Please complete your 10 - minute play script. Proofread your work and either print out a copy or send the attachment to me in email: bradley.craddock@rcsdk12.org.
2nd period we will be getting scripts from the library. Please get together with students who are done and begin reading Psycho Beach Party. Finish reading this play for homework. You should be able to identify the premise and explain how this play is a good example of the comic form.
HOMEWORK: Complete your 10-minute play, if not completed. Complete the reading of Psycho Beach Party.
Friday, September 25, 2009
Wednesday, September 23, 2009
10 - Minute Play #1
We have an opportunity to have our original work performed by the senior acting class as part of their year-end project. However, they need a series of 10-minute plays. So let's give them a new one (and an old one, if you have a 10-minute play from last year...double your chances).
Take one of your premises that you wrote in your journal. Unify it (or shorten it to work within the 10-minute play format). You can unify your play by limiting the time, setting, and action. Remember that in 10-minute plays there should only be one major action for the protagonist to overcome. Of course, minor problems solved easily can be thrown in for good measure.
Remember the best plays revolve around the motivation of a protagonist. You want to avoid a premise that is solely character though, as characters need to want something-- a goal to achieve--but must have opposition or conflict. It is always this conflict that drives a play.
Other advice is to have a specific and workable setting (unless you are writing certain types of plays), that there is enough action that is performable, that the play includes a crisis and dark moment for your protagonist, that your play has a purpose or meaning that would appeal to a human audience (not just you). And that your play is plausible. It should feel true. Avoid cinematic writing. Keep your scenes long and talkative. Obey your unities!
Above all your script should communicate an idea.
Suggestions:
1. Write a monologue play. Use your previous monologues and write a play that ties them together or expands on the action inherent in them.
2. Write a poetic play. Like For Colored Girls...Enuf use a narrative poem you have already written as a basis for your 10-minute play.
3. Use a short story you've written to create a play similar in structure to Monster.
4. Use your journal to capture an idea--work with it, then begin writing. See where the muse takes you.
Your play can be anywhere between 4 and 10 pages. Do not go over 10 pages if you can help it. After writing, go back and proofread (you are turning this in for possible production in a SOTA show, after all.) During your proofreading, add details and poetic devices to make your writing sound and effective. The play should be written in proper script format and include a cover page with your title, name, and contact information.
Due: Friday, September 25.
Homework: work on finishing this project and read the handout about comedy and 10-minute play format.
Take one of your premises that you wrote in your journal. Unify it (or shorten it to work within the 10-minute play format). You can unify your play by limiting the time, setting, and action. Remember that in 10-minute plays there should only be one major action for the protagonist to overcome. Of course, minor problems solved easily can be thrown in for good measure.
Remember the best plays revolve around the motivation of a protagonist. You want to avoid a premise that is solely character though, as characters need to want something-- a goal to achieve--but must have opposition or conflict. It is always this conflict that drives a play.
Other advice is to have a specific and workable setting (unless you are writing certain types of plays), that there is enough action that is performable, that the play includes a crisis and dark moment for your protagonist, that your play has a purpose or meaning that would appeal to a human audience (not just you). And that your play is plausible. It should feel true. Avoid cinematic writing. Keep your scenes long and talkative. Obey your unities!
Above all your script should communicate an idea.
Suggestions:
1. Write a monologue play. Use your previous monologues and write a play that ties them together or expands on the action inherent in them.
2. Write a poetic play. Like For Colored Girls...Enuf use a narrative poem you have already written as a basis for your 10-minute play.
3. Use a short story you've written to create a play similar in structure to Monster.
4. Use your journal to capture an idea--work with it, then begin writing. See where the muse takes you.
Your play can be anywhere between 4 and 10 pages. Do not go over 10 pages if you can help it. After writing, go back and proofread (you are turning this in for possible production in a SOTA show, after all.) During your proofreading, add details and poetic devices to make your writing sound and effective. The play should be written in proper script format and include a cover page with your title, name, and contact information.
Due: Friday, September 25.
Homework: work on finishing this project and read the handout about comedy and 10-minute play format.
Sunday, September 20, 2009
For Colored Girls Who Have Considered Suicide When the Rainbow is Enuf
Today we are going to read Ntozake Shange's choreo-poem and masterpiece For Colored Girls Who Have Considered Suicide When the Rainbow is Enuf.
Please watch this short interview with the playwright. After viewing this video, please go to the library and pick up your script. Return any library books you owe (and are done with: for ex. Talking With)
We have been reading a series of plays where monologues play an important and powerful role in the storyline of the play. In fact, way, way, way back during the ancient Greek period (about the 5th century BCE), theatre performances began as long "choral" odes--essentially monologues where the chorus sang in what is called a dithyramb. After a while, the first actor: Thespis (actors are now called thespians) separated himself from the "chorus" and began to play various roles--and dialogue began!
