Unit 9 Writing for Stage and Screen

A drama is:

A serious play often with a sad ending

A tragedy is

A serious play where main characters, often the protagonist, dies at the end.

Which of the following is not a method of characterization used in playwriting?

Description of the character

Protagonist

Has wants and goals Goes on a journey to reach at least one of those wants or goals Faces challenges on the journey Challenges are usually both internal and external Changes and grows as a result of the journey May or may not reach or want goal

Who is the protagonist of this play? "The game"

Life

Supporting characters

May be with the protagonist for the whole journey or just part Supports the protagonist in reaching wants and goals Also has wants and goals that may become part of the story, although in a short play this may not happen Can be friends, relatives or love interests of the protagonist Also may change and grow but this change is not as important as the protagonist's

What is the purpose of Scene 7? "The game"

To create falling action

A dynamic character is

a character who grows and changes

A round character is

a well developed character

Loss of memory in the protagonist would be considered

an abstract antagonist

Antagonis

can be abstract can be physical If a character: He or she also has wants and goals that conflict with the protagonist's wants and goals Also goes on a journey, although the journey usually blocks the protagonists journey in some way. Is not necessarily bad or actively working against the protagonist, although he or she could be May also change and grow, but this change is not as important as that of the protagonists

Plays are usually driven by

characters

Elements of Playwriting, Part 1 The Set Small stage with red velvet theater curtains Small stage with a painted backdrop. The setting of a play is presented in two ways: through the set and through props. The set is the way the stage is prepared to show setting. This includes the backdrops, which are either solid walls or curtain material that is painted, and large furniture or objects that aren't moved by the actors. The props are moveable objects that the actors use. The set is usually fully designed at the time the play is presented rather than by the playwright, although the playwright should include important set information that will help the set designer create the kind of setting the playwright had in mind. Click to read the set descriptions for three different plays. We will discuss the format of set description in the next section. As you read these set descriptions, pay more attention to the content rather than to the format. What do the set directions for A Doll's House tell you about the setting, type of stage, and maybe even the type of play that the playwright envisions? Answer What can you infer about Waiting for Godot from the set descriptions? Answer Our Town uses a very different type of set because it is bare except for a few chairs. Waiting for Godot uses a bare set because the setting itself is supposed to be bare. In Our Town, the setting is imaginary. When this play was first written, a set like this was almost shocking for audiences accustomed to the kind of detailed set seen in the first description we read. This type of set requires the audience to use their imaginations. Both Trifles and The Importance of Being Earnest have realistic settings, although the playwrights did not describe them in as much detail as Ibsen did for A Doll's House. The Game has no set description at all, which leaves the set design completely up to the director. It also allows for an empty stage to be used. 1 10 10 19

s

John Worthing in THe Importance of being earnest has a personality that could best be described as

serious and in love

Algernon in The Importance of Being Earnest has a personality that could best be described as:

shallow and self centered in a likeable way

The way the setting is portrayed on the stage is

the set

Answer August pushing Adi moves things forward as Adi slowly begins to feel that he can believe in himself. There is some back and forth movement as August gets Adi to be more positive but then Adi descends back into depression. The dialogue moves the story to the climax, where we learn that Adi is Adolph Hitler ... and we all know the rest of the story.

x

Answer Because Adi's wants are the ones we see and hear about — and because Adi grows and changes — he is the protagonist. Since August is helping him, he is the supporting character. This play uses an abstract antagonist — all the people who don't believe in Adi.

x

Answer Because the audience is in the front and because the stage is surrounded by three walls, the setting can be very realistic. The three walls can be painted to look like walls of a room, or a forest. Doorways can allow "invisible" entering and exiting. On the other hand, because everything is between or behind the proscenium arch, sometimes things are not as visible to the audience as one might want. Performances on a proscenium stage are usually more formal and removed from the audience.

x

Answer Most thrust stages include both a part that sticks into the audience and a part like a proscenium stage that is in front of the audience. Thus, you can have realistic setting, but also create a more intimate and less formal feeling by having the actors perform part of the action in the middle of the audience. It can allow for audience participation if desired. It can also allow the audience to see things that are supposed to be hidden from the other actors. Depending on the back part of the stage, it can allow for doorways.

