For Colored Girls...Discussion; Wait Until Dark Workshop

Period 1: after our writing exercise, please watch the videos about Ntozake Shange's For Colored Girls...Enuf and then we'll hold a Socratic seminar discussing the play. Complete your Socratic seminar sheet and turn in for credit.

Period 2: We will have a workshop on Wait Until Dark. Please welcome Ms. Savastano, a local actress and representative from Geva.

HOMEWORK: None. Go watch some plays during the Rochester Fringe Festival. Bring back your program to get extra credit!

For Colored Girls...Enuf

EQ: How have monologue plays (monodramas) influenced us?

Ntozake Shange's For Colored Girls Who Have Considered Suicide When the Rainbow is Enuf

Recent film trailer by Tyler Perry

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.

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!

Please take an index card with a specific role. Play that part today.

Spic-o-Rama & For Colored Girls...Enuf

EQ: Why write a one-actor show? What do Mono-dramas (1 person plays) or Monologue Plays offer an audience? How are they similar or different from other plays, other genres of writing (slam poetry, fiction, novels, audio-books, films, etc.)

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. After viewing, please gather in groups of 2-3 and take 5-10 minutes to discuss 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. 
• How is the play similar or different from performance poetry, films, short stories, novels, or non-fiction essays?

Please use specific examples to support your answers. What have we decided?

After your discussion, please return to your seat to complete another pre-writing exercise.

After writing, we will head down to the library to pick up Ntozake Shange's For Colored Girls Who Have Considered Suicide When the Rainbow is Enuf. When we return, please select a character and let's read the play as a class.

HOMEWORK: None. Please get field trip forms completed and turned in by next class!

Characters; African-American Theater Tradition; Monster & Quiz

This morning, please get together in small groups of 3-4 and brainstorm a list of characters. Write these characters, their names, their occupations, and 1-2 physical or personality traits each character has in your notes/journal. 

Example: Sweety Pie, 20-30 year-old beautician. She wears her sleeves rolled up so that we can see her tattoos; there is a comb tucked behind one ear.

Teddy, 60-70 year old businessman (retired). He speaks very loudly and slowly. Always wears a soiled bib.

Kashandra, young woman, student. She smiles a lot and likes to laugh at herself. She only wears purple sweaters.

Try to gather at least 6-10 characters each. Keep this list, as you will use it later in the course.

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, let's 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."

Apply what you've learned to the play Monster. Complete the quiz on the play Monster.

HOMEWORK: Please read the play Spic-o-Rama by John Leguizamo. Be prepared to discuss the play Monday, September 15.

Talking With; Monster; Character

Please read the handout about Jane Martin this morning. Follow up your reading with a 15 minute period of reading. After reading silently (alone) you will form small groups to conduct some analysis of the characters in the play.

NOTE: If you completed the play on your own, spend your time writing a monologue draft. Use Jane Martin's script and the monologues in Talking With as a model.

If you missed it, read about Jane Martin here.

Let's view a few of the following clips from the script Talking With.

As you watch these scenes from Talking With, pay attention to how the playwright engages the audience and tells an interesting story that develops the single speaking character. Notice how the actor portrays this character. Is the author's words more effective or is the performance more compelling to you as an audience? What does this suggest about the nature of performance?

Clear Glass Marbles (monologue, page 19-22)
Clear Glass Marbles (monologue, page 19-22)

Audition. (monologue, page 25-27)
Audition

Twirler (part)

Rodeo (monologue, page 31-34)

French Fries (monologue, page 61-63)

Marks (monologue, page 67-69).

Let's conduct a class discussion. 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 you? Explain why you reacted to the play in this way.
• 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. Is this premise interesting? Do you think people would pay to see this play?
• 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.
• What challenges and stage requirements are necessary to produce this play? How has Jane Martin anticipated a low-budget, black box theater being able to produce her play? What did you learn about staging from the monologues you read and watched?
• Why are the monologues in the order that Martin puts them? What is the reason to start and end the play with the monologues she does?
• After reading about Jane Martin, what amuses or interests you in her as a writer? How might the idea of "Theatricality" (artificial life involving conflict) infuse the script and the whole experience of seeing this play on stage.

With time remaining in the class, get together in small groups of 3-4 and brainstorm a list of characters. Write these characters, their names, their occupations, and 1-2 physical or personality traits each character has in your notes/journal. Keep this list, as you will use it later in the course.

HOMEWORK: Please read Dael Orlandersmith's "Monster" for Thursday. Bring your scripts back with you to discuss this play next class.

