Mamet's Oleanna (conclusion); Writing exercise for your play idea

After morning announcements, let's take a look at David Mamet Interview with the BBC (2 min.)

Then, let's continue reading Oleanna. As you read, please complete the play analysis and turn in when we are done reading the play.

With time remaining, let's flesh out your play idea with an exercise.

• Make a list of the 2-3 most important characters that are needed to tell your story.
• Define them. How old? What is their occupation if they are older than 17? What single physical or personality trait do they possess?
• Consider what object or costume piece is most important to your characters. 
• Consider what your character's long-term goal is for their life.
• Consider what your character's short-term goal is for today.
• What would be the single most important moment of these characters' lives today?

HOMEWORK: None. If you did not complete your play exercise, please complete it by next class. 

Character Exercise; David Mamet's Oleanna

Here's a short video about 'Night Mother on a Broadway revival recently, starring Edie Falco.

For the first few minutes of class, please select one or more of the photographs from this link. Give this person a name, an occupation, a short description. Consider and write a goal or personality trait for this character. Keep your file for future exercises.

Share your idea for a play project with at least 1 other person in the class. If you were to select this project, what are some things you might have to do or consider when turning your idea into a play?

• Must you limit your # of characters? 
• Might you narrow in and focus on a specific time or place that your action must take place?
• What props or objects or costume pieces would be most important in the telling of your story?
• What limitations might change the way you present your story since you are writing for the stage, not the screen? 

Then, let's dive into our next play: David Mamet's Oleanna.

David Mamet (you can learn more about this writer by clicking on the link and reading his short bio) is a popular playwright, screenwriter, novel writer, and director. He won the Pulitzer Prize in 1984 for Glengarry Glen Ross. His most recent plays include November (with Nathan Lane) in 2008, Race in 2009, HBO's production of the series Phil Spector (2013) with Al Pacino & Helen Mirren, and his most recent play The Penitent (2017).

Our next play will be Oleanna (1992) by David Mamet. William H. Macy starred in the original production (and the movie based on the play). Read a little about the play on the script at the links. Sign up for various roles as we read today. Complete play analysis notes as we read. In particular, as we read, we will be discussing Mamet's use and style of writing dialogue.

David Mamet Interview with the BBC (2 min.)

HOMEWORK: None. Bring Oleanna back with you to our next class.

'Night Mother; Oleanna

Period 1:

Brainstorm some themes or topics for a play that might be important subject matter for a play. Outline your idea. Be prepared to share your idea with the class next class. Consider:

• Where would the action of the play take place?
• Would you have a single act or several? A single scene, or several? Why?
• What would be the basic PREMISE of your play?
• What characters would be needed to tell your story? 
• Would the play end happily or tragically? What are some reasons why this would be your best choice?

Open your 'Night Mother notes/analysis of the play from our Google classroom. Prepare to submit your notes by the end of class today. We will finish our analysis and reading of the play 'Night Mother.

Period 2ish:

Having read and thought about facts/details about suicide (see our previous post), how does the playwright use some of this statistical information in her play? Can you find specific examples or lines where she has her characters discuss this information in a more informal way? Is the playwright successful in presenting her audience with a powerful message? What was your reaction to the play 'Night Mother. What did you learn about playwriting from reading this play? Discuss.

With time remaining in the class, we will begin reading the 2-person play by David Mamet: Oleanna.

David Mamet (you can learn more about this writer by clicking on the link and reading his short bio) is a popular playwright, screenwriter, novel writer, and director. He won the Pulitzer Prize in 1984 for Glengarry Glen Ross. His most recent plays include November (with Nathan Lane) in 2008, Race in 2009, and HBO's production of the series Phil Spector (2013) with Al Pacino & Helen Mirren.

Our next play will be Oleanna by David Mamet. William H. Macy starred in the original production (and the movie based on the play). Read a little about the play on the script. Sign up for various roles as we read today. In particular, we will be discussing Mamet's use and style of writing dialogue.

HOMEWORK: None. Bring Oleanna back with you to our next class.

