Oleanna: Day 2; David Ives

Playwrights can take their ideas directly from what is happening in contemporary society. Oleanna is a good example of how what is going on in our country, our communities or our lives can inspire the premise of a play. Often, plays deal with conflict and issues that are often overlooked or are politically charged or controversial.

This morning, please take 5 minutes to research the following:

• The Anita Hill/Clarence Thomas case
• The Me-Too Movement
• The Safe Space Movement
• The Christine Blasey Ford/Kavanaugh Hearings

From Theater Critic, Frank Rich: "Oleanna ... is an impassioned response to the Thomas hearings. As if ripped right from the [headlines], it could not be more direct in its technique or more incendiary in its ambitions. In Act I, Mr. Mamet locks one man and one woman in an office where, depending on one's point of view, an act of sexual harassment does or does not occur. In Act II, the antagonists, the middle-aged university professor, and the undergraduate student return to the scene of the alleged crime to try to settle their case without benefit of counsel, surrogates or, at times, common sense."

We will continue our reading of Oleanna today.

Period 2:

If we finish Oleanna, let's look at David Ives collection of plays. We'll start with "Sure Thing"--a short one-act based on an improv game, with the contemporary issue of dating. Please read the other plays by David Ives in the packet on your own (see homework!)

You can find out more information about David Ives at this link.

HOMEWORK: Please read the plays in the packet by David Ives. Be prepared to be tested on this material on Monday. Look up information and take notes about the playwright David Ives at the link above. Some of this material will be on your quiz.

Oleanna: Day 2; David Ives

Playwrights can take their ideas directly from what is happening in contemporary society. Oleanna is a good example of how what is going on in our country, our communities or our lives can inspire the premise of a play. Often, plays deal with conflict and issues that are often overlooked or are politically charged or controversial.

This morning, please take 5-10 minutes to research the following:

• The Anita Hill/Clarence Thomas case
• The Me-Too Movement
• The Safe Space Movement
• The Christine Blasey Ford/Kavanaugh Hearings

From Theater Critic, Frank Rich: "Oleanna ... is an impassioned response to the Thomas hearings. As if ripped right from the [headlines], it could not be more direct in its technique or more incendiary in its ambitions. In Act I, Mr. Mamet locks one man and one woman in an office where, depending on one's point of view, an act of sexual harassment does or does not occur. In Act II, the antagonists, the middle-aged university professor, and the undergraduate student return to the scene of the alleged crime to try to settle their case without benefit of counsel, surrogates or, at times, common sense."

We will continue our reading of Oleanna today, most likely finishing the play. At some point, Mrs. Aspenleiter will appear to discuss important information with you. Please welcome her when she arrives.

Period 2:

If we finish Oleanna, let's look at David Ives collection of plays. We'll start with "Sure Thing"--a short one-act based on an improv game, with the contemporary issue of dating. Please read the other plays by David Ives in the packet on your own (see homework!)

You can find out more information about David Ives at this link.

HOMEWORK: Please read the plays in the packet by David Ives. Be prepared to be tested on this material on Monday. Look up information and take notes about the playwright David Ives at the link above. Some of this material will be on your quiz.

'Night Mother & Loveliest Afternoon of the Year Discussion; David Mamet's Oleanna: Day 1

Morning Writing Task: Brainstorm some themes or topics for a play that might be important subject matter for a play. Outline your idea. Consider:

• What issues (list them) do you care about or are interested in learning more about?
• What might you want other people to know or understand about the issue you are concerned about?
• Choosing one of your issues, consider where might 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?
• [Can you include this idea into the play draft you are writing, or should it be a new or different story?]

Write your answers in your journal/notebook this morning. Take 10 minutes to write.

'Night Mother: (please read to prepare for our discussion)

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.; today the American Psychological Association reports that suicide is the 10th leading cause of death, and has increased by 33% since 1999.
• Among young people aged 10 to 34, suicide is the second 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.
• You may find out more from the American Psychological Association in this linked report.

