Thursday, October 10, 2013

Prometheus Bound Background

Please use the time in the lab this morning to work on Module 1 on eLearning. Any homework or late materials should be turned in. Our marking period ends in two weeks. By this time you should be completely finished with modules 0 & 1.

You may use your time in the lab this morning to begin reading Prometheus Bound. I encourage you to read the background material posted and linked here before you begin. The Prometheus Bound analysis questions are NOT due yet, but will be by the time we finish the play. You may work on them at your own pace. 

Background on Prometheus Bound by Aeschylus. From: "The Cummings Study Guide":

Prometheus Bound is a tragedy centering primarily on the reaction of a proud god to a terrible punishment imposed on him by Zeus. The date of its writing and staging is uncertain, but the play probably debuted about 450 B.C., six years before the death of Aeschylus. It was the first part of a trilogy. The other two plays–Prometheus Unbound and Prometheus the Fire-Bringer–do not survive except for fragments of the latter play. 
[this means you are starting a story in the middle...most of our dislike of the play comes from this fact, as it's sometimes hard to understand why certain actions are happening.]
Setting: The action takes place on a single day at a time just after human beings begin to use fire as a tool of advancement. The place is a gorge in the Caucasus on the shore of the Black Sea, a mountain range running southeast from the Black Sea (called the Euxine Sea in ancient times) to the Caspian Sea. To the north of the Caucasus is present-day Russia; to the south is present-day Georgia. The highest peak in the system, Mount Elbrus, rises to a height of more than 18,000 feet. The lands adjacent to the mountain range are known as Caucasia. 
Onstage Characters
Prometheus: Titan whose name means forethought. After he defied the will of Zeus by becoming the benefactor of mankind, Zeus turned against him, ordering him bound to a rock in a desolate gorge of the Causasus Mountains. There, Prometheus remains proudly defiant, exhibiting no remorse or regret for his actions. Instead, he taunts Zeus, predicting his downfall at the hands of a child he shall beget. 
Hephaestus: The master blacksmith of Mount Olympus and one of the major Olympian gods. Although he sympathizes with Prometheus, he carries out the will of Zeus by making the unbreakable chains that bind Prometheus to the rock in the Caucasus gorge. In Roman mythology, Hephaestus is known as Vulcan. 
Kratos and Bia: Henchmen of Zeus who convey Prometheus to the Caucasus. Kratos symbolizes strength and Bia symbolizes force
Oceanids: Daughters of the Titan Oceanus. They act as the chorus in the play. Although they sympathize with Prometheus, they do not sanction his taunting of Zeus. 
Oceanus: Father of the Oceanids. He is a Titan who remained in Zeus's favor after other Titans had been cast out of heaven. 
Io: Young woman with whom Zeus fell in love but turned into a heifer to disguise her from his jealous wife, Hera. Her presence in the play helps to illuminate ancient attitudes toward fate and the humanlike pettiness and jealousies of the Olympian gods. In addition, her dialogue with Prometheus helps to reveal his intellectual gifts, his defiance, and his other character traits. 
Hermes: Messenger of Zeus and one of the major Olympian gods. His dialogue with Prometheus helps to reveal the latter's fierce defiance of Zeus, defiance so passionate that it becomes a kind of madness. In Roman mythology, Hermes is known as Mercury.
Main Offstage Characters   
Zeus: King of the universe, who rules from Mount Olympus. He exhibits human traits such as pride, lust, deceit, and vengefulness. Although he has no speaking part in the play, his presence as an antagonist of Prometheus is felt throughout the drama. In Roman mythology, Zeus is known as Jupiter
Hera: Queen of the universe and wife of Zeus. Her jealousy of Io causes Zeus to turn the young woman into a heifer. But Hera apparently sees through the scheme to hide Io and sends a gadfly to bedevil her. In Roman mythology, Hera is known as Juno. 
Argus Panoptes: A one-hundred-eyed giant assigned by Hera to observe Io.
Inachus: Father of Io.
