Monologues/Monster; 'Night Mother: Part 1

Complete your second monologue draft. Your draft will be due at the end of our lab. Print out and turn in by end of period 1.

Dael Orlandersmith's Monster: Answer these questions (also due at the end of our lab):

1. According to Orlandersmith, what are some reasons she wrote this play?
2. List and briefly describe the characters and their role(s) in this play.
3. Identify the premise of this play.
4. Choose one monologue in the play and explain how the monologue develops a character. Use examples from the text as support.
5. Identify a major conflict for characters in this play. How does the playwright use this conflict to create an effective dramatic situation? Support your answer with textual evidence.

If you are caught up and if there is still time in the lab, you may move on to our next writing exercise/draft:

Use one of your monologues (either monologue #1 or monologue #2) and shape a short play around the monologue by introducing a second major character. Place your monologue either in the beginning of this play, the middle, or the end. Write the rest of the story after deciding where to place the monologue you have written. You may edit and reshape some details if you need to for your plot and theme. This draft is not due yet. Deadlines will be forthcoming.

At the end of the period, please pick up 'Night Mother by Marsha Norman from the library. We only have 11 copies of the play--so some of us will use the paper packet. When you have checked out the play, return to room 238 for the second part of our class.

Period 2:

Sign the participation sheet for this play. Note the page #'s you are responsible for if you choose to read a character part in the play.

Conflict:

Conflict is another name for drama--and so, it is an important aspect of all playwriting. While monodramas allow for good internal conflict (person vs. himself), or often talking about person 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 in this play? What other conflicts arise and how are these dealt with in the play? How does the conflict help us understand the characters and the theme of 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 to be 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 affect you, why not? 
• Costumes/props: how are costumes and props used in the play. Which props become important? Why?

We will read and discuss part one of this play. We will finish the play in class on Tuesday. Please bring your copies back with you to Tuesday's class.

HOMEWORK: None.