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"
• A 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.

For Discussion:

'Night Mother

1. 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? How did the play affect you? (catharsis)
2. Would the play be stronger if minor characters like Dawson, Loretta, or Ricky appeared on stage? Why or why not? What about the structure of the play--would the play be stronger if we had multiple scenes instead of just one? Why or why not?
3. How effective is the conflict in this play? Are there more than one type of conflict (what are the conflicts in the play). Which are resolved by the end of the play?
4. Much of the power of this play is tied up with the suspense of the Major Dramatic Question. Will Jessie go through with her plan, or will Thelma be able to convince her otherwise?
5. What is the role of the props in this play? How do props help tell the story, create conflict, or reveal character?

The Loveliest Afternoon of the Year

1. What was your reaction to this play? Did you enjoy it or not? Why or why not?
2. Are the characters and situations believable? How is "fantasy" and subjectivity presented in this play? Were you, as a reader/performer, able to "go along" with the "make-believe"? 
3. Would this play be better with many scenes or other characters, like Maud or the blind-seeing eye-dog or cousin Lucy? Would the play be improved by having a big, expensive or luxurious set? Why might the playwright (John Guare) have made the choices he did?

Here's a short video about 'Night Mother on a Broadway revival recently, starring Edie Falco. Here's the last monologue from the play (New Zealand actors). You can watch an amateur production of the play if you wish at this link.

Period 2 (probably):

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 his play 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). Bitter Wheat, starring John Malkovich just opened in London in June, 2019.

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 included as part of the script and at the links. Sign up for various roles as we read today. As we read, we will be discussing Mamet's use and style of writing dialogue.

HOMEWORK: None. Please bring your Oleanna scripts back with you to next class. If you haven't completed your character development of the play draft you are writing (draft #2)--see previous class post's writing activity, please work on completing that. If you did not complete 'Night Mother & the analysis, please add that to your "to-do" list.

Character Development; Conflict in The Loveliest Afternoon of the Year & 'Night Mother

Period 1: (until National Anthem); Let's work on developing your characters from the play draft you wrote this past weekend (or in class last Thursday). 

For each character in your play, please complete notes and questions from the handout. Set up a "Personal Palette" for your characters (remember that you want to combine people who trigger strong positive or negative feelings in you.)

Answer SOME of the questions as instructed under "Your Character's Physical Life", "Your Character's Inner Life", and "Your Character's Life with Others". 

Once you know your characters better, give each character in your play draft (short play draft #1) a monologue where you use some of the details you fleshed out to provide more information to the audience about that character. 

Revise and rewrite. Your second draft is NOT due yet.

Period 2:

At their core, all plays are about characters in conflict. The five common types of literary conflict include:

1. Person v. Person
2. Person v. Self
3. Person v. Nature (also human nature)
4. Person v. Society
5. Person v. Fate, the Supernatural, or God

Please get into groups of 2-4. Read "The Loveliest Afternoon of the Year" by John Guare (see below). 

As you read the short play "The Loveliest Afternoon of the Year" by John Guare, identify different ways in which the playwright uses conflict as a dramatic centerpiece for the comedy. Take note of the kinds of conflict that occur in the play and write down the type (see above). Select a member of your group to "report out" and post a COMMENT in my COMMENT section of this blog to summarize what you found.  Briefly describe what conflict you found working in the play, whether that is a central or major conflict in the play, or a smaller, side conflict that helps to develop character motivations. Finally, make sure your comment includes specific details and examples from the text where you want to make your points.

Kathy Bates and Anne Pitoniak in the original production of 'Night Mother.

When your group finishes (reading, discussing and posting), please begin reading the script 'Night Mother by Marsha Norman. Complete a play analysis (handout OR Google Classroom form) for this play. We will discuss both "The Loveliest Afternoon of the Year" and "'Night Mother" next time in class. 

