Character Development; Conflict in The Loveliest Afternoon of the Year & 'Night Mother

Period 1: (until National Anthem); Let's work on developing your characters from the play draft you wrote this past weekend (or in class last Thursday). 

For each character in your play, please complete notes and questions from the handout. Set up a "Personal Palette" for your characters (remember that you want to combine people who trigger strong positive or negative feelings in you.)

Answer SOME of the questions as instructed under "Your Character's Physical Life", "Your Character's Inner Life", and "Your Character's Life with Others". 

Once you know your characters better, give each character in your play draft (short play draft #1) a monologue where you use some of the details you fleshed out to provide more information to the audience about that character. 

Revise and rewrite. Your second draft is NOT due yet.

Period 2:

At their core, all plays are about characters in conflict. The five common types of literary conflict include:

1. Person v. Person
2. Person v. Self
3. Person v. Nature (also human nature)
4. Person v. Society
5. Person v. Fate, the Supernatural, or God

Please get into groups of 2-4. Read "The Loveliest Afternoon of the Year" by John Guare (see below). 

As you read the short play "The Loveliest Afternoon of the Year" by John Guare, identify different ways in which the playwright uses conflict as a dramatic centerpiece for the comedy. Take note of the kinds of conflict that occur in the play and write down the type (see above). Select a member of your group to "report out" and post a COMMENT in my COMMENT section of this blog to summarize what you found.  Briefly describe what conflict you found working in the play, whether that is a central or major conflict in the play, or a smaller, side conflict that helps to develop character motivations. Finally, make sure your comment includes specific details and examples from the text where you want to make your points.

Kathy Bates and Anne Pitoniak in the original production of 'Night Mother.

When your group finishes (reading, discussing and posting), please begin reading the script 'Night Mother by Marsha Norman. Complete a play analysis (handout OR Google Classroom form) for this play. We will discuss both "The Loveliest Afternoon of the Year" and "'Night Mother" next time in class. 

HOMEWORK: Complete reading 'Night Mother. Complete the play analysis for this play. Due Tuesday, Sept. 24.

Spic-O-Rama (viewing); Basic Character Builder

This morning we are going to watch the mono-drama (a one-person show) from John Leguizamo: Spic-o-Rama. Please click on the link and take some basic notes about the playwright & actor.

As we watch, take notes on this play. Consider the following questions to discuss after viewing:

• What is the premise and/or MDQ (major dramatic question) in this play?
• How does Leguizamo's portrayal of his characters make the play "come alive" (as opposed to reading a script)?
• What surprised you or changed your opinion of the show? (contrast your reading experience with your viewing experience). 
• What props and/or costumes are used to help define and characterize the characters in this play?
• How does the set add or detract from the action/conflict or character(s) in the play?
• Why might someone pay money to see this performance? What does the play offer us that TV, Movies, Video (games or entertainment) or Books might not?

Period 2:

After our discussion of the play, let's work on developing your characters from the play draft you wrote this past weekend (or in class last Thursday). 

For each character in your play, please complete notes and questions from the handout. Set up a "Personal Palette" for your characters (remember that you want to combine people who trigger strong positive or negative feelings in you.)

Answer SOME of the questions as instructed under "Your Character's Physical Life", "Your Character's Inner Life", and "Your Character's Life with Others". 

Once you know your characters better, give each character in your play draft (short play draft #1) a monologue where you use some of the details you fleshed out to provide more information to the audience about that character. 

Revise and rewrite. Your second draft is NOT due yet.

HOMEWORK: None.

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.

Short Scene Activity; The Mountaintop

This morning, take a look at this quick video: Tips to Remember When Writing a Play Script

WRITING TASK: In the comment section of this blog post, take 10-15 minutes to brainstorm some topics for a play that might be important contemporary subject matter for a play. Outline your idea and submit the premise/idea of your play in the comment section below for participation credit this morning. Consider:

• Where would the action of the play take place? How might this setting be staged?
• Would you need a single act or several to effectively tell this story? A single scene, or several? Why?
• What would be the basic PREMISE of your play? A premise is usually a 1-sentence summary of the play. See your vocabulary sheet/notes for further details. 
• What characters would be needed to tell your story?
• What would be the main conflict of the play? How might this be developed?
• Would the play end happily or tragically? What are some reasons why this would be your best choice?

After posting, now, working together as a pair or on your own, choose to develop your outline. Create a short scene or monologue in the style of The Colored Museum. Each scene or monologue should have a definite beginning, middle, and end. Aim to write at least 2 to 3 pages (skip lines between character's lines--see format handout for help). Skip lines between speakers. You may format your script like the publishing format in the script if you have to, but be consistent, please. Your scene will be due at the end of class today. You can submit your scene draft to our Google classroom assignment.