Author's Approach: Looking back from the mid-Fifth Century B.C., the author retells a mythological tale transmitted over the centuries to him and other ancient Greeks. He presents the story from the perspective of an enlightened Greek attempting to underscore the importance of intelligence, creativity, and resistance to tyranny. Depicting Zeus as a strongarm bully was daring and controversial. 
Introduction: Mythological Background
.......Aeschylus based the plot of Prometheus Bound on parts of mythological tales well known to Greeks of his time. Modern readers and theatergoers need to become familiar with these tales to understand the play. 
Following is a summation of the tales:
.......After the birth of the universe and the first gods, Uranus rules the heavens and fathers children with Earth, a planet as well as a goddess, called Gaea. These children include three one-eyed giants, three fifty-headed monsters, and twelve gods known as Titans. Fearing that his offspring might try to overthrow him, Uranus thrusts them back into Gaea, causing her severe pain. After fashioning a sickle, Gaea asks her sons to castrate Uranus. Only the youngest one, Cronus, is willing to take up the challenge. After he castrates and overthrows Uranus, he becomes king of the universe, with most of his brothers and sisters assuming positions of power. 
.......The Titans then beget another generation of children, one of whom is Prometheus, the son of Cronus’s brother, Iapetus. Cronus himself fathers children after taking his sister, Rhea, as his mate and queen. Told that one of his children will overthrow him, he attempts to thwart fate by swallowing the children after they are born. His first five children all meet this fate. After Rhea bears a sixth child, Zeus, she acts to protect him. Instead of giving the child to Cronus, she hides him in Crete and gives Cronus a stone wrapped in swaddling. Believing it is Zeus, he swallows it. 
.......After Zeus comes of age, he gives Cronus an emetic that causes him to spew out his brothers and sisters. Zeus and his siblings then wage war against Cronus and his Titan allies. However, two of the Titans, Prometheus and Oceanus, decide to fight on the side of Zeus. With their assistance, Zeus and his siblings overthrow Cronus and his forces and cast them into the underworld, known as Tartarus. Zeus then enthrones himself as king of the gods, apportioning various powers to his brothers and sisters. After Zeus takes up residence with them on Mount Olympus, they become known collectively as the Olympians (as opposed to the defeated Titans). Zeus marries his sister, Hera, who becomes queen of the gods. 
.......Meanwhile, men come into existence on earth. (One ancient writer says Prometheus created them from clay; another source says they were born out of the earth). Although Zeus despises these lowly creatures, Prometheus pities them and acts to sustain them, saving ox meat from sacrifices for men and serving the bones to Zeus after wrapping it with savory fat. Upon discovering the deception, Zeus retaliates by withholding fire from man. Prometheus then steals fire from the heavens and gives it to his earthling friends as a valuable tool for their advancement. 
.......The ancient Greek writer Hesiod presented two versions of what Zeus did next. In one version, Zeus concocts a scheme to plague man. First, he orders his brother, Hephaestus, the forger god, to create a woman. Named Pandora, she is the first of her kind. Zeus sends her to earth with various gifts from the gods, including great beauty and winsomeness, as well as curiosity. She carries with her a jar that she is never to open. In time, her curiosity gets the better of her and she opens the lid, releasing disease, sorrow, evil, and hard labor upon the world. In the other version, Zeus vents his anger on Prometheus, ordering him chained to a rock in a gorge of the Caucasus Mountains. Each day, an eagle comes to feed on his liver. But because Prometheus is immortal, his liver restores itself by the following morning. Then the eagle returns to feed again. Such is the torture that Prometheus endures. Aeschylus recounts this version of the story in Prometheus Bound, beginning on the day when Zeus’s henchmen bind Prometheus to the rock. 
For information about the history and significance of this play, please read the following article: Prometheus Bound.