HOMEWORK: Complete reading 'Night Mother. Complete the play analysis for this play. Due Tuesday, Sept. 24.

Spic-O-Rama (viewing); Basic Character Builder

This morning we are going to watch the mono-drama (a one-person show) from John Leguizamo: Spic-o-Rama. Please click on the link and take some basic notes about the playwright & actor.

As we watch, take notes on this play. Consider the following questions to discuss after viewing:

• What is the premise and/or MDQ (major dramatic question) in this play?
• How does Leguizamo's portrayal of his characters make the play "come alive" (as opposed to reading a script)?
• What surprised you or changed your opinion of the show? (contrast your reading experience with your viewing experience). 
• What props and/or costumes are used to help define and characterize the characters in this play?
• How does the set add or detract from the action/conflict or character(s) in the play?
• Why might someone pay money to see this performance? What does the play offer us that TV, Movies, Video (games or entertainment) or Books might not?

Period 2:

After our discussion of the play, let's work on developing your characters from the play draft you wrote this past weekend (or in class last Thursday). 

For each character in your play, please complete notes and questions from the handout. Set up a "Personal Palette" for your characters (remember that you want to combine people who trigger strong positive or negative feelings in you.)

Answer SOME of the questions as instructed under "Your Character's Physical Life", "Your Character's Inner Life", and "Your Character's Life with Others". 

Once you know your characters better, give each character in your play draft (short play draft #1) a monologue where you use some of the details you fleshed out to provide more information to the audience about that character. 

Revise and rewrite. Your second draft is NOT due yet.

HOMEWORK: None.

The Mountaintop Discussion; Spic-o-Rama

Please turn in your homework (either by hand in our in-box or submit to our Google classroom). 

Make sure you have read this article about the play The Mountaintop (it was assigned as homework last class): "Katori Hall Expresses Rage Over Revisionist Casting of The Mountaintop" so we can discuss it today.

This morning, before we return to our discussion on The Mountaintop, let's cover a few important theater terms we'll be using throughout this course:

• Structural Unity: all parts of the plot (exposition, rising action, turning point, climax, resolution, etc.) should work and fit together. When examining structural unity, we might ask how does exposition in the play turn into 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 was this done? Remember (from previous classes) 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. You might examine what inciting incident occurs in the early scenes of the play? 
• 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: A decision a character makes in the plot that creates the turning point for their 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. 
• 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 the play. 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?

Then, using what we just learned, let's discuss The Mountaintop by Katori Hall. Let's start with Martin Luther King, Jr's famous speech:

The Mountaintop Speech (conclusion) (4 min.) & the full speech, if interested: Full speech (43 min.)

Some questions to consider:

1. What in this speech impresses or makes an impact on you? What are the key ideas in Dr. King's speech that you think we still need to achieve or remember to become a better society or to live more fulfilling lives? What parts of this speech or its ideas are central to the play?
2. What is the premise and major dramatic question in this play? 
3. Consider the character of Dr. King as portrayed in the play. What image of the man do you have now from reading the play? Has your image of Dr. King changed? Does portraying Dr. King as an ordinary man with human qualities and faults make him more or less interesting to you? What human and ordinary qualities are shown most in Hall's play? Which scenes or monologues or dialogue help create this effect? 
4. Should Hall be upset by the revisionist casting mentioned in the article? Why should directors honor the playwright's vision? What message does an alternative casting send to an audience? Consider other revisionist productions (Shakespeare or Lynn Manuel Miranda's Hamilton, the Musical! for example)
5. As you read the play, did any clues suggest to you that Camae might be more than a motel maid? 
6. Camae is the play's second protagonist. What role does she play in the conflict of the play? How does she contrast with Dr. King's character? How might she represent the commoner in all of us? How does she represent the divine in all of us? Should there have been other characters in the play? Why or why not?
7. At the end of the play, Dr. King turns his attention toward the issues of poverty and the Vietnam War. If Dr. King were alive today, what current, contemporary relevant issues might attract his attention? 
8. Examine the structural unity of the play. Is the play's plot well written? Why or why not? What are some things you learned about writing plays from reading this script?
9. What major decisions does Dr. King and Camae make in this play? Dark moment? Enlightenment?
10. Is this play relevant to our contemporary society? Does the play affect you? Did you experience a catharsis? Why or why not?
11. Consider the use of props, costumes, and special effects in this play. How are props/costumes/effects used? What was most effective?
12. Other observations?

