Oleanna by David Mamet. Let's read a little about the play and begin reading. Sign up for various roles as we read today and next class.

HOMEWORK: None. Please bring your Oleanna scripts back with you next class.

'Night Mother; Monologue Extension

LAB: 7:30 - 7:50

Please watch the following playwriting videos and take notes on what you learn:

• Video #1: Top Tips
• Video #2: Status Quo
• Video #3: Building a Plot
• Video #4: Formatting a play script (optional viewing, for those who don't understand the form) and here if you still don't understand the format.
• Video #5: Tips from Dennis Kelly about Playwriting

Then, brush off your monologue that you submitted/wrote last week. Choose to place this monologue in the beginning, middle or end of a scene. Consider your status quo, use some of the tips you learned from the videos, and write. Whichever position you choose for your monologue placement (beginning, middle, end...), create a second character and have that character enter just before, just after, or during the monologue. Begin to build a short scene between this second character and your monologue character. Plan or write organically, but realize that some planning is a good idea so you don't get lost or hit a block. Refer to the handout for play script format if you need to. Formatting counts.

This scene is not due yet.

CLASSROOM:
We will complete our group reading of 'Night Mother and discuss the elements of the play:

• Conflict
• Structural Unity
• Inciting incident
• Major Dramatic Question (MDQ)
• Major Decision
• Dark Moment/Crisis
• Enlightenment
• Catharsis
• Costumes/Props
• Staging

We will examine some of the secondary material for 'Night Mother. Whatever we do not complete in class, please add to your homework tasks.

HOMEWORK: Please read the two short plays: Credo by Craig Lucas and No One Will Be Immune by David Mamet. As you read, examine and identify the central conflict and MDQ in the plays. Turn in the answers for both plays next class.

Spic-o-Rama; 2-Person Scenes; 'Night Mother

This morning, please use your time in the lab (about until 7:50) to do the following:

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.

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.)?

"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 does the play showcase John Leguizamo's talent as an actor and writer? Be specific, using specific examples from the text. 
• Why might Leguizamo have chosen the characters he did to portray in the play? What might be missing or what would you have liked to see more of or less of? 
• How does Leguizamo structurally put the play together to create an effective theatrical experience? Examine how the play is thematically connected or how it "moves" from story line to story line. How effective is this in your opinion?
• Discuss the importance of minority voices in theater. In your opinion do we need more minority voices--or is Leguizamo's portrayal of "spics" degrading or stereotypical? 

Please use specific examples to support your answers. Turn in by end of period. While you're here, please watch the following playwriting videos and take notes on what you learn:

Video #1: Top Tips
Video #2: Status Quo
Video #3: Building a Plot
Video #4: Formatting a play script (optional viewing, for those who don't understand the form)
Video #5: Tips from Dennis Kelly about Playwriting

Conflict:

Conflict is another name for drama--and so, it is an important aspect of all playwriting. While monodramas allow for good internal conflict (man vs. himself), or often talking about man vs. society--who ultimately stays off stage--a 2 person play is different. Here we can really see conflict (man vs. man) in action!

• Conflict: What traditional type of conflict is best represented here by this play? What other conflicts arise and how are these dealt with in the play? 
• Structural Unity: all parts of the plot (exposition, rising action, turning point, climax, resolution, etc.) should work and fit together. Explain how the playwright has achieved structural unity in this play. How does exposition turn to rising action? How does the turning point (the play's crisis or a character's dark moment) lead to our climax? How does the playwright resolve the action of the play? How effectively do you feel this was done? 
• Inciting Incident: the point of attack, the inciting incident forces the protagonist into the action of the play's plot. What inciting incident occurs in the early scenes of the play? Identify when and what page this occurs on.
• Major Dramatic Question (MDQ): the hook that keeps an audience interested in a play; a dramatic question that a reader/viewer wants answered. What is the MDQ for this play?
• Major decision (x2): A decision a character makes in the plot that creates the turning point for their character. Choose either Jessie or Mama. What is the major decision for this character?
• The dark moment/crisis: the lowest moment of a character's struggle--when all the world seems lost, the fight unbeatable, the "darkest hour before dawn" -- a stunning reversal of fortune and sense of failure. Examining Mama's character, what moment would you say is her dark moment or crisis? 
• Enlightenment: When the protagonist understands how to defeat the antagonist. A revelation that begins the movement toward a climax. Does this play have an enlightenment? Which character(s) are involved in this enlightenment if it exists? If it does NOT exist, who might the author intend to have the "enlightenment"?
• Catharsis: Discuss the ending of this play with your partner. How did it effect you? If it did not effect you, why not? 
• Costumes/props: how are costumes and props used in the play. Which props become important? Why?
• Discuss other aspects of this play with your partner while we have time in class. Hand in your answers to the first 7 questions as participation credit.

HOMEWORK: Complete 'Night Mother if we don't finish it in class. Remember your role and be prepared to discuss the play next class together.

