Lab: Period 1
Turn in your written analysis of Driving Miss Daisy. Continue working on your play scenes that you started last class.
See post below for instructions on beats #1-5. Your last beat should include your second character complicating the situation by changing his/her objective (to hurt, to help, to persuade, or to inform...); the first character should also have an objective in the scene.
Add to your 6 beats with the following:
#7. Your two characters should introduce a third character by speaking about the third character that will be in your play. This may be different from beats #3 or #4 if you chose to discuss an off-stage character. This character should not enter yet.
#8. Have the 3rd character enter. Give your third character an immediate objective. They might want to help, hurt, persuade, or inform one or both of your characters in the scene. Give your 3rd character a reason to enter the scene at this time.
#9. Give one of your characters a monologue. Monologues may help characterize the speaking character, one of the characters on stage, or even a fourth unseen character (off-stage). Characters may also discuss an off-stage event or complication.
#10 and beyond: Continue to develop your play scene with 3 characters. Keep your story to 3 characters only. Complicate situations, add objectives and create a 10-minute play (or one-act play). When you have fully developed your scene/characters, etc. you may resolve your play. Remember to consider a theme and social or human message. Answer the audience's MDQ.
Give your play a title. Format for a stage play please. Your draft is not due today, although, if you finish it, you may print and hand it in.
If you need a break or diversion from your writing, check out Charles Busch's blog and website. (See below). Or begin reading your homework.
Period 2:
Please take a look at Charles Busch's blog. He has placed a variety of play video clips here. Take a look at a few of these. His official website is located here.
A note about Commedia dell-arte.
Plots: Love triangles, money or fame plots, mistaken identity, one upmanship (control), slapstick humor and stage violence, sexual jokes and funny business, etc.
Typical Commedia Character Types:
Zanni: clowns (lower class servants, etc.)
For more information about character types in the Commedia, check out this website.
As we read, look for the following character types drawn from the tradition of the Commedia:
HOMEWORK: Please choose 1 play by Charles Busch from the collection other than Vampire Lesbians of Sodom. Read this play. As you read, examine Busch's style of comedy, his influences from pantomime and commedia dell'arte traditions, characterization through dialogue, and cross-dressing (see article/class handout for details about the pantomime, commedia, and cross-dressing traditions).
You may choose any of the following: Psycho Beach Party, The Lady in Question, Red Scare on Sunset, or the Tale of the Allergist's Wife. Please bring your play script books back with you to next class.
Turn in your written analysis of Driving Miss Daisy. Continue working on your play scenes that you started last class.
See post below for instructions on beats #1-5. Your last beat should include your second character complicating the situation by changing his/her objective (to hurt, to help, to persuade, or to inform...); the first character should also have an objective in the scene.
Add to your 6 beats with the following:
#7. Your two characters should introduce a third character by speaking about the third character that will be in your play. This may be different from beats #3 or #4 if you chose to discuss an off-stage character. This character should not enter yet.
#8. Have the 3rd character enter. Give your third character an immediate objective. They might want to help, hurt, persuade, or inform one or both of your characters in the scene. Give your 3rd character a reason to enter the scene at this time.
#9. Give one of your characters a monologue. Monologues may help characterize the speaking character, one of the characters on stage, or even a fourth unseen character (off-stage). Characters may also discuss an off-stage event or complication.
#10 and beyond: Continue to develop your play scene with 3 characters. Keep your story to 3 characters only. Complicate situations, add objectives and create a 10-minute play (or one-act play). When you have fully developed your scene/characters, etc. you may resolve your play. Remember to consider a theme and social or human message. Answer the audience's MDQ.
Give your play a title. Format for a stage play please. Your draft is not due today, although, if you finish it, you may print and hand it in.
If you need a break or diversion from your writing, check out Charles Busch's blog and website. (See below). Or begin reading your homework.
Period 2:
Charles Busch & The Vampire Lesbians of Sodom
Please take a look at Charles Busch's blog. He has placed a variety of play video clips here. Take a look at a few of these. His official website is located here.
A note about Commedia dell-arte.
Plots: Love triangles, money or fame plots, mistaken identity, one upmanship (control), slapstick humor and stage violence, sexual jokes and funny business, etc.
Typical Commedia Character Types:
Zanni: clowns (lower class servants, etc.)
- Brighella (Mezzetino): a selfish, opportunistic, criminal-minded, cunning clown prone to complicating the plot with schemes, insults, and breaking rules/laws.
- Burrattino: a soft-hearted, trustworthy servant
- Capitano (Captain or Scaramouche): an egotistical, megalomaniacal, coward. Can also be a villain.
- Coviello: a boastful idiot, usually a companion to Capitano.
- Harlequin: an amoral, acrobatic or physical or playful troublemaker
- Pierrot: an innocent prankster or lovable rogue
- Soubrette/Columbine: a female servant. usually in love with Harlequin.
- Zanni: an eager or overly willing servant
- Capitano: (see above)
- The Doctor: an egotistical, proud and rude doctor who is also stupid, senile, or very, very old.
- Ruffiano (Francesquina): a bawdy gossip or prostitute; often older
- Pulcinella or Punchinello: wicked ruffian, often causes pain/suffering to others based on his ignorance or selfishness
- Pantalone (Magnifico): a stingy or selfish merchant, boss, or an old lecherous man
For more information about character types in the Commedia, check out this website.
As we read, look for the following character types drawn from the tradition of the Commedia:
- Pantalone or Magnifico: a selfish/stingy or lecherous know-it-all or boss
- Young lovers
- A doctor who appears to be wise or intelligent, but isn't
- Columbine/Columbina/Ruffiano: a bawdy servant
- Capitano: An egotistical braggart or coward
- Harlequin/Brighella: a troublemaker (usually opposes the vecchi--makes Capitano, Pantalone, or Magnifico look like a coward or fool)
- Burrattino: a soft-hearted/trustworthy or loyal servant
In contemporary theater comedy, all types and characteristics of these character types can be combined in a variety of ways. Writers can use these comic types to their advantage when developing a scene, character, or plot for a comedy.
HOMEWORK: Please choose 1 play by Charles Busch from the collection other than Vampire Lesbians of Sodom. Read this play. As you read, examine Busch's style of comedy, his influences from pantomime and commedia dell'arte traditions, characterization through dialogue, and cross-dressing (see article/class handout for details about the pantomime, commedia, and cross-dressing traditions).
You may choose any of the following: Psycho Beach Party, The Lady in Question, Red Scare on Sunset, or the Tale of the Allergist's Wife. Please bring your play script books back with you to next class.
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