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.