Monologue Draft Due; Talking With Discussion; Spic-o-Rama

LAB: (from 7:30 - 8:00 only)

Complete your monologue. When you have written your draft, look back over your work and try to address some of these editing tips:

• Make sure your speaker has a reason to speak. If you don't have one, give your character a good reason (or motivation) to speak. Why must what is said be said--what's at stake for this character?
• Revise and shape your speech to use anaphora and epistrophe: two types of rhetorical sound devices using repetition.
• Revise your sentences to make them more concise and declarative. Remove long, complex sentences and replace them with short declarative ones. 
• Use fragments.
• Add tactile, gustatory, and olfactory imagery by carefully choosing your diction to appeal to one of these senses.
• Add visual imagery by introducing a metaphor, figure of speech, or simile. Allusion and personification work too.
• Add sound imagery by using alliteration, assonance, consonance, onomatopoeia, euphony, cacophony, and so on.
• Make sure you have given your character a specific prop and costume piece. Make sure the prop and costume piece help characterize the character and/or the situation your speaker is delivering.
• Feel free to give your speaker a clear speech pattern that is unique to this character (for example a stutter, a certain repeated phrase, or a manner of speaking)
• Build your monologue so that it has a definite hook, rising action, complication, climax, and a quick and memorable resolution (or ending). 
• Correct your grammar and syntax. Read your work out loud to a peer or yourself to catch any errors or difficult lines. Revise as needed.

If you finish before time is called for the lab, make sure you have completed your homework for Talking With.

Print out your monologue draft and turn it in for credit.

CLASSROOM: (8:00 - 9:03)

We will conduct our discussion on Talking With and begin reading Spic-o-Rama by John Leguizamo.

Your response on Talking With can include answers to any or all of these questions:

• 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 written by this particular author?
• Other observations? As a writer, what did you notice? What do you want to talk about in regards to this play?

After our discussion, let's begin reading the play Spic-O-Rama by John Leguizamo. This is another type of monologue play. As you read, compare/contrast this script with Talking With. How is it similar/different? What staging effects does Leguizamo use (and to what effect?)

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.)?

In regard to Spic-o-Rama, explain in writing and turn in next class (Thursday) answers to these questions. When answering homework questions on the readings we do in class, please make sure you use textual evidence to support your answers:

1. How does the play showcase John Leguizamo's talent as an actor and writer? Be specific, using specific examples from the text. 
2. Why might Leguizamo have chosen the characters he did to portray in the play? Are some characters more vivid and interesting than others? What might be missing or what would you have liked to see more of or less of? How does the language of each monologue help characterize the speaker? 
3. How does Leguizamo structurally put the play together to create an effective theatrical experience? Examine how the play is thematically connected or how it "moves" from story line to story line. How effective is this in your opinion? What strategies does Leguizamo use to keep a coherent whole for his play?
4. Discuss the importance of minority voices in theater. In your opinion do we need more minority voices--or is Leguizamo's portrayal of "spics" degrading or stereotypical?

HOMEWORK: Complete Spic-o-Rama on your own. Answer the 4 questions posed here in complete sentences. Use the text to support your answers. This is due Thursday, September 15.

Monologue Exercise; Talking With Discussion; Theater Vocabulary

LAB:

Playwrights use real people as models for their characters all the time.

This morning, let's start off with a little character writing exercise. From the internet find two separate pictures or portraits or photos of a person (or see some of the samples in the front of the classroom to use for this exercise). Choose two pictures.

Part 1:

Write a paragraph description of the two people in the photographs you chose. Try to answer details like:

A. Who is this character? [change the name/fictionalize this person if you know the subject's name or the subject is a famous actor/politician/celebrity, etc.--i.e., do not write about the real person in this photo!]
B. What is the most obvious personality trait of this character?
C. What is the most distinguishing physical feature of this character?
D. What motivates this character?
E. What life-changing event happened to this character either recently before or recently after this photograph was taken?
F. What does this character really think about what's happening in this picture? [If that is unclear, consider where this person was when the picture was taken, or who took the picture and for what purpose...]
G. Name two goals for this character? What might they want to accomplish?
H. Identify (make up) one secret that this character has never told anyone.
I. Add any other details you would like until you feel you know this character specifically.

When you have a good description of each of your characters (about a paragraph in length please), print a copy and turn in for participation credit. Then move on to part 2.


Part 2:

Select one of the two characters you described in part 1. Place this character in a specific setting: a place, time, season, time period, location, etc. Include weather in your setting.

When you have settled on a setting and a character description, write a monologue from the perspective of your created character. Your monologue must be more than 200 words for full participation credit. If you finish your monologue by the end of period 1, please print and turn in your draft--otherwise, it will be due Tuesday, next week.

While you are waiting for the end of period 1, please read about (and take notes concerning) Jane Martin. Prepare for our discussion on Talking With by reviewing (or completing) your reading and/or viewing the monologues.