Writing Prompt: #1: What specific things can you, as an individual, do to follow in King’s footsteps, pick up the baton, and change the world? #2: From reading this play, what ideas for a play of your own can you brainstorm and come up with?

Period 2: 

Let's begin looking at our next play--a mono-drama from John Leguizamo: Spic-o-Rama.

HOMEWORK: Please complete your reading of John Leguizamo's Spic-o-Rama.

EXTRA CREDIT OPPORTUNITY: The Rochester Fringe Festival opened last week. Take a catalog and go see a performance this week (the festival runs through Saturday, Sept. 21--take a friend or family member with you because it's more fun to see a show with someone!) My own original play "The Fighting Girl's Guide to Politics"  opened this weekend on Saturday and Sunday. Both shows sold out. The play also runs through this week. Just a reminder that shows at the Fringe start on time--they don't hold the practice we do as SOTA of holding the house. Get to the theater before a show begins so you can see it!

HOW TO GET EXTRA CREDIT: Write up a short summary of the show you saw. Then, comment on the performance. What did you learn about PERFORMING (acting, directing, singing, dancing, viewing, etc.) from watching the show or about writing (the content of the show or its story). What did you (or your friends) think of the show? Turn in your "review" and gain extra participation credit for this marking period. You may repeat this option as many times as you like. Go see 30 plays, get 30 points of extra credit! Etc.

Short Scene Activity; The Mountaintop

This morning, take a look at this quick video: Tips to Remember When Writing a Play Script

WRITING TASK: In the comment section of this blog post, take 10-15 minutes to brainstorm some topics for a play that might be important contemporary subject matter for a play. Outline your idea and submit the premise/idea of your play in the comment section below for participation credit this morning. Consider:

• Where would the action of the play take place? How might this setting be staged?
• Would you need a single act or several to effectively tell this story? A single scene, or several? Why?
• What would be the basic PREMISE of your play? A premise is usually a 1-sentence summary of the play. See your vocabulary sheet/notes for further details. 
• What characters would be needed to tell your story?
• What would be the main conflict of the play? How might this be developed?
• Would the play end happily or tragically? What are some reasons why this would be your best choice?

After posting, now, working together as a pair or on your own, choose to develop your outline. Create a short scene or monologue in the style of The Colored Museum. Each scene or monologue should have a definite beginning, middle, and end. Aim to write at least 2 to 3 pages (skip lines between character's lines--see format handout for help). Skip lines between speakers. You may format your script like the publishing format in the script if you have to, but be consistent, please. Your scene will be due at the end of class today. You can submit your scene draft to our Google classroom assignment.

Period 2: 

if you finish your scene, join a small group of 2-5 to begin reading "The Mountaintop" by Katori Hall together. You can read more about Katori Hall at her website. Complete "The Mountaintop" for homework (see below). Here are some highlights from the Broadway production starring Angela Basset and Samuel L. Jackson.

Please turn in and submit your play draft by the end of class today. If you did not complete your work, please complete it and turn it in late for Monday.

HOMEWORK: Complete "The Mountaintop" and complete the play analysis for the play (this can be found on the Google Classroom site). Due Monday. Also, read this article about the play: "Katori Hall Expresses Rage Over Revisionist Casting of the The Mountaintop" so we can discuss it Monday.

