Charles Busch often sets his plays in a variety of historical settings. While most of these are the 20th century, because of the distance from our own time period, these settings can be useful to create satire, parody, or burlesque. Click on these vocabulary words ("burlesque" particularly,) to learn about the word and term.
Brainstorm historical settings that you find interesting. From your list choose the one (or few) that you feel has the most creativity, the most relevance to our society today, or the one that most intrigues you.
Spend 10-15 minutes examining the internet for information about your historical period. Do this relatively quickly, but take notes and begin thinking of potential plots or significant events that happened at that place and time or people who lived during that time period. Use your notes and brainstorming to PLAN your story a bit before you just right in and write, then get stuck and bother your neighbor.
After your brainstorming period, decide on a few characters. Write brief descriptions of who these people might be. Start with the most interesting major character and work your way from there. Don't worry about incidental or minor characters yet.
Begin "Scene 1" - this should look and feel exactly like a 10-minute play. It should have a beginning, middle, and end all on its own. Write ONLY this first scene. We will work on other "scenes" next week. Try to complete Scene 1 today.
HOMEWORK: Please read either Red Scare on Sunset or The Lady in Question. Both of these comedies are set in a specific historical period. Pay close attention to how Busch creates his comedy. Recall what you know personally about the time period the play is set. Busch alludes to current events from these time periods. He also is a film buff, so the style he's often going for in his comedies comes from schlocky period films. You may try this technique out as well.
For example: If you set your scene in Rome, 24 A.D (C.E.) type in Ancient or Epic Roman films in Youtube and you'll see the sort of thing you might need.
Wednesday, September 30, 2009
Tuesday, September 29, 2009
Vampire Lesbians of Sodom
Today in class after our quiz, we will be reading Vampire Lesbians of Sodom. Please complete the play for homework. Disregard the homework below until the weekend.
For homework: please read either Red Scare on Sunset or The Lady in Question. You may, of course, read both plays if you'd like. Next class we will be working on a new play idea based on the comedies of Charles Busch.
For homework: please read either Red Scare on Sunset or The Lady in Question. You may, of course, read both plays if you'd like. Next class we will be working on a new play idea based on the comedies of Charles Busch.
A Few More Films to Help with Background
The film Sybil is alluded to in the script Psycho Beach Party. Sensational films like these became popular in the 1970's like the film Carrie. Both films were made in 1976.
Additionally, there is reference to Joan Crawford (as a model for Mrs. Forrest's character). Joan was a matinee idol that went on to ruin her career with silly horror films. One infamous film was William Castle's production of Strait Jacket (1964). Many gay audiences are familiar with the campy Mommie Dearest version of Crawford's life. All in all, Joan Crawford played an excellent femme fatale.
Combine this film with beach film trends and a dash of Sybil and Carrie and you get our beloved Psycho Beach Party.
Additionally, there is reference to Joan Crawford (as a model for Mrs. Forrest's character). Joan was a matinee idol that went on to ruin her career with silly horror films. One infamous film was William Castle's production of Strait Jacket (1964). Many gay audiences are familiar with the campy Mommie Dearest version of Crawford's life. All in all, Joan Crawford played an excellent femme fatale.
Combine this film with beach film trends and a dash of Sybil and Carrie and you get our beloved Psycho Beach Party.
Friday, September 25, 2009
Beach Movies
High School Musical is popular today, but teen films have rocked the entertainment world since the 50s.
"One of the first teen films ever was the 1955 classic ‘Rebel Without A Cause’ which tells the story of a rebellious teenager played by James Dean. He comes to a new town, hangs out with girls, doesn’t do what his parents tell him and stands up to bullies at school – what a hero!
It was the first time that films had ever portrayed young people in this way, and also the first time that society even admitted that young adults - i.e. ‘teenagers’, existed! For this reason it has been seen as a really culturally important film."
Popular films targeted at teen audiences continued to fill the wallets of film producers. In the early 60's this led to the popular beach party film.
Most films starred the same actors and actresses and the story lines were kept simple – usually revolving around couples trying to make the other jealous – sound familiar?
A typical story usually follows teens into their everyday lives, sometimes with characters breaking into song at the twinge of an angst ridden moment. Take a look at some of these links.
Beach Party film history.
Bikini Beach (1964) Original Trailer here.
Beach Blanket Bingo (1965)
Muscle Beach Party (1964)
Later, beach films began to combine the two biggest box-office teen film styles: the horror film and the beach film.
Ghost in the Invisible Bikini (1966)
Annette Funicello & Frankie Avalon (two big 50's/60's teenage stars)
Charles Busch is using this silly genre to entertain his modern audiences.
