LAB:
Use your time in the lab today to:
A. Complete (or revise/proofread) your 10-minute play. These are due if you had an extension. Or they are late, but better late than never. The end of the marking period is Friday. All work must be completed and turned in by then. If you have missing work, please use your time in class today to complete your work. Chop chop.
B. If you have completed all work, please read one play in the Charles Busch collection: Psycho Beach Party, The Tale of the Allergist's Wife, Red Scare on Sunset, or The Lady in Question. Each pokes fun at a cinema style or a specific time period (early 1960's beach films, 1950's red menace in Hollywood, 1940's spy thriller, or contemporary turn of the century New York social scene). As you read, pay close attention to dramatic components of its structure: inciting incident, major dramatic question, the major decision, complications, turning point or crisis, dark moment, enlightenment, climax, resolution, catharsis, etc. Keep track of important characters, setting, and plot events as well. Hey, you could write these down as notes!
C. There will be a test on the following Friday. Study:
Use your time in the lab today to:
A. Complete (or revise/proofread) your 10-minute play. These are due if you had an extension. Or they are late, but better late than never. The end of the marking period is Friday. All work must be completed and turned in by then. If you have missing work, please use your time in class today to complete your work. Chop chop.
B. If you have completed all work, please read one play in the Charles Busch collection: Psycho Beach Party, The Tale of the Allergist's Wife, Red Scare on Sunset, or The Lady in Question. Each pokes fun at a cinema style or a specific time period (early 1960's beach films, 1950's red menace in Hollywood, 1940's spy thriller, or contemporary turn of the century New York social scene). As you read, pay close attention to dramatic components of its structure: inciting incident, major dramatic question, the major decision, complications, turning point or crisis, dark moment, enlightenment, climax, resolution, catharsis, etc. Keep track of important characters, setting, and plot events as well. Hey, you could write these down as notes!
C. There will be a test on the following Friday. Study:
- Talking With by Jane Martin
- Spic-o-Rama by John Leguizamo
- 'Night Mother by Marsha Norman
- Oleanna by David Mamet
- The Dutchman by Amiri Baraka
- The Baltimore Waltz by Paula Vogel
- Learning to Drive by Paula Vogel
- Driving Miss Daisy by Alfred Uhry
- Who's Afraid of Virginia Woolf by Edward Albee
- The Mystery of Irma Vep by Charles Ludlam
- The Vampire Lesbians of Sodom by Charles Busch
- Premise
- The 4 types of conflict
- Structural unity
- monologues/soliloquies
- beats, scenes, acts
- Major dramatic question
- The inciting incident
- Major decision
- Rising action, complications, crisis/turning point
- Dark moment
- Enlightenment
- Climax
- Catharsis
- Monodramas or monologue plays
- Adversaries (different types)
- Tips about writing dialogue, playwriting, writing for the stage
- Status quo & building a plot
- Cross dressing, Pantomime, Commedia Dell'Arte
- Comedy characteristics
- 10-minute play structure
Please bring any script copies with you to next class so you can return them to me or the library.
HOMEWORK: None. There is a test. The end of the marking period is Friday.
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