After our quiz, let's chat a bit about the play Monster. Those of you who would like to share one of the monologues you have written so far, may do so at the end of our discussion. If you finish the quiz early and are waiting for others, please take a look and begin work on the project options below.
With the remaining part of the class, you may choose one of the two projects:
1. Using one of your monologues, have an actor or friend prepare and "act out" your monologue. Before you hand over your script, please revise it. Remove tired or vague language. Add more specific details. Develop your character. Record the monologue at least three times, each at different angles or camera shots (close ups, extreme close ups, medium shots, long shots, etc.) Once you have filmed the monologue, edit the film using our editing software. You may, as the models, have a neutral background or shoot the film on location (appropriate to your character's speech).
Here's an example:
Audition
Skinhead Girl
Joined At the Head
2. Write a one-person show made up of monologues. You should have at least five or more monologues that connect thematically (Talking With) or keep a central character and story line from one of your monologues and develop the story to include other voices (like Monster). You may use or re-edit the monologues you have created, or, write new ones that support your story/theme.
The deadline is on-going. Your monologue project will be due before the end of the marking period. You will have time periodically while we are reading and learning playwriting to work on this long-term project. Do note that other writing exercises and projects will be given during this marking period, so don't delay or waste your time in class. Get started on this project as soon as you are able.
MORE TIPS:
Just like a fiction story or poem, the audience should easily identify and be able to answer the following after watching a monologue.
A. Who is the character speaking?
B. Why is the character speaking?
C. To whom is the character speaking (the audience)?
D. What is the major conflict or event occurring in the speech?
If you are able to answer these four basic questions, your monologue is well on its way.
Sunday, September 12, 2010
Thursday, September 9, 2010
Writing Monologue Tips
Please read this advice this morning before you attempt the post below it.
"Some of the most famous and memorable moments in theatre history – moments including phrases like, “to be, or not to be” or “now is the winter of our discontent,” which are internationally renowned – are from dramatic monologues.
Since Shakespeare’s time, the dramatic monologue has grown and developed to have countless uses in the world of theatre (as outlined in the article, What is a Monologue?), but the general definition remains the same: a monologue is a speech, usually somewhat lengthy, delivered by a single actor in a play or film.
But how do you go about writing a powerful and effective monologue? What follows is a look at the crucial elements to consider when you are working on your next theatrical monologue, whether dramatic or comedic.
Keep Your Character’s Voice Distinct and Consistent
Since a monologue involves a single character speaking for an extended period of time, you need to make certain that your character’s voice is distinct to his or her personality, and that it remains consistent, not only throughout the monologue itself, but also from before the monologue, and continuing through the remainder of the play.
This is not to say that your character’s monologue cannot reflect a change in attitude. Your character, for example, may be incredibly kind to her boyfriend’s ex-girlfriend to her face and then turn around and perform a monologue about how much she hates her. What the audience needs to know is that this shift is intentional. If your intentions as the playwright are not clear, your writing will come across as inconsistent and your audience will quickly lose interest.
Pay Attention to the Rhythm and Shape of Your Monologue
Even though a monologue may be only a short part of a much longer play, it needs to have a shape and rhythm of its own. A monologue in any form is a story, so like any story, it should have (generally) a beginning, middle, and end. When writing your monologue, consider where its high point, or climax, is, and always make sure that every line is helping the audience get to and from that point effectively.
Without shape, your monologue will probably make it seem as though your character is either ranting or rambling. Use concise language and selective editing to keep your monologue from becoming dull or seemingly pointless – losing your audience’s emotional investment, even for five minutes, could keep them at a distance for the remainder of the play.
Know Your Audience, Know Your Audience, Know Your Audience!
This is by far the most important element of writing any monologue, and cannot be reiterated enough times. As you are writing (and later revising) your monologues, make certain that you know who your audience is. The word “audience” in this case is not referring to the group of people who will sit and watch a production of your play. Rather, the “audience” of your monologue is the person (or people) to whom your character is speaking when they deliver each specific monologue.