Period 2: 

if you finish your scene, join a small group of 2-5 to begin reading "The Mountaintop" by Katori Hall together. You can read more about Katori Hall at her website. Complete "The Mountaintop" for homework (see below). Here are some highlights from the Broadway production starring Angela Basset and Samuel L. Jackson.

Please turn in and submit your play draft by the end of class today. If you did not complete your work, please complete it and turn it in late for Monday.

HOMEWORK: Complete "The Mountaintop" and complete the play analysis for the play (this can be found on the Google Classroom site). Due Monday. Also, read this article about the play: "Katori Hall Expresses Rage Over Revisionist Casting of the The Mountaintop" so we can discuss it Monday.

EXTRA CREDIT OPPORTUNITY: The Rochester Fringe Festival opened yesterday. Take a catalog and go see a performance this week (the festival runs through next 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" is opening this weekend on Saturday and Sunday at the School of the Arts during the Fringe, and also runs through next week. Ms. Gamzon is directing an original play written by one of her friends and colleagues called "Colma". Ms. Accorso also has a play that she wrote in the Fringe. Go see our work, or go see any other show. 

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.

The Colored Museum: Discussion/Analysis

Let's start today by examining your favorite scene or monologue from The Colored Museum. Take  a few minutes to re-read the scene/monologue. Take 10 minutes to complete your comment. In the COMMENT section of this blog, please answer one of the following questions. Make sure you identify the monologues or scenes you are using as examples. Try to be specific in your answer.

1. The character speaking hooks his/her audience--what grabs our attention? What specific lines or narrative compels us (as an audience) to listen attentively? 
2. How the character(s) communicate(s) meaning (what's the purpose/point of speaking?) What seems to be the playwrights' message or point to his audience?
3. How details and stage descriptions are presented to the audience. Why is it important to explain the action or character information in the stage directions as opposed to the words the characters say? What actions are suggested by the DIALOGUE or speech in the scene?
4. How the story and plot are interwoven into the monologue or scene. What happens in the story? Examine what happens in the beginning, middle, and finally the end of the scene or monologue. How does the scene/monologue feel "complete"?
5. How the playwright Wolfe uses language or diction to create visual imagery (metaphor, allusion, personification, symbol, simile, etc.), sound imagery (onomatopoeia, rhyme, rhythm, alliteration, assonance, consonance, etc.), and kinesthetic imagery (the movement of the characters or their actions; e.g., what are we "seeing" happen on stage?)
6. How props or costumes are used (if any) help establish setting or character. What do props or costume descriptions add to the scene or monologue? How do they help develop or define characters or setting?

If you finish early, please learn about George C. Wolfe here at this link. 

TASK: After our analysis of some of the scenes, let's conduct a class discussion/Socratic seminar on the play. 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 or confuse you? Which scenes or monologues did you like most? Why? Explain why you reacted to the play in this way.
• What is the premise of "The Colored Museum"? In a sentence or two, explain what you think is the premise or main idea/theme of the play. Is this premise interesting or important for a contemporary audience? Do you think people would pay to see this play if performed today? Why or why not?
• What challenges and stage requirements are necessary to produce this play? How has George C. Wolfe anticipated a low-budget theater being able to produce his play? What might a wealthy or supported theater be able to add to a production of this play? What did you learn about staging from the monologues or scenes you read?
• Why are the monologues or scenes in the order that Wolfe puts them? What is the reason to start and end the play with the monologues/scenes he does?
• Other observations? As a writer, what did you notice? What do you want to talk about in regards to this play? What might be important to remember as you write short scenes of your own?

The Colored Museum - Git on Board & Cookin with Aunt Ethel, The Photo Shoot; Soldier With a Secret; The Gospel According to Miss Roj, The Hairpiece; Symbiosis; The Last Mama on the Couch Play; Permutations; & The Party 

WRITING TASK: In your journal or notes, brainstorm some topics for a play that might be important subject matter for a play. Outline your idea. Consider:

• Where would the action of the play take place?
• Would you have a single act or several? A single scene, or several? Why?
• What would be the basic PREMISE of your play?
• What characters would be needed to tell your story?
• Would the play end happily or tragically? What are some reasons why this would be your best choice?

Now, working together as a pair or on your own, choose to develop your outline. Create a short scene or monologue. Each scene or monologue should have a definite beginning, middle, and end. Aim to write at least 1 to 3 pages. Skip lines between speakers. You may format your script like the publishing format in the script. Be consistent, please. Your scene will be due at the end of class today.

HOMEWORK: None. Please complete your short scene by next class if you did not complete it in class today.