Before the end of 1st period, spend a moment to read about Jane Martin here.

Classroom Activity:

Theater Vocabulary

Throughout this course, I will be using specific language related to the field of playwriting and/or writing in general. These terms are important for you to know/learn. They look nice on quizzes and tests. Always take notes on key information in this class. Practicing note-taking is also important for any student or writer.

Theatre vocabulary to know:

• Playwright: a person who crafts/builds/writes a play meant to be performed live on stage in front of an audience. Note the similarity to wheelwright or shipwright...)
• Play: refers to the script a playwright writes, as well as a theatrical performance. Play is also "joyous activity" often engaged in by children...like "make believe..." and "fun & games"
• Act: not only the verb referring to the activities of a performer (specifically an act-or) but also a significant dramatic chapter, division, or unit in a play. 
• Scene: not only the place where an incident occurred but also a sequence of action in a play.
• Beat: a short exchange of dialogue between two or more characters, usually focusing on a single topic. Many beats make up a scene in a play.
• 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/character addressed directly to the audience. Usually the character is alone on stage.
• Monologue Play (one-person show; monodrama): A solo performance, featuring an actor, comedian, or entertainer.
• Premise: the basic concept or idea of the play. Usually, the premise can be stated clearly in 1 sentence. This is a play about...

TALKING WITH by Jane Martin:

TASK: Please read the handout about Jane Martin this morning. Follow up your reading with a 5 minute period of reading and analysis. Select one of the monologues in the collection and read it closely. Analyze how:

• the character hooks her audience, 
• how the character communicates meaning (what's the purpose/point of speaking?)
• how details and background description and details are presented to the audience, 
• how story and plot are interwoven into the monologue, 
• how language or diction is used to create visual imagery (metaphor, allusion, personification, symbol, simile, etc.), sound imagery (onomatopoeia, rhyme, rhythm, alliteration, assonance, consonance, etc.), and
• how props or costumes are used (if any) help establish setting or character.

Write out your answers to be handed in as participation credit. Leave your answers by the end of class in the inbox. Make sure you have indicated what monologue you chose to analyze--and remember to put your name on your work!

TASK: After our analysis, let's conduct a class discussion on the play. 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?
• Other observations? As a writer, what did you notice? What do you want to talk about in regards to this play?

After our discussion, let's begin reading the play Spic-O-Rama by John Leguizamo. This is another type of monologue play. As you read, compare/contrast this script with Talking With. How is it similar/different?

HOMEWORK:
#1: If you did not complete your reading of Talking With, please do so over the weekend. Watch the following pairs of performances. Compare/contrast the quality or effectiveness of the performer and write your analysis or critique of the monologue in a paragraph response (to be turned in as homework participation Tuesday, September 13). There are 3 pairings.

To assist your answers: 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. Are 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? Which performance was stronger than the other? Why? What might be some things you want to remember about writing plays for performers?

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

Audition. (monologue, page 25-27)
Audition 

French Fries (monologue, page 61-63)
French Fries

#2: Complete Spic-O-Rama by John Leguizamo. Bring this script back with you next class for our discussion and analysis of the play. You may feel free to complete your monologue writing assignment (although this will not be due officially until next class at the end of our lab time.)

Welcome, Class of 2018!

Welcome back, class of 2018! I hope you all had a restful and enjoyable summer.

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, we will get started with a required writing activity, read a bit, and start on a couple assignments to begin this course. At the end of class today, we'll get our locker assignments.

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. It is a useful resource for the course (since we don't have a specific textbook)--so please use it.

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. It is, however, your responsibility to talk to me about your needs. I don't read minds (and am too busy to bother if I could...) So: let me know if there's something you need help with or if you have questions. I already know this stuff. This is your education. Make it worthwhile.

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, after reading about the course and answering any questions, 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. Scenes are not full plays. You don't need to wrap up every detail and plot hole. But your scene should begin, sustain a bit, and end.

• Limit your cast of characters to no more than four (4). Two or three (2-3) works best. You need more than one. 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 recently new widow, her half-sister, and a secret 

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

• You will have about 30 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. It's a good idea to start with the last monologue first, as you will likely read the first monologue and subsequent pages in order with your group. After we write our baseline, we'll receive our locker assignments, then return and get started reading Talking With in small groups.

HOMEWORK: #1 - Complete Talking With by Jane Martin. As you read the monologues, pay close attention to how language and conflict within the stories helps to develop character. Bring the play script with you to our next class (Friday). 

#2: In addition to the above, please bring a picture of a person to next class. It is better if this is a printed photo--you can find one easily on line, or from your own family photographs, or from a newspaper or magazine you have at home. We will be using this photograph/picture for a writing activity next class.

#3: Please share the course criteria sheet and field trip forms with your parents/guardians.  Get them signed and return them to me. Have a nice day!