'Night Mother

Read and take notes about Marsha Norman. 'Night Mother by Marsha Norman

Theater Vocabulary - Part 2:

Examine the following as we read:

• 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? Remember that the Inciting Incident is really part of the structural unity of the play: 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 affect 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?

A note about the seriousness of this play's theme:

• Suicide is a potentially preventable public health problem. It accounts for more than 1% of all deaths in the U.S. each year. In 2001, suicide was the 11th leading cause of death in the U.S.
• Among young people aged 15 to 24, suicide is the third most common cause of death. Four times as many men die by suicide as women. And 73% of all suicide deaths are white males.
• Risk factors for thoughts of suicide can vary with age, gender, sexual orientation, and ethnic group. And risk factors often occur in combinations.
• Over 90% of people who die by suicide have clinical depression or another diagnosable mental disorder. Many times, people who die by suicide have a substance abuse problem. Often they have that problem in combination with other mental disorders.
• Adverse or traumatic life events in combination with other risk factors, such as clinical depression, may lead to suicide. But suicide and suicidal behavior are never normal responses to stress.

Other risk factors for suicide include:

• One or more prior suicide attempts
• Family history of mental disorder or substance abuse
• Family history of suicide
• Family violence
• Physical or sexual abuse
• Keeping firearms in the home
• Incarceration
• Exposure to the suicidal behavior of others

Are there warning signs of suicide?
Warning signs that someone may be thinking about or planning to commit suicide include:

• Always talking or thinking about death
• Clinical depression -- deep sadness, loss of interest, trouble sleeping and eating -- that gets worse
• Having a "death wish," tempting fate by taking risks that could lead to death such as driving fast or running red lights
• Losing interest in things one used to care about
• Making comments about being hopeless, helpless, or worthless
• Putting affairs in order, tying up loose ends, changing a will
• Saying things like "it would be better if I wasn't here" or "I want out"
• Sudden, unexpected switch from being very sad to being very calm or appearing to be happy
• Talking about suicide or killing one's self
• Visiting or calling people to say goodbye

Be especially concerned if a person is exhibiting any of these warning signs and has attempted suicide in the past. According to the American Foundation for Suicide Prevention, between 20% and 50% of people who commit suicide have had a previous attempt.

Having read and thought about these facts/details, how does the playwright use some of this statistical information in her play? Can you find specific examples or lines where she has her characters discuss this information in a more informal way? Is the playwright successful in presenting her audience with a powerful message?

Brainstorm some themes or topics for a play that might be important subject matter for a play. Outline your idea. Be prepared to share your idea with the class next class. Consider:

• Where would the action of the play take place?
• Would you have a single act or several? A single scene, or several? Why?
• What would be the basic PREMISE of your play?
• What characters would be needed to tell your story? 
• Would the play end happily or tragically? What are some reasons why this would be your best choice?

Finally, as we read, please sign up for a role for participation credit. Use the Play Evaluation form on Google Classroom to complete an analysis of 'Night Mother. Due date for this information will be discussed in class.

HOMEWORK: None. Go see some plays at the Fringe Festival this weekend!

Response; Colored Museum/Driving Miss Daisy Discussion/Viewing

Period 1:

Please place a COMMENT in the COMMENT section of this blog post in which you discuss:

• What did you learn about playwriting by collaborating with your peers on our project?
• What might be some things that are important to remember about this experience that might help you write plays/scripts in the future?
• Comment about problems/frustrations or pleasures involved with this project. 
• Refer to the homework rubric for details about how you will be graded for this assignment.

After commenting, let's spend a little bit of time discussing Driving Miss Daisy & The Colored Museum. What did you notice about the way in which they were written? How "realistic" did they seem? What theatrical conventions or staging effects seemed most important or creative? How are these plays different from films?

The Colored Museum - Git on Board & Cookin with Aunt Ethel, The Photo Shoot; Soldier With a Secret; The Gospel According to Miss Roj, The Hairpiece,; Symbiosis; The Last Mama on the Couch Play; Permutations; & The Party 

With any time left, we'll begin reading 'Night Mother by Marsha Norman.