Knowing who your character is speaking to will shape your monologue significantly. It will give your character a distinct voice (imagine, for example, how differently you would address your mother and your best friend), a distinct attitude, and will help your audiences in production to understand what your characters’ intentions are.
Imagining that your character is speaking to “the world” or “to society” is not good enough – next time you are working on a monologue, try to revise your work with a specific audience in mind for your character, even if it’s just an experiment, and note how much stronger the piece becomes."
--Andrea Beca
"Some of the most famous and memorable moments in theatre history – moments including phrases like, “to be, or not to be” or “now is the winter of our discontent,” which are internationally renowned – are from dramatic monologues.
Since Shakespeare’s time, the dramatic monologue has grown and developed to have countless uses in the world of theatre (as outlined in the article, What is a Monologue?), but the general definition remains the same: a monologue is a speech, usually somewhat lengthy, delivered by a single actor in a play or film.
But how do you go about writing a powerful and effective monologue? What follows is a look at the crucial elements to consider when you are working on your next theatrical monologue, whether dramatic or comedic.
Keep Your Character’s Voice Distinct and Consistent
Since a monologue involves a single character speaking for an extended period of time, you need to make certain that your character’s voice is distinct to his or her personality, and that it remains consistent, not only throughout the monologue itself, but also from before the monologue, and continuing through the remainder of the play.
This is not to say that your character’s monologue cannot reflect a change in attitude. Your character, for example, may be incredibly kind to her boyfriend’s ex-girlfriend to her face and then turn around and perform a monologue about how much she hates her. What the audience needs to know is that this shift is intentional. If your intentions as the playwright are not clear, your writing will come across as inconsistent and your audience will quickly lose interest.
Pay Attention to the Rhythm and Shape of Your Monologue
Even though a monologue may be only a short part of a much longer play, it needs to have a shape and rhythm of its own. A monologue in any form is a story, so like any story, it should have (generally) a beginning, middle, and end. When writing your monologue, consider where its high point, or climax, is, and always make sure that every line is helping the audience get to and from that point effectively.
Without shape, your monologue will probably make it seem as though your character is either ranting or rambling. Use concise language and selective editing to keep your monologue from becoming dull or seemingly pointless – losing your audience’s emotional investment, even for five minutes, could keep them at a distance for the remainder of the play.
Know Your Audience, Know Your Audience, Know Your Audience!
This is by far the most important element of writing any monologue, and cannot be reiterated enough times. As you are writing (and later revising) your monologues, make certain that you know who your audience is. The word “audience” in this case is not referring to the group of people who will sit and watch a production of your play. Rather, the “audience” of your monologue is the person (or people) to whom your character is speaking when they deliver each specific monologue.
Knowing who your character is speaking to will shape your monologue significantly. It will give your character a distinct voice (imagine, for example, how differently you would address your mother and your best friend), a distinct attitude, and will help your audiences in production to understand what your characters’ intentions are.
Imagining that your character is speaking to “the world” or “to society” is not good enough – next time you are working on a monologue, try to revise your work with a specific audience in mind for your character, even if it’s just an experiment, and note how much stronger the piece becomes."
--Andrea Beca
Talking With (Talking With the Class) Monster & Monologues
Please turn in your monologue homework (monologue #2, see previous post) and the answered questions from Talking With.
Today, for the first 1/2 of the class, please do the following exercise:
1. 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 a street corner or farm, etc. and quickly choose a picture background by dragging the picture to your desktop, then drag it onto the "drag background here" spaces.
2. After you have completed step #1: 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 the first period to complete this exercise. At the end of period one, please print out your monologue and hold on to it for a moment.
PERIOD 2: Period 2 we will discuss Talking With as a class. After our discussion, choose one of the three monologues you have written and prepare to share this by reading it with passion and energy to the class.
HOMEWORK: Please read MONSTER by Dael Orlandersmith. You can read a short interview with her here. Complete Monster for homework.