When writing a play a playwright should have a purpose--a reason to write. A playwright should ask him/herself a variety of questions about his/her premise:
1. Does the play appeal to different races, genders, and regions? At its core all plays should invite a discussion about "what does it mean to be human?"
2. Why does/did the playwright want to write the play? Again this connects to having a purpose--a reason to write.
3. Is the play unique? With hundreds of thousands of plays written each year, only a few thousand are produced. Theatre is not attended as frequently as it once was. This puts considerable importance on the playwright to makes sure the play is creative/unique and offers a compelling story, interesting conflict and characters.
After you read "For Colored Girls...Enuf" please answer these questions:
1. What is the play's premise? Try to identify this in 1-2 sentences.
2. Does the play appeal to a wide audience? Explain why. Use evidence from the text.
3. What seems to be the reason Shange wrote her play?
4. Explain how the play is unique. What does Shange do in her writing or craft that sets this play apart from others? Of course, use textual evidence to support your opinion.
These questions are due next class: 9/23.
Please watch this short interview with the playwright. After viewing this video, please go to the library and pick up your script. Return any library books you owe (and are done with: for ex. Talking With)
We have been reading a series of plays where monologues play an important and powerful role in the storyline of the play. In fact, way, way, way back during the ancient Greek period (about the 5th century BCE), theatre performances began as long "choral" odes--essentially monologues where the chorus sang in what is called a dithyramb. After a while, the first actor: Thespis (actors are now called thespians) separated himself from the "chorus" and began to play various roles--and dialogue began!
When writing a play a playwright should have a purpose--a reason to write. A playwright should ask him/herself a variety of questions about his/her premise:
1. Does the play appeal to different races, genders, and regions? At its core all plays should invite a discussion about "what does it mean to be human?"
2. Why does/did the playwright want to write the play? Again this connects to having a purpose--a reason to write.
3. Is the play unique? With hundreds of thousands of plays written each year, only a few thousand are produced. Theatre is not attended as frequently as it once was. This puts considerable importance on the playwright to makes sure the play is creative/unique and offers a compelling story, interesting conflict and characters.
After you read "For Colored Girls...Enuf" please answer these questions:
1. What is the play's premise? Try to identify this in 1-2 sentences.
2. Does the play appeal to a wide audience? Explain why. Use evidence from the text.
3. What seems to be the reason Shange wrote her play?
4. Explain how the play is unique. What does Shange do in her writing or craft that sets this play apart from others? Of course, use textual evidence to support your opinion.
These questions are due next class: 9/23.
Wednesday, September 16, 2009
Monster
Please complete the play Monster. The previous post has links to an interview with Dael Orlandersmith (the playwright) and information about her.
In groups of 1-3 read the play. When you have finished reading, please answer the following questions (if you are in a group, please make sure all your names are on the paper you turn in.)
Questions!
1. In a sentence or two write the premise of this play. Essentially, what is this play about?
2. Would you consider this play:
A. Relevant to society?
B. Interesting to see or watch?
C. Well written?
For each part, explain why you think one way or another. Support your opinion from the text.
3. Plays are about characters. Which character would you consider the protagonist? Which character(s) provide the conflict for this character? Which character(s) help develop the protagonist by giving us more information about him/her? Which character(s) help develop the theme of this play?
Dael Orlandersmith also wrote the play "Yellowman." Please take a look at two actors talking about their characters playing the lead female (Alma) and male role (Eugene).
HOMEWORK: Please complete 1-3 more PREMISES for a play in your journal. Each premise should be about a paragraph or so. To help you come up with some ideas, please take a look at the link on the side concerning the 36 dramatic situations. Try using these as a place to begin or from which to create new combinations.
In groups of 1-3 read the play. When you have finished reading, please answer the following questions (if you are in a group, please make sure all your names are on the paper you turn in.)
Questions!
1. In a sentence or two write the premise of this play. Essentially, what is this play about?
2. Would you consider this play:
A. Relevant to society?
B. Interesting to see or watch?
C. Well written?
For each part, explain why you think one way or another. Support your opinion from the text.
3. Plays are about characters. Which character would you consider the protagonist? Which character(s) provide the conflict for this character? Which character(s) help develop the protagonist by giving us more information about him/her? Which character(s) help develop the theme of this play?
Dael Orlandersmith also wrote the play "Yellowman." Please take a look at two actors talking about their characters playing the lead female (Alma) and male role (Eugene).
HOMEWORK: Please complete 1-3 more PREMISES for a play in your journal. Each premise should be about a paragraph or so. To help you come up with some ideas, please take a look at the link on the side concerning the 36 dramatic situations. Try using these as a place to begin or from which to create new combinations.