HOMEWORK: None.

Driving Miss Daisy Notes Due; Dashboard Drama Exercise; Collaborative Script

Please turn in your Driving Miss Daisy questions in Google classrooms by 7:30. Late penalties will now apply to your homework/assignments/projects. Please make sure you turn in your work on time to avoid late penalties.

Period 1:

Please complete our viewing and discussion of your collaborative scenes with the acting majors. When we are done viewing your scripts, we will return to our own room to continue our course. The theater majors will be rehearsing and filming your scenes today and Wednesday. Make sure that you have completed and shared a script with your actors and given your scene a title!

Period 2:

Let's spend a little bit of time discussing Driving Miss Daisy & The Colored Museum. What did you notice about the way in which they were written? How "realistic" did they seem? What theatrical conventions or staging effects seemed most important or creative? How are these plays different from films?

We will then, with time remaining, see a few scenes from The Colored Museum that we missed from last week's classes.

HOMEWORK: None. Turn in any missing work or projects.

Dashboard Drama Collaborative Play Exercise; Driving Miss Daisy

Dashboard Drama Collaborative Play Draft Exercise

• Get into groups of 2-3. You will be collaborating on a scene that takes place in a car. We will be working with the drama students and Mr. Tirre will be recording your scene next week.  
• Your scene should be 2-3* pages in length. Each character you include in your "car" must speak.
• No more than 3 characters per car. 
• Work with the drama students assigned to you to help develop and situations and characters. Theme is up to the writer. 
• Each character should have a reason for being in the car you are assigned. Think about where the character may be headed, or what the character was doing just before the scene begins.
• Give each character a specific prop or small object to use. This can be as simple as a pair of sunglasses or car keys to something strange or compelling, like a stuffed toy, a desk lamp, or a hula-hoop. 
• Match at least one of your characters to the make/model of the car you set your scene in. A police car, for example, is very different from a Model-t Ford. The people who might drive or ride in such a car should help you imagine an appropriate theme or idea for your scene.
• Think outside the box. Creativity is key. Be unique and interesting--but remember that your scene needs to make some sense (at least to the characters involved). 
• Genre and style is up to you and your partner(s). 
• Title your scene appropriately. 
• Write in proper play script format. Proofread and edit your work.
• Include a title page with a character list. (This does not count toward your required pages.)

Share your idea and document with your partner(s) with a Google doc. Share the file with your partner(s)/actors so everyone can contribute to the scene you are writing! Plays are meant to be performed by the actors.

We will be spending class today working on our scenes. Pick up Driving Miss Daisy from the library before we join the acting class.

HOMEWORK: Work on your scene(s); These will be due by end of class Thursday (if not before). Read Driving Miss Daisy and complete the play analysis worksheet in our Google classroom for Monday.

The Colored Museum - Discussion #1; Dashboard Drama Exercise

Please make sure you have submitted your baseline scene. We will be adding to this scene next class after I have a chance to review your work and return it to you.

Overall, very good. You've shown me what you remember about playwriting.

Let's turn our attention to The Colored Museum. Take a few minutes (5) this morning to review the play. 

Select one of the monologues or short scenes in the collection and read it again closely. Choose one of the following questions and answer how the monologue or scene functions. You will be sharing your insights with 2-3 other peers. Jot down specific notes as you read closely and prepare your answer. 

1. The character speaking hooks his/her audience--what grabs our attention? What specific lines or narrative compels us (as an audience) to listen attentively? 
2. How the character(s) communicate(s) meaning (what's the purpose/point of speaking?) What seems to be the playwrights' message or point to his audience?
3. How details and stage descriptions are presented to the audience. Why is it important to explain the action or character information in the stage directions as opposed to the words the characters say? What actions are suggested by the DIALOGUE or speech in the scene?
4. How the story and plot are interwoven into the monologue or scene. What happens in the story? Examine what happens in the beginning, middle, and finally the end of the scene or monologue. How does the scene/monologue feel "complete"?
5. How the playwright uses language or diction to create visual imagery (metaphor, allusion, personification, symbol, simile, etc.), sound imagery (onomatopoeia, rhyme, rhythm, alliteration, assonance, consonance, etc.), and
6. how props or costumes are used (if any) help establish setting or character. What do props or costume descriptions add to the scene or monologue? How do they help develop or define characters or setting?