The Colored Museum; Classroom Procedures

Class procedures: From your manifestos, the class agreed upon the following classroom rules or procedures to follow:

Rules You Would Like Us to Follow:

• Participate in this course/class
• Support each other creatively & respect each other; be considerate (no bullying or judging!)
• Provide constructive criticism positively & speak up (communicate!) (see above!)
• Collaborate
• Stay on task/focus/put forth effort to pass (no procrastination! see above!)
• Come to class on time

Let's read the play together. As we read, after the scenes, we'll stop to examine/answer these questions together as a class. 

1. The character speaking hooks his/her audience--what grabs our attention? What specific lines or narrative compels us (as an audience) to listen attentively? 
2. How the character(s) communicate(s) meaning (what's the purpose/point of speaking?) What seems to be the playwrights' message or point to his audience?
3. How details and stage descriptions are presented to the audience. Why is it important to explain the action or character information in the stage directions as opposed to the words the characters say? What actions are suggested by the DIALOGUE or speech in the scene?
4. How the story and plot are interwoven into the monologue or scene. What happens in the story? Examine what happens in the beginning, middle, and finally the end of the scene or monologue. How does the scene/monologue feel "complete"?
5. How the playwright Wolfe uses language or diction to create visual imagery (metaphor, allusion, personification, symbol, simile, etc.), sound imagery (onomatopoeia, rhyme, rhythm, alliteration, assonance, consonance, etc.), and kinesthetic imagery (the movement of the characters or their actions; e.g., what are we "seeing" happen on stage?)
6. How props or costumes are used (if any) help establish setting or character. What do props or costume descriptions add to the scene or monologue? How do they help develop or define characters or setting?

TASK: After our analysis of some of the scenes and our reading of the play, let's conduct a class discussion/Socratic seminar on the play. 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 or confuse you? Which scenes or monologues did you like most? Why? Explain why you reacted to the play in this way.
• What is the premise of "The Colored Museum"? In a sentence or two, explain what you think is the premise or main idea/theme of the play. Is this premise interesting or important for a contemporary audience? Do you think people would pay to see this play if performed today? Why or why not?
• What challenges and stage requirements are necessary to produce this play? How has George C. Wolfe anticipated a low-budget theater being able to produce his play? What might a wealthy or supported theater be able to add to a production of this play? What did you learn about staging from the monologues or scenes you read?
• Why are the monologues or scenes in the order that Wolfe puts them? What is the reason to start and end the play with the monologues/scenes he does?
• Other observations? As a writer, what did you notice? What do you want to talk about in regards to this play? What might be important to remember as you write short scenes of your own?

If we make it all the way through the play and have completed our discussion, let's view a few scenes from a televised version of the play.

The Colored Museum - Git on Board & Cookin with Aunt Ethel, The Photo Shoot; Soldier With a Secret; The Gospel According to Miss Roj, The Hairpiece,; Symbiosis; The Last Mama on the Couch Play; Permutations; & The Party 

WRITING TASK: In your journal or notes, brainstorm some topics for a play that might be important subject matter for a play. Outline your idea. Consider:

• Where would the action of the play take place?
• Would you have a single act or several? A single scene, or several? Why?
• What would be the basic PREMISE of your play?
• What characters would be needed to tell your story?
• Would the play end happily or tragically? What are some reasons why this would be your best choice?

HOMEWORK: If we didn't finish watching the linked scenes of the play, please watch those. Complete the WRITING TASK above in your notes/journal and bring your outline to our next class. We will begin to write a short scene or monologue using your brainstormed idea.

Welcome!

Welcome back, class of 2021! I hope you all had a restful and enjoyable summer!

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, allow you to examine the use of conflict in your plots, allow you to play and experiment with language and poetry, as well as make you a better psychologist (dealing with people in crisis)!

All the while we will be honing your writer's craft and developing your writer's voice. The other half of your year will focus on contemporary writers--which should give you some good themes and ideas for your play or film scripts. It's a small world, after all.

Anyway, after our break out groups, we will get started with a required writing activity, read a bit, and start on a couple of assignments to begin this course. By the end of class today, we'll get our locker assignments and I'll explain the cell phone procedure thing.

For now, let's get started by going to one of the 3 "work sites" or "group discussion areas". In small groups of 5-6 please gather at 1 of the 3 labeled stations. We'll rotate from there to the next station about every 10 minutes. At your station, please complete the short assignment for that station.

