Lab: Voice exercise.
The words we use (diction), the tone in which we speak, the content of our conversation, how long or short our sentences are, the vocabulary we use and the reason why we want to or must speak, who we speak to and when all color the way in which we are heard and understood.
A playwright (or writer) should be able to use these tools to create a compelling and interesting character with a distinct voice. We want to make sure our characters in a scene SOUND different from the other characters on stage.
Let's practice this in a monologue exercise.
First off, pay close attention to the following:
Long-term factors that shape a character's voice:
The words we use (diction), the tone in which we speak, the content of our conversation, how long or short our sentences are, the vocabulary we use and the reason why we want to or must speak, who we speak to and when all color the way in which we are heard and understood.
A playwright (or writer) should be able to use these tools to create a compelling and interesting character with a distinct voice. We want to make sure our characters in a scene SOUND different from the other characters on stage.
Let's practice this in a monologue exercise.
First off, pay close attention to the following:
Long-term factors that shape a character's voice:
- Ethnicity/culture
- Age
- Geography
- History
- Attitude toward life
- Education
- Occupation
- Lifestyle
- Special interests
- Beliefs (political, religious, etc.)
Short-term factors:
- Who the character is speaking to
- Current physical state
- Current emotional state
- Current mental state
- Where the character is speaking (setting, including time)
Depending on how we answer the long and short-term factors of any given scene, our character's voice may change. Remember that during each beat of our scene we might change objective: to help, to hurt, to persuade, or to inform.
Today, in the lab, select a character from those available. Details about short/long term voice choices will be listed in the character description. You are free to add any other unstated long or short-term factors as you see fit.
Write a monologue of at least 10 sentences (but no more than 1 page) in the voice of your chosen character.
Then use the same character but change some of the short-term factors (see above) and create a second short monologue of at least 10 sentences (no more than a page in length).
When you complete this exercise, print it out and turn in your two monologues for credit.
If you have time in the lab, build a scene around your character. Add up to three other characters to your scene as might be appropriate for the situation. You may base your scene on the first or second monologue you wrote--or both.
Today, in the lab, select a character from those available. Details about short/long term voice choices will be listed in the character description. You are free to add any other unstated long or short-term factors as you see fit.
Write a monologue of at least 10 sentences (but no more than 1 page) in the voice of your chosen character.
Then use the same character but change some of the short-term factors (see above) and create a second short monologue of at least 10 sentences (no more than a page in length).
When you complete this exercise, print it out and turn in your two monologues for credit.
If you have time in the lab, build a scene around your character. Add up to three other characters to your scene as might be appropriate for the situation. You may base your scene on the first or second monologue you wrote--or both.
Period 2:
Driving Miss Daisy by Alfred Uhry.
As we read Driving Miss Daisy, sign up for one of the 3 roles in the play. If you are not reading out loud, use the handout question sheet to be turned in when we complete the play (most likely next class).
As we read, pay close attention to the role of the dynamic triangle.
New Vocabulary:
There are two types of sets a playwright can prepare a script for:
A suggested set (like the set used in Driving Miss Daisy) allows actors to create the setting through actions (like pretending to drive a car--which would be impractical in a theater) or through dialogue. Setting is described, not built. We use our imagination. Ah, the power of words...
As we read Driving Miss Daisy, sign up for one of the 3 roles in the play. If you are not reading out loud, use the handout question sheet to be turned in when we complete the play (most likely next class).
As we read, pay close attention to the role of the dynamic triangle.
New Vocabulary:
There are two types of sets a playwright can prepare a script for:
A. a realistic setA realistic set (like the set used in 'Night Mother) is a standard, realistic set that looks and feels like the actual setting of the play. It is more detailed and infinitely more expensive. Characters interact with props, costumes, and set pieces. It is not practical to change the setting or location in a realistic set.
B. a suggested set
A suggested set (like the set used in Driving Miss Daisy) allows actors to create the setting through actions (like pretending to drive a car--which would be impractical in a theater) or through dialogue. Setting is described, not built. We use our imagination. Ah, the power of words...
HOMEWORK: None. Please bring your play scripts back with you to our next class.
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