Today, for the first 1/2 of the class, please do the following exercise:
1. 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 a street corner or farm, etc. and quickly choose a picture background by dragging the picture to your desktop, then drag it onto the "drag background here" spaces.
2. After you have completed step #1: 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 the first period to complete this exercise. At the end of period one, please print out your monologue and hold on to it for a moment.
PERIOD 2: Period 2 we will discuss Talking With as a class. After our discussion, choose one of the three monologues you have written and prepare to share this by reading it with passion and energy to the class.
HOMEWORK: Please read MONSTER by Dael Orlandersmith. You can read a short interview with her here. Complete Monster for homework.
Monday, September 6, 2010
Jane Martin & Talking With
Please turn in a copy of your homework (the monologue we started last class) today.
Before we begin taking a look at the play Talking With, please read about Jane Martin here.
Now, in groups of 1-4 please read the play Talking With out loud with your group (or silently if you are alone). As you read, pay attention to how the playwright engages the audience and tells an interesting story that develops the single speaking character.
As you read, please stop at the following pages/monologues and view them together in your group. Discuss how performances help or harm the text before you move on.
Audition (monologue, page 25-27)
Here's another version. This one uses nice camera work, although cuts part of the monologue text. Please view it here.
French Fries (monologue, page 61-63)
If you don't finish the play today in class, please watch "Marks" here. The sound isn't great on this one, but for some of you, it is better than reading it out loud.
Once you have completed the play, please answer the questions posted on the blog entry below. These questions can be done in your group (make sure you put everyone's name on a single answer sheet) or alone and turned in today or first thing on Thursday.
HOMEWORK: Complete Talking With. Then follow these directions for MONOLOGUE #2.
1. Find a picture. This can be one of you, your family, or anything else (for example from a magazine or newspaper). Make sure there is a person in the picture.
2. Either create a monologue from the POV of the pictured person, or from the character viewing the picture (as if in that space).
3. Develop your character. Make up details and back story as you see fit. Your monologue should be at least 3 or more paragraphs.
Before we begin taking a look at the play Talking With, please read about Jane Martin here.
Now, in groups of 1-4 please read the play Talking With out loud with your group (or silently if you are alone). As you read, pay attention to how the playwright engages the audience and tells an interesting story that develops the single speaking character.
As you read, please stop at the following pages/monologues and view them together in your group. Discuss how performances help or harm the text before you move on.
Audition (monologue, page 25-27)
Here's another version. This one uses nice camera work, although cuts part of the monologue text. Please view it here.
French Fries (monologue, page 61-63)
If you don't finish the play today in class, please watch "Marks" here. The sound isn't great on this one, but for some of you, it is better than reading it out loud.
Once you have completed the play, please answer the questions posted on the blog entry below. These questions can be done in your group (make sure you put everyone's name on a single answer sheet) or alone and turned in today or first thing on Thursday.
HOMEWORK: Complete Talking With. Then follow these directions for MONOLOGUE #2.
1. Find a picture. This can be one of you, your family, or anything else (for example from a magazine or newspaper). Make sure there is a person in the picture.
2. Either create a monologue from the POV of the pictured person, or from the character viewing the picture (as if in that space).
3. Develop your character. Make up details and back story as you see fit. Your monologue should be at least 3 or more paragraphs.
Thursday, September 2, 2010
Talking With by Jane Martin (play assignment #1)
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 next class):
1. 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.
2. What is the premise of "Talking With"? In a sentence or two, explain what you think is the premise or main idea/theme of the play.
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.
Please complete "Talking With" for homework, if you do not complete the play in class. The handwritten questions are due next class: 9/7, along with your first monologue project.
Please bring your scripts with you next class to discuss this play.
As you read, answer the following questions (write them out to hand in next class):
1. 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.
2. What is the premise of "Talking With"? In a sentence or two, explain what you think is the premise or main idea/theme of the play.
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.
Please complete "Talking With" for homework, if you do not complete the play in class. The handwritten questions are due next class: 9/7, along with your first monologue project.
Please bring your scripts with you next class to discuss this play.