• Station 1 is your course criteria. Information about the class and procedures can be found here. Please complete the following:
• Read the course criteria. If you have any questions about the course or its procedures, please jot down a yellow sticky note with your question. I will attempt to answer these.
• Take, read & study the theater vocabulary handout. You'll need this during the course. Familiarize yourself with some of the key terminologies we will be using.
• Peruse the baseline writing instructions. We'll get to this task/assignment in a little while.
• Station 2 is a "classroom contract." Consider how you want this class to be run. What might make the course more helpful or useful to you with your education goals? Create a "manifesto" of writing goals for the year. Please turn this manifesto in by the end of class today for participation credit.
• Station 3 is a brainstorming site to collect contemporary issues/themes and subjects you might wish to use for ideas about what to write. Please do the following:
• On the 11x17" paper list some contemporary issues/themes that you can think of. Consider stories/novels you've read, other plays, films or TV programs you've seen (what were their themes/issues?) Ex. coming of age, betrayal, redemption, falling in love, being true to oneself, honesty, etc.
• Pick up a Fringe Festival catalog (they're yours to keep) and read the summary of some of the plays being produced this year. Note the ones that sound interesting or that might make a good stage play. These play/performance summaries might give you some ideas for your baseline activity.

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. It is a useful resource for the course (since we don't have a specific textbook)--so please use it.

Generally, we will use a Google Classroom to submit your assignments. Assignments that can be turned in digitally (no printing!) will be posted on the Google Classroom site. Go there now (classroom.google.com) and enter this code: 4imvn7

Make sure that when you are in class using a Chromebook that you do the following EACH DAY:

• Log in. 
• Open a TAB and go to our classroom BLOG: scriptssota.blogspot.com
• Open a SECOND TAB and go to GOOGLE CLASSROOM: classroom.google, etc.
• Keep both TABS open during class or as instructed. It's also a good idea to open a THIRD TAB in Google to take class notes (or write class notes by hand if you prefer...) 
• When using headphones (only as instructed please!) please make sure you have only one ear bud in your ear at any time. Lower volume so that only you can hear what is being played. 
• Cell phones should be put away at 7:30. If you need to use them for a class assignment, I will instruct you. Otherwise, put them away. Just a reminder that the hallway is not the place to use your cell phone either. Only use the pass for emergencies, please.
• After each class period, please plug your Chromebooks back into the cabinet. Make sure the Chrome symbol is at the top of the slot and plug in your laptop. Do NOT leave computers on your desk or in elsewhere in the room. You may not take them home either. They remain in the classroom for all scheduled classes to use. 

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. It is, however, your responsibility to talk to me about your needs. This is your education. Make it worthwhile.

On our link page and in Google Classroom, 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, after reading about the course, checking the theater vocab sheet & advice and answering any questions regarding the same, let's begin playwriting with a baseline writing exercise.

You will need a Chromebook (or use the essay paper provided...). Log on and sign up for our Google Classroom. The assignment is available there. Open it and begin writing. This assignment will be due by the end of class (or collected late--penalty applies--by next class.)

• The task is simple. You have 30 minutes to write a complete scene (with a definite beginning, middle, and end) in script format as you remember it. Note that "scenes" are not full plays. You don't need to wrap up every detail and plot hole. But your scene should begin, sustain conflict a bit, and ultimately end.

• Limit your cast of characters to no more than four (4). Two or three (2-3) characters works best. You must have more than one. Setting, plot, writing style, and theme is completely up to you. Remember to give your "scene" a working title. Have at it. 

• Be creative. Focus on the task of writing. Let your words flow from you without a lot of editing or over thinking this exercise. Stay off your neighbor's radar. You'll have time to chat later in class. Don't spend your writing time talking or going to sleep. Wake up and write! Also: trust your instincts as an artist and writer! Let's get back into practice.

• You will have about 30 minutes to write. If you get stuck, unstick. Review the handout, etc. Timer will now be set. And...Go!

If you happen to finish your scene early and the rest of the class is still writing, please begin reading The Colored Museum by George C. Wolfe. It's a good idea to start with the second or third monologue or scene first, as you will likely read the first monologue and subsequent pages in order with your group.

After we write our baseline, we'll receive our locker assignments, then return and get started reading The Colored Museum in small groups.

HOMEWORK: #1 - Complete The Colored Museum by George C. Wolfe. As you read the monologues and scenes, pay close attention to how language and conflict within the monologues or scenes help to develop character and comment on important themes (such as identity, self-worth, race, freedom, etc.) Bring the play script with you to our next class (Friday) for a discussion of the play. 

#2: Please share the course criteria sheet with your parents/guardians. 

#3: If you did not complete your scene and need more time to do so, please complete your baseline scene and submit it before next class begins. Your work will count as late (unless you were absent today) but the late penalty is not severe.

Have a nice day--and welcome back!