EXTRA CREDIT OPPORTUNITY: The Rochester Fringe Festival opened yesterday. Take a catalog and go see a performance this week (the festival runs through next Saturday, Sept. 21--take a friend or family member with you because it's more fun to see a show with someone!) My own original play "The Fighting Girl's Guide to Politics" is opening this weekend on Saturday and Sunday at the School of the Arts during the Fringe, and also runs through next week. Ms. Gamzon is directing an original play written by one of her friends and colleagues called "Colma". Ms. Accorso also has a play that she wrote in the Fringe. Go see our work, or go see any other show. 

HOW TO GET EXTRA CREDIT: Write up a short summary of the show you saw. Then, comment on the performance. What did you learn about PERFORMING (acting, directing, singing, dancing, viewing, etc.) from watching the show or about writing (the content of the show or its story). What did you (or your friends) think of the show? Turn in your "review" and gain extra participation credit for this marking period. You may repeat this option as many times as you like. Go see 30 plays, get 30 points of extra credit! Etc.

The Colored Museum: Discussion/Analysis

Let's start today by examining your favorite scene or monologue from The Colored Museum. Take  a few minutes to re-read the scene/monologue. Take 10 minutes to complete your comment. In the COMMENT section of this blog, please answer one of the following questions. Make sure you identify the monologues or scenes you are using as examples. Try to be specific in 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 Wolfe uses language or diction to create visual imagery (metaphor, allusion, personification, symbol, simile, etc.), sound imagery (onomatopoeia, rhyme, rhythm, alliteration, assonance, consonance, etc.), and kinesthetic imagery (the movement of the characters or their actions; e.g., what are we "seeing" happen on stage?)
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?

If you finish early, please learn about George C. Wolfe here at this link. 

TASK: After our analysis of some of the scenes, 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 or confuse you? Which scenes or monologues did you like most? Why? 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 might a wealthy or supported theater be able to add to a production of this 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?

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 

WRITING TASK: In your journal or notes, brainstorm some topics for a play that might be important subject matter for a play. Outline your idea. 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?

Now, working together as a pair or on your own, choose to develop your outline. Create a short scene or monologue. Each scene or monologue should have a definite beginning, middle, and end. Aim to write at least 1 to 3 pages. Skip lines between speakers. You may format your script like the publishing format in the script. Be consistent, please. Your scene will be due at the end of class today.

HOMEWORK: None. Please complete your short scene by next class if you did not complete it in class today.

The Colored Museum; Classroom Procedures

Class procedures: From your manifestos, the class agreed upon the following classroom rules or procedures to follow:

Rules You Would Like Us to Follow:

• Participate in this course/class
• Support each other creatively & respect each other; be considerate (no bullying or judging!)
• Provide constructive criticism positively & speak up (communicate!) (see above!)
• Collaborate
• Stay on task/focus/put forth effort to pass (no procrastination! see above!)
• Come to class on time

Let's read the play together. As we read, after the scenes, we'll stop to examine/answer these questions together as a class. 

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 Wolfe uses language or diction to create visual imagery (metaphor, allusion, personification, symbol, simile, etc.), sound imagery (onomatopoeia, rhyme, rhythm, alliteration, assonance, consonance, etc.), and kinesthetic imagery (the movement of the characters or their actions; e.g., what are we "seeing" happen on stage?)
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?

TASK: After our analysis of some of the scenes and our reading of the play, 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 or confuse you? Which scenes or monologues did you like most? Why? 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 might a wealthy or supported theater be able to add to a production of this 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 make it all the way through the play and have completed our discussion, let's view a few scenes from a televised version of the play.

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 

WRITING TASK: In your journal or notes, brainstorm some topics for a play that might be important subject matter for a play. Outline your idea. 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?

HOMEWORK: If we didn't finish watching the linked scenes of the play, please watch those. Complete the WRITING TASK above in your notes/journal and bring your outline to our next class. We will begin to write a short scene or monologue using your brainstormed idea.