Turn in your homework. See the previous posts for details.
- Please complete and turn in a draft of your ridiculous play script by the end of the period (or day). A draft is due today.
- Check your formatting, spelling, etc. before printing and turning in.
- Take a look at Suzan-Lori Parks's interview and an excerpt from Topdog/Underdog. (Topdog diaries trailer and a trailer from the Citizen's Theater)
- Feel free to revise your 2-person monologue play scenes. Revisions are due by the end of the marking period: Nov. 7.
The Mystery of Irma Vep (conclusion and analysis/discussion).
3 Person Plays. Having spent time reading and working with monodramas and 2-person plays, let's complicate matters by adding a third actor.
The Dramatic Triangle
When you put 2 characters on stage, you create a relationship that shows how they fit or don't fit together. This is a pretty linear conflict. 1 character against another, for instance. Usually, both characters change in a scene or play which, in turn, changes the other character in a positive or negative way. I.E., if a character wins his/her objective, this will affect or change the other character. Usually if one character wins an objective, the other loses his/her objective.
Adding a third actor or character adds a dynamic element to a scene or play.
- The third actor/character is often directly related to at least one (or both) of the other two characters.
- The role of the third character can change from scene to scene. It does not have to be the literal same character.
- The third character can develop a plot, enhance characterization, or add new conflict or resolve a conflict.
- Plays that use more than two actors can complicate or develop a plot very quickly.
- Characters might serve as foils, antagonists, or protagonists at any given time in a scene or beat.
HOMEWORK: Read the short 10-minute play: "The Tarantino Variation." Notice how the playwright uses the 3 characters to develop the plot, enhance characterization, add or resolve the plot. If you are a Tarantino fan, note how the playwright (like Charles Ludlum's Mystery of Irma Vep uses film and film references as a basis for its parody.)
Complete your 2-person play(s) if you didn't complete them in the lab. Turn them in late on Tuesday. If you missed Suzan-Lori Parks' interview or any video from class, catch up and watch!
Bring your Driving Miss Daisy scripts back with you to class.