"One of the first teen films ever was the 1955 classic ‘Rebel Without A Cause’ which tells the story of a rebellious teenager played by James Dean. He comes to a new town, hangs out with girls, doesn’t do what his parents tell him and stands up to bullies at school – what a hero!
It was the first time that films had ever portrayed young people in this way, and also the first time that society even admitted that young adults - i.e. ‘teenagers’, existed! For this reason it has been seen as a really culturally important film."
Popular films targeted at teen audiences continued to fill the wallets of film producers. In the early 60's this led to the popular beach party film.
Most films starred the same actors and actresses and the story lines were kept simple – usually revolving around couples trying to make the other jealous – sound familiar?
A typical story usually follows teens into their everyday lives, sometimes with characters breaking into song at the twinge of an angst ridden moment. Take a look at some of these links.
Beach Party film history.
Bikini Beach (1964) Original Trailer here.
Beach Blanket Bingo (1965)
Muscle Beach Party (1964)
Later, beach films began to combine the two biggest box-office teen film styles: the horror film and the beach film.
Ghost in the Invisible Bikini (1966)
Annette Funicello & Frankie Avalon (two big 50's/60's teenage stars)
Charles Busch is using this silly genre to entertain his modern audiences.
Charles Busch, Cross-dressing, and Comedy
Please take a look at Charles Busch's blog. He has placed a variety of play video clips here. Take a look at a few of these. His official website is located here.
Please watch a few video clips, read an interview or two with the author, and learn a little about his background. All this information can/should be recorded in your journal/notebook for later reference.
A note about cross-dressing and theatre:
Since theatre began, cross-dressing has been a common occurrence on the stage. As far back as ancient Greek theatre, male actors acted both male and female roles on stage. Later in pantomime, commedia dell'arte, and medieval theatre the tradition continued. Of course, Shakespeare and his contemporaries also used cross-dressing in Elizabethan theatre. Many of Shakespeare's funniest comedies use the trope of cross-dressing, for example: Twelfth Night, As You Like It, and even the Merchant of Venice.
Comedy in theatre:
There are various types of comedy found in theatre today.
Sentimental Comedy examines the tribulations and trials of common people worrying about common things, but it all works out in the end.
Romantic comedies are plays that revolve around relationships. Usually following the love archetype: boy (or girl) gets girl (or boy), boy (or girl) loses girl (or boy), boy (or girl) gets girl (or boy) in the end.
Farce includes fast-paced action, improbable situations, hyperbolic characters, and lots of entrances and exits to cause confusion and conflict.
Satirical plays (taken from the ancient Greek Satyr play form) poke fun at something in society or about human nature that needs to be examined or changed.
Black comedies poke fun at serious topics. These are often considered in 'bad taste' by sensitive, less cynical audience members. Black or 'dark' comedies usually don't end happily.
Absurdist comedies point out the futility of life, using nonsense and trivia to examine that the meaning of life is...well...meaningless. These plays are often metaphorical or symbolic.
There are others as well. We will examine many of these in the next few weeks.
Please watch a few video clips, read an interview or two with the author, and learn a little about his background. All this information can/should be recorded in your journal/notebook for later reference.
A note about cross-dressing and theatre:
Since theatre began, cross-dressing has been a common occurrence on the stage. As far back as ancient Greek theatre, male actors acted both male and female roles on stage. Later in pantomime, commedia dell'arte, and medieval theatre the tradition continued. Of course, Shakespeare and his contemporaries also used cross-dressing in Elizabethan theatre. Many of Shakespeare's funniest comedies use the trope of cross-dressing, for example: Twelfth Night, As You Like It, and even the Merchant of Venice.
Comedy in theatre:
There are various types of comedy found in theatre today.
Sentimental Comedy examines the tribulations and trials of common people worrying about common things, but it all works out in the end.
Romantic comedies are plays that revolve around relationships. Usually following the love archetype: boy (or girl) gets girl (or boy), boy (or girl) loses girl (or boy), boy (or girl) gets girl (or boy) in the end.
Farce includes fast-paced action, improbable situations, hyperbolic characters, and lots of entrances and exits to cause confusion and conflict.
Satirical plays (taken from the ancient Greek Satyr play form) poke fun at something in society or about human nature that needs to be examined or changed.
Black comedies poke fun at serious topics. These are often considered in 'bad taste' by sensitive, less cynical audience members. Black or 'dark' comedies usually don't end happily.
Absurdist comedies point out the futility of life, using nonsense and trivia to examine that the meaning of life is...well...meaningless. These plays are often metaphorical or symbolic.
There are others as well. We will examine many of these in the next few weeks.
10 - Minute Play/Psycho Beach Party
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.
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.
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.
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