After preparing your answer, please take another 5 minutes to join 2-3 other students and explain how you answered the question (1-6) that you chose to answer. 

TASK: After our analysis, let's conduct a class discussion/Socratic seminar on the play. Your response can include answers to any or all of these questions.

• What did you think about the play as a whole? Did it surprise you or please you or frustrate you? Explain why you reacted to the play in this way.
• What is the premise of "The Colored Museum"? In a sentence or two, explain what you think is the premise or main idea/theme of the play. Is this premise interesting or important for a contemporary audience? Do you think people would pay to see this play if performed today? Why or why not?
• What challenges and stage requirements are necessary to produce this play? How has George C. Wolfe anticipated a low-budget theater being able to produce his play? What did you learn about staging from the monologues or scenes you read?
• Why are the monologues or scenes in the order that Wolfe puts them? What is the reason to start and end the play with the monologues/scenes he does?
• Other observations? As a writer, what did you notice? What do you want to talk about in regards to this play? What might be important to remember as you write short scenes of your own?

If we have time during period 1, we will begin viewing a staging of this play. What we don't finish, we will finish watching next week.

The Colored Museum - Git on Board & Cookin with Aunt Ethel, The Photo Shoot; Soldier With a Secret; The Gospel According to Miss Roj, The Hairpiece,; Symbiosis; The Last Mama on the Couch Play; Permutations; & The Party 

Period 2: Dashboard Drama Exercise

• Get into groups of 2-3. You will be collaborating on a scene that takes place in a car. We will be working with the drama students and Mr. Tirre will be recording your scene next week.  
• Your scene should be 2-3 pages in length. Each character you include in your "car" must speak.
• No more than 3 characters per car. 2 works best. 
• Each character should have a reason for being in the car you are assigned. Think about where the character may be headed, or what the character was doing just before the scene begins.
• Give each character a specific prop or small object to use. This can be as simple as a pair of sunglasses or car keys to something strange or compelling, like a stuffed toy, a desk lamp, or a hula-hoop. 
• Match at least one of your characters to the make/model of the car you set your scene in. A police car, for example, is very different from a Model-t Ford. The people who might drive or ride in such a car should help you imagine an appropriate theme or idea for your scene.
• Think outside the box. Creativity is key. Be unique and interesting--but remember that your scene needs to make some sense (at least to the characters involved). 
• Genre and style is up to you and your partner(s). 
• Title your scene appropriately. 

HOMEWORK: Share your idea and document with your partner(s) with a Google doc. Share the file with your partner(s) so everyone can contribute to the scene you are writing! Eventually, the scene will be seen by others. Plays are meant to be performed by actors. 

Complete The Colored Museum if you did not actually read the play. Wolfe's play is funny and a good example of how to write effective scenes. Learn from your reading.

Welcome

Welcome back, class of 2020! I hope you all had a restful and enjoyable summer.

Here we are again. This year is partly devoted to writing scripts (both theatrical and for the screen). What you learn here can help you improve your fiction "dialogue" skills, examine the use of conflict in your plots, play and experiment with language and poetry, as well as make you a better psychologist (dealing with people in crisis), all the while honing your writer's craft and developing your writer's voice. The other half of your year will focus on contemporary writers--which should give you some good themes and ideas for your play or film scripts. It's a small world, after all.

Anyway, after reviewing our course criteria, we will get started with a required writing activity, read a bit, and start on a couple of assignments to begin this course. By the end of class today, we'll get our locker assignments.

