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.