Today we will cover the course criteria, go over some school related house-keeping information you might need, and pick up our first play: Talking With by Jane Martin from the library. See the post above for information about this play.
Last year, I made a point of explaining that to create an appropriate play script, a writer needs to consider 3 things:
1. Character
2. Place (setting)
3. Action
These three elements are essential to create a situation.
To create a situation for a character, a writer should know:
1. Who her character is and what the character wants
2. Where the character is physically
3. What action the character is currently doing in that location or setting
Once these 3 questions are answered, the writer can COMPLICATE the dramatic situation by adding a simple "Oops", "But...!", or "Uh Oh!"
Example: Jane is a new playwriting student who wants to become famous. She has paid a lot of money to learn the craft of writing from a famous playwriting teacher whom she admires. She has just been asked by her teacher in front of the entire class to explain why she wants to write plays. Jane begins to tell her story to the rest of the class, but (Oops, but...!, Uh Oh) after a few minutes into her story she is noticing her classmates falling asleep, and the teacher is looking annoyed with her. This motivates Jane to try another tactic.
Today, let's write a monologue. (Due: next class, Tuesday, September 7)
Create a character. Answer the 3 basic questions about your character, place, and action. Complicate the situation to make it dramatic.
Rules: Your monologue should only have one person talking (that's why it's a monologue!) and your monologue should reveal something unique or personal about your character. It should sound a little like a first person POV short story if you do it right. Your first draft should be no more than 2 pages (preferably one full page is great). The monologue should be written in standard play script format.
Please feel free to post questions here, or ask for help.
Assignment draft due: Tuesday, September 7
Last year, I made a point of explaining that to create an appropriate play script, a writer needs to consider 3 things:
1. Character
2. Place (setting)
3. Action
These three elements are essential to create a situation.
To create a situation for a character, a writer should know:
1. Who her character is and what the character wants
2. Where the character is physically
3. What action the character is currently doing in that location or setting
Once these 3 questions are answered, the writer can COMPLICATE the dramatic situation by adding a simple "Oops", "But...!", or "Uh Oh!"
Example: Jane is a new playwriting student who wants to become famous. She has paid a lot of money to learn the craft of writing from a famous playwriting teacher whom she admires. She has just been asked by her teacher in front of the entire class to explain why she wants to write plays. Jane begins to tell her story to the rest of the class, but (Oops, but...!, Uh Oh) after a few minutes into her story she is noticing her classmates falling asleep, and the teacher is looking annoyed with her. This motivates Jane to try another tactic.
Today, let's write a monologue. (Due: next class, Tuesday, September 7)
Create a character. Answer the 3 basic questions about your character, place, and action. Complicate the situation to make it dramatic.
Rules: Your monologue should only have one person talking (that's why it's a monologue!) and your monologue should reveal something unique or personal about your character. It should sound a little like a first person POV short story if you do it right. Your first draft should be no more than 2 pages (preferably one full page is great). The monologue should be written in standard play script format.
Please feel free to post questions here, or ask for help.
Assignment draft due: Tuesday, September 7
Welcome Back!
Our new academic year will begin with Playwriting in room A239 on September 2. Welcome back and I hope you all had an enjoyable vacation. Please note that you can access my teacher web page under the links to the right.
What's there?
The course criteria information for this class
Supporting information and links to all my class blogs
Access to student made films and writing
By the way, a hearty CONGRATULATIONS goes out to Khari for his avant garde film, which was a finalist in the Rochester Teen Film Festival. Along with prizes, Khari's film will be screened at the prestigious 360/365 Rochester Film Festival this coming April. Way to go, Khari!
What's there?
The course criteria information for this class
Supporting information and links to all my class blogs
Access to student made films and writing
By the way, a hearty CONGRATULATIONS goes out to Khari for his avant garde film, which was a finalist in the Rochester Teen Film Festival. Along with prizes, Khari's film will be screened at the prestigious 360/365 Rochester Film Festival this coming April. Way to go, Khari!
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