Talking With; Loveliest Afternoon of the Year

Together, let's read the play: The Loveliest Afternoon of the Year by John Guare.

Theatre vocabulary to know:

• Monologue: an extended speech delivered by one person/character.
• Dramatic Monologue: a long or extended speech delivered by one character addressing another character or group of characters.
• Interior Monologue: In fiction or prose, the description or speech (in 1st person POV, for example) where a character exhibits (shows/tells) the thoughts, feelings, and associations passing through a character's mind.
• Soliloquy: an extended speech by one person addressed directly to an audience. Usually the character is alone on stage.
• Monologue Play (one-person show; monodrama): A solo performance, featuring an actor, comedian, or entertainer.

Please read the handout about Jane Martin this morning. Follow up your reading with a 15 minute period of reading. After reading silently (alone) you will form small groups to conduct some analysis of the characters in the play.

NOTE: If you completed the play on your own, spend your time writing a monologue draft. Use Jane Martin's script and the monologues in Talking With as a model.

If you missed it, read about Jane Martin here.

Let's view a few of the following clips from the script Talking With.

As you watch these scenes from Talking With, pay attention to how the playwright engages the audience and tells an interesting story that develops the single speaking character. Notice how the actor portrays this character. Is the author's words more effective or is the performance more compelling to you as an audience? What does this suggest about the nature of performance?

Clear Glass Marbles (monologue, page 19-22)
Clear Glass Marbles (monologue, page 19-22)

Audition. (monologue, page 25-27)
Audition

Twirler (part)

Rodeo (monologue, page 31-34)

French Fries (monologue, page 61-63)

Marks (monologue, page 67-69).

Let's conduct a class discussion. 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 you? Explain why you reacted to the play in this way.
• 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. Is this premise interesting? Do you think people would pay to see this play?
• 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.
• What challenges and stage requirements are necessary to produce this play? How has Jane Martin anticipated a low-budget, black box theater being able to produce her play? What did you learn about staging from the monologues you read and watched?
• Why are the monologues in the order that Martin puts them? What is the reason to start and end the play with the monologues she does?
• After reading about Jane Martin, what amuses or interests you in her as a writer? How might the idea of "Theatricality" (artificial life involving conflict) infuse the script and the whole experience of seeing this play on stage.

WRITING/HOMEWORK: If you did not complete your reading of this play, finish it up and bring your script back with you next class. In your journal (not to be turned in) write a monologue of your own. We'll use this draft later in the course.

Welcome!

Welcome back, class of 2016. I hope you all had a restful and enjoyable summer. But here we are again. This year is partly devoted to writing scripts (both theatrical and for the screen). What you learn here can help you improve your fiction "dialogue" skills, examine the use of conflict in your plots, play and experiment with language and poetry, as well as make you a better psychologist (dealing with people in crisis), all the while honing your writer's craft and developing your writer's voice.

Today, after reviewing the course criteria, getting lockers, and discussing some changes around SOTA, we will get started with a required writing activity, read a bit, and start on a couple assignments to begin this course.

IMPORTANT INFORMATION:

Check this blog each class period for agendas, deadlines, educational information, advice, and a whole lot of links to enhance your education. All you have to do is read and click. You are responsible for reading and interacting with the material I post on the blog.

If you're absent or missed something in class, please check the blog to get caught up. As indicated above, each new class period usually includes a new post. If you have a question about an assignment and are too embarrassed to speak to me in public (or you have a question that you think you will forget to ask), feel free to use the comment section.

On our link page you will also find some useful tools for this course. During the course I will direct your attention to these tools for your use in this class and for use in Contemporary Writers.

Today, let's begin playwriting with a baseline writing exercise. You will need a notebook, the essay paper/booklet provided, and a writing utensil.

• The task is simple. Write a complete scene (with a definite beginning, middle, and end) in script format. 

• Limit your cast of characters to no more than four (4). Two or three (2-3) works best. Setting, writing style, and theme is completely up to you. 

• Be creative. Focus on the task of writing. Let your words flow from you without a lot of editing or over thinking this exercise. Trust your instincts as an artist and writer! 

•  If you need a prompt, choose one of the following starters: 

•  A policeman, a newlywed, a certified letter 

•  A widow, her half-sister, and a secret 

•  One character walks in to a familiar place but meets someone unexpected

• You will have 20-25 minutes to write.

If you happen to finish early and the rest of the class is still writing, please begin reading "Talking With" by Jane Martin. After we write our baseline, we'll discuss playwriting and get started reading some plays.

HOMEWORK: Read Talking With by Jane Martin. Bring the play script with you to our next class. Please share the course criteria sheet with your parents/guardians.