Tuesday, September 15, 2009
Talking With/Premises/Monster
Please take about ten minutes and watch a professional/non-professional video from Talking With.
As you watch a monologue, consider whether or not the idea inherent in the script is represented the way you saw it in your head when you read the play. How are words given life on stage? What accounts for changes in the representation from script to performance?
After you've had a chance to review a monologue and think about the performance, be prepared to discuss Talking With in class.
When we finish our discussion, please spend the remaining time in period 1 to do the following:
1. Please take out the handout on "What On Earth Gave You That Idea?" (this is the article we used last week in class).
2. Read pages 6-8 on your own.
3. Spend the rest of period one creating a short paragraph stating (or "pitching") an idea for a play. Keep this pitch in your journal for now.
4. If you finish early, try writing another pitch or read pages 9-21 in the handout (this is homework, anyway.)
for HOMEWORK: please read pages 9-21 in the handout chapter "What on Earth Gave You That Idea?" If you didn't complete an idea for a play, do so for homework.
Period 2: In groups of 1-3 (a group of 4 is really two groups of two...) please read MONSTER by Dael Orlandersmith. You can read a short interview with her here. Complete Monster for homework, if you do not finish reading it during period 2.
As you watch a monologue, consider whether or not the idea inherent in the script is represented the way you saw it in your head when you read the play. How are words given life on stage? What accounts for changes in the representation from script to performance?
After you've had a chance to review a monologue and think about the performance, be prepared to discuss Talking With in class.
When we finish our discussion, please spend the remaining time in period 1 to do the following:
1. Please take out the handout on "What On Earth Gave You That Idea?" (this is the article we used last week in class).
2. Read pages 6-8 on your own.
3. Spend the rest of period one creating a short paragraph stating (or "pitching") an idea for a play. Keep this pitch in your journal for now.
4. If you finish early, try writing another pitch or read pages 9-21 in the handout (this is homework, anyway.)
for HOMEWORK: please read pages 9-21 in the handout chapter "What on Earth Gave You That Idea?" If you didn't complete an idea for a play, do so for homework.
Period 2: In groups of 1-3 (a group of 4 is really two groups of two...) please read MONSTER by Dael Orlandersmith. You can read a short interview with her here. Complete Monster for homework, if you do not finish reading it during period 2.
Friday, September 11, 2009
Talking With... by Jane Martin
Today, we are going to check out Jane Martin's play Talking With from the library. After we return from checking out the script, get into groups of 1-3 and read the play.
As you read, answer the following questions (write them out to hand in by next class):
1. What did you think about the play? Did it surprise you or please you or frustrate you? Explain why you reacted to the play in this way.
2. What is the premise of "Talking With"? In a sentence or two, explain what you think the premise of the play is.
3. The "audience" for each character changes as the play continues. How does the author help a viewer or reader understand who the character in question is "talking with..."? Overall, by the end of the play, who do you think the playwright Jane Martin is "Talking with...?" Support your opinion.
4. Choose your favorite monologue from the bunch. Explain what you liked most about this monologue and then analyze its structure. (How does Martin move from a beginning to an end? What is the central conflict of the scene? How is character revealed?)
Please complete "Talking With" for homework, if you do not complete the play in class. The handwritten questions are due next class: 9/15.
As you read, answer the following questions (write them out to hand in by next class):
1. What did you think about the play? Did it surprise you or please you or frustrate you? Explain why you reacted to the play in this way.
2. What is the premise of "Talking With"? In a sentence or two, explain what you think the premise of the play is.
3. The "audience" for each character changes as the play continues. How does the author help a viewer or reader understand who the character in question is "talking with..."? Overall, by the end of the play, who do you think the playwright Jane Martin is "Talking with...?" Support your opinion.
4. Choose your favorite monologue from the bunch. Explain what you liked most about this monologue and then analyze its structure. (How does Martin move from a beginning to an end? What is the central conflict of the scene? How is character revealed?)
Please complete "Talking With" for homework, if you do not complete the play in class. The handwritten questions are due next class: 9/15.
Photobooth Monologue Exercise
Using the program "Photobooth", create 3 pictures of yourself in different moods (with different effects to symbolize each mood). You may wish to use the locations from the effects menu. If you need a new setting, use Google IMAGES, pick a place like Paris or London or Rome or Streetcorner or Farm, etc. and quickly choose a picture background by dragging the picture to your desktop, then dragging it onto the "drag background here" spaces.
Then, write a monologue in which you fictionalize yourself. Allow your character to move through the feelings, or express the three moods you created. You have 20 minutes for this exercise.
Then, write a monologue in which you fictionalize yourself. Allow your character to move through the feelings, or express the three moods you created. You have 20 minutes for this exercise.
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