IMPORTANT INFORMATION:

Check this blog each class period for agendas, deadlines, educational information, advice, and a whole lot of links to enhance your education. All you have to do is read and click. You are responsible for reading and interacting with the material I post on the blog. It is a useful resource for the course (since we don't have a specific textbook)--so please use it. You can even see it on your cell phones (which you shouldn't have with you during class...)

New this year is my use of a Google Classroom. Assignments that can be turned in digitally (no printing!) will be posted in the Google Classroom. Go there now and enter this code: 4imvn7

Make sure that when you are in class using a Chromebook that you do the following EACH DAY:

• Log in. 
• Open a TAB and go to our classroom BLOG: scriptssota.blogspot.com
• Open a SECOND TAB and go to GOOGLE CLASSROOM: classroom.google, etc.
• Keep both TABS open during class or as instructed. It's also a good idea to open a THIRD TAB in Google to take class notes (or write class notes by hand if you prefer...) 
• When using headphones (only as instructed please!) please make sure you have only one ear bud in your ear at any time. Lower volume so that only you can hear what is being played. 
• Cell phones should be put away at 7:30. If you need to use them for a class assignment, I will instruct you. Otherwise, put them away. Just a reminder that the hallway is not the place to use your cell phone either. Only use the pass for emergencies, please.
• After each class period, please plug your Chromebooks back into the cabinet. Make sure the Chrome symbol is at the top of the slot and plug in your laptop. Do NOT leave computers on your desk or in elsewhere in the room. You may not take them home either. They remain in the classroom for all scheduled classes to use. 

If you're absent or missed something in class, please check the blog to get caught up. As indicated above, each new class period usually includes a new post. If you have a question about an assignment and are too embarrassed to speak to me in public (or you have a question that you think you will forget to ask), feel free to use the comment section. It is, however, your responsibility to talk to me about your needs. This is your education. Make it worthwhile.

On our link page and in Google Classroom, you will also find some useful tools for this course. During the course, I will direct your attention to these tools for your use in this class and for use in Contemporary Writers.

Today, after reading about the course, checking the theater vocab sheet & advice, and answering any questions regarding same, let's begin playwriting with a baseline writing exercise.

You will need a Chromebook. Log on and sign up for our Google Classroom. The assignment is available there. Open it and begin writing.

• The task is simple. You have 30 minutes to write a complete scene (with a definite beginning, middle, and end) in script format as you remember it. Note that "scenes" are not full plays. You don't need to wrap up every detail and plot hole. But your scene should begin, sustain conflict a bit, and ultimately end.

• Limit your cast of characters to no more than four (4). Two or three (2-3) characters works best. You must have more than one. Setting, plot, writing style, and theme is completely up to you. Have at it. 

• Be creative. Focus on the task of writing. Let your words flow from you without a lot of editing or over thinking this exercise. Stay off your neighbor's radar. You'll have time to chat later in class. Don't spend your writing time talking or going to sleep. Wake up and write! Also: trust your instincts as an artist and writer! Let's get back into practice.

• You will have about 30 minutes to write. If you get stuck, unstick. Review the handout, etc. Timer will now be set. And...Go!

If you happen to finish your scene early and the rest of the class is still writing, please begin reading The Colored Museum by George C. Wolfe. It's a good idea to start with the second or third monologue or scene first, as you will likely read the first monologue and subsequent pages in order with your group.

After we write our baseline, we'll receive our locker assignments, then return and get started reading The Colored Museum in small groups.

HOMEWORK: #1 - Complete The Colored Museum by George C. Wolfe. As you read the monologues and scenes, pay close attention to how language and conflict within the monologues or scenes help to develop character and comment on important themes (such as identity, self-worth, race, freedom, etc.) Bring the play script with you to our next class (Friday) for a discussion of the play. 

#2: Please share the course criteria sheet with your parents/guardians.  Get them signed and return them to me ASAP. 

#3: If you did not complete your scene and need more time to do so, please complete your baseline scene and submit it before next class begins.  Your work will count as late unless you were absent today.

Have a nice day!