After reading the play, check your understanding by answering this flash card quiz: Prometheus Bound (characters).

Tuesday, October 8, 2013

Plotting a Play

Turn in any homework you have not yet turned in. Check out Prometheus Bound in the library. 

Up until now, we have focused on the development of a character: a backstory, a monologue, and characterization that reveals a character's goals and motivations. The monologue can be a tool to provide these techniques in a play, but, as we have seen, can also be a play. Using multiple narrative a single actor can portray a series of characters, or several actors can take turns performing a host of characters under a unifying theme.

Today, let's chat a bit about plot.

Most plays begin with an EVENT: a unique and significant moment in a character's life (or characters lives). In plays all scenes should be thought of as "events".

Events can be almost anything: an unusual incident, a special occasion, a sudden visit, or any kind of crisis.
An event that starts off the play is called the inciting incident: the point of attack, the turning point in the life of one or more of your characters. Some playwrights call this moment the "disturbance". Whatever term you choose, you want to start off your story with a strong reason for the events in the play to occur. As the play continues (particularly in plays with more than one scene) more events may occur in a story. The inciting incident is the first one.
A protagonist usually confronts the inciting incident from a position of weaker power or disadvantage. Starting with a protagonist who has all his stuff together, who can easily defeat or solve a problem, makes for a boring play.

The beginning of a play ends when the protagonist(s) make(s) a major decision. This major decision should set him or her or them on a collision course with forces that will oppose and perhaps destroy him/her (aka: antagonist). This should be a decision. A decision to act, a decision that causes the antagonist to confront the protagonist, etc. A major decision makes a protagonist active in the plot.

The inciting incident and the major decision help to create the MAJOR DRAMATIC QUESTION: MDQ. The MDQ is, as stated earlier, the question that keeps an audience interested in the plot of your play. The MDQ is also attached to your overall theme. For example: MDQ: will action (and therefore revenge) be possible for Hamlet? Will Brick disclose his true feelings for Skipper & will Maggie find a man to truly love her? Will Willy Loman go mad or succeed in committing suicide? Will Blanche DuBois depend on the kindness of strangers? Will Romeo & Juliet be able to be together despite their families' feuding?

The middle of a play is fraught with a series of obstacles (rising action). During the middle, you need to pay attention to the 3 C's: conflict, crisis, and complication. These 3 C's will lead to the dark moment of your play (more on that later).

Conflict can be person vs. person (often true in plays), person vs. self (also common), person vs. society (common as well if done correctly), and person vs. nature (God, etc.) (not as great, but some plays do this one perfectly.) The more interesting the conflict the more interesting the play. Crises and complications cause the conflict to be more interesting. The crisis is a critical moment--a place in time for the protagonist to act, make a decision--that usually has consequences. Complications are problems (usually unforeseen) that arise to thwart or challenge the protagonist.

TASK: Using the index cards, select a partner and create a rough plot for a play. On each index card indicate the following:

1. PREMISE: in a sentence what is this play about?
2. Identify your protagonist(s). Who is this play mainly about? Choose one of your WHO's from your Module One journal listings.
3. EVENT: create an inciting incident for your play.
4. EVENT: Major decision. In 1-2 sentences, describe the protagonist's major decision.
5. What is your play's MDQ?
6. EVENT: Conflict
7. EVENT: Complication
8. EVENT: Crisis
9. EVENT: Resolution. Create a possible ending for your plot.
10. Make any changes to cards 1-4 that you wish. Put a title for your play on card #1. Put your name on your cards and hand in for class credit.

After this exercise, please either read and complete your homework and/or work on your eLearning lessons.

HOMEWORK: Read the chapter "Structure: Part One: Story & Plot"; Please bring Prometheus Bound to our next class.
 

Thursday, October 3, 2013

eLearning Module 1; Hedwig & the Angry Inch

During period one, please continue to work on your eLearning modules. During 2nd period, you will be asked to take an essay test on Hedwig and the Angry Inch. If for some reason you did not complete the reading of this play, you might want to complete your reading of it during period 1.

After taking the test, please refresh this site.

For those of you interested, here is a video recording of the original Broadway production of Hedwig & the Angry Inch.

And some of the musical numbers from the play (these from the movie):

Hedwig & The Angry Inch (Musical Numbers)

HOMEWORK: None.

Tuesday, October 1, 2013

Module 1; China Doll; Hedwig

Please turn in your homework (see previous post for details).

In groups of 4-5 please discuss the play China Doll. Compare China Doll to Talking With, Spic-o-Rama, The Vagina Monologues, and Monster. How is it similar or different? Discuss what contemporary issues or ideas you have noticed in these plays. Brainstorm ideas for your own one-person monologue play. Who would be your main character? What themes would you tackle? How might you frame or structure the play? Each member of your group should offer ideas and get feedback from the group.

After your discussion, please do one of two tasks:

A. Continue working on your eLearning Module 1, or
B. Read Hedwig and the Angry Inch.

HOMEWORK: Please read Hedwig and the Angry Inch. Be prepared to take a quiz on the play, particularly on the topic of how this play compares/contrasts to the monologue plays you have already read, how it incorporates poetry and music, deals with contemporary themes, and creates a unique opportunity for a performer. You should be able to apply the literary sign-posts to this play as well, finding examples in the text.

Sunday, September 29, 2013

Spic-o-Rama

Please turn in your late homework for Monster. Also, if you have a script from Monster or the Vagina Monologues, please return it to me.

This morning take a few minutes to watch these videos from the play Spic-O-Rama by John Leguizamo. As you watch the video, consider the script and its characters and themes. In a paragraph or two to turn in by the end of period 1, please write an answer to this question:

"One person plays showcase an actor's range and ability while often addressing issues that are sometimes overlooked by mainstream audiences. In regard to Spic-o-Rama, explain how the play showcases John Leguizamo's talent as an actor and writer, why he might have chosen the characters he did to portray in the play, and how he structurally put the play together to create an effective theatrical experience." Please use specific examples to support your answers.

During period 2, please continue to work on Module 1. If you have not yet completed Module 0, you are falling fast behind the rest of the class. Please make up the work as homework.

Literary signposts: To deepen your reading/watching experience...
  • Contrasts & Contradictions: When a character does something that contrasts with what you'd expect or contradicts an earlier act or statement, ask: "Why is this character doing that?"
  • The Aha Moment: When a character realizes, understands, or finally figures something out, ask: "how might knowing this change things?"
  • Tough Questions: When a character asks a very difficult question, ask: "What does this question make me wonder about?"
  • Words of the Wiser: When a character takes the main character aside and offers advice, ask: "What's the life lesson, and how might it affect this character?"
  • Again & Again: When you notice a word or phrase or situation repeated over and over, ask yourself: "Why does this keep happening again and again?"
  • Memory Moment: When the character describes a memory; think: "why might this memory be important?"
HOMEWORK: Please read China Doll by Elizabeth Wong. In a paragraph or two, look for and identify any of the signposts: Contrasts/Contradictions, the aha moment, tough questions, words of the wiser, again and again, or memory moment and evaluate the play.

Wednesday, September 25, 2013

Monster Discussion; Module 1; & Spic-o-Rama

Please turn in your homework.

This morning, please get into the following discussion groups:
Group Blue: Francis, Taina, Gena, Ethan, Alexis
Group Yellow: Nicole, Imani G., Thiery, Khamphasong, Diamond
Group Green: Grace, Imani M, Nathan, Jahni, Carly
Group Turquoise: Branden, Shayzonique, Kayli, Ben, Vanessa
Two groups should use the room next door for their discussion. Use period 1 to complete your discussion. Turn in your answer sheet at the end of the discussion period.

IF YOU FINISH EARLIER THAN 1st PERIOD: please discuss the other plays we have read: "The Vagina Monologues" and "Talking With" AND/OR: Discuss ideas for a play. What would you write: a one-actor show or a show with several actors? Why? Begin brainstorming together about possible issues, themes, and ideas. Write these in your journal.

DURING PERIOD TWO: Please continue working on the assignments in eLearning Module 1.

HOMEWORK: please read the play "Spic-o-Rama" by John Leguizamo for Monday, Oct. 1 and prepare for a test. 

Monday, September 23, 2013

Dael Orlandersmith's "Monster", Black Theater, and eLearning Module 1

Giving a voice to the underprivileged, minority, or unnoticed members of our society is one of the excellent things theater can accomplish. Probably more than any other art form, theater has a way of sparking a discussion and, sometimes, debate about important issues easily ignored by more mainstream mass media like film or television. African American actors, directors, and playwrights have held an important place in American Theatre history. Today, let's learn a little more about these talented and important artists.

This morning, please read about Dael Orlandersmith as a contemporary playwright & actor (and faculty member). Spend a few minutes (up to 28 minutes for the full program) to watch the interview with Dael Orlandersmith. As you watch, consider some of the themes and issues she deals with in her writing.

Then read "A Brief Overview of the History of African American Theatre" and identify at least 3 things you learned from this article. Be prepared to hand these notes in as a "ticket out the door."

You may attempt to read and watch the interview linked above in between, before, or after working on eLearning: Module 1: the Monologue.

HOMEWORK: Please read the play "Monster" by Dael Orlandersmith and complete the signposts organizer to turn in Thursday, September 26.

The Murky Middle (Even More Advice)

Aristotle wrote that stories should have a beginning, middle, and end. Middles can be difficult. You might have a smashing opening to a stor...