x

Answer One disadvantage is that you can't have a realistic setting since there are no walls - and also no doorways. Actors must enter and exit in full view of the audience (unless trapdoors are used). However, more experimental plays or plays that don't depend on a specific setting can work well in theater-in-the-round because of the intimate and informal feeling this kind of presentation gives to the audience. It is important to remember to have characters move in a way that allows all audience members to see.

x

Answer Primarily through dialogue, and to a certain extent through actions as well as vocal and facial expressions which the actors will be responsible for. We know how the men think about women through dialogue, and vice versa. We also learn about Mr. and Mrs. Wright through the women's dialogue with each other.

x

Answer The conflict is internal — a battle between Adi's low self-esteem caused by the antagonists, and his wanting to be famous and prove his antagonists wrong.

x

Answer The dead canary is a symbol of Mrs. Wright, who was first caged by her husband and then had her singing killed. In a larger way, it could be symbolic of all women who may be oppressed to the point of having their personal identities killed. It is this symbol that also moves Mrs. Peters and Mrs. Hale to decide not to speak about their discoveries.

x

Answer The men in this play seem to be flat. They are in the play more as something to compare the women to, rather than being important as individuals. They also stand for a male perspective of women that was common in the time period of this play, a perspective that the playwright was speaking against. The women are round characters. We learn quite a bit about each of them. They have feelings, desires and also guilt in the case of Mrs. Hale. They are dynamic as well. They grow from being connected to the men as an unimportant part of the visit — to gather things for Mrs. Wright — to people who figure out the crime details and then make a decision to stand up for one of their own, an oppressed woman, against the men in their lives.

x

Answer The playwright sees a very realistic set that could be important to show the audience the type of home the characters live in. This, of course, also shows the audience what kind of people the home owners are. Ibsen also has a picture of how people will enter and exit the stage since he has the doors placed in specific areas. This type of set pretty much needs a proscenium stage and would need to be rewritten to fit another type of stage. The furniture and other items are very specific and are probably all used at some point in the play.

x

Answer This play could be presented on any kind of stage. The playwright envisions a very bare stage that will create a very different kind of mood than a detailed, realistic setting like that of A Doll's House. It also focuses the audience more on the characters and action rather than on setting.

x

Answer We see that August feels responsibility for helping Adi with his low self-esteem. Based on the way they talk to each other, they've known each other for some time. We find out that Adi is angry at the people who don't see his talent — and his father who is among the group of antagonists. He also is depressed and has given in to his antagonists — both the people who don't believe in him and his own low self-esteem. We also learn quite a bit about Adi's background and why he is the way he is.

x

Does "Trifles" have a theme? If so, what is it? Probably the most important theme is that men and women approach things differently, and — in the time during which this was written — the woman's approach was not respected by men but should have been.

x

Elements of Playwriting, Part 1 A Narrator? Or Not ... Curtains with microphone While narrators can make playwriting easier,they tell the story rather than show it Because we looked briefly at a play (Our Town) that uses a narrator to describe setting, and some of the action as well, this is a good time to discuss the use of narrators. Often beginning playwrights want to use narrators, because including narration makes telling the story a little easier. Don't fall into that temptation! Using a narrator is like writing a story that tells rather than shows. You want to show through the characters on the stage, through their dialogue and their action. While the occasional play can benefit from a narrator, most don't. Let's look at an example. Read two scenes, one with a narrator and one with only dialogue. Now, which one do you like better? The dialogue shows, while the narrator tells. Keep that in mind when you feel tempted to use a narrator. Work on using dialogue and action instead. 1 12 12 19

x

Elements of Playwriting, Part 1 Dialogue Finally! We are finally getting to the meat of the play, the dialogue. As you've seen in the selections you've read so far, dialogue is what ultimately tells the story of your play, with the help of a little action. Dialogue develops your characters and their relationships with each other. Dialogue shows the importance of the conflicts, moves the story through rising action, allows the audience to be part of the climax, and then leads us down to the end through the falling action. It is primarily through dialogue that the audience "gets" the tone, feels the mood, and understands the themes. Learn more about writing good and effective dialogue. View the presentation as often as you would like, and take notes as you follow along. Download script as PDF file. 1 14 14 19

x

Elements of Playwriting, Part 1 Dialogue in To Be Immortal Imported Asset Plays with strong dialogue can get away with very simple sets The next play you will read was written recently, although the action takes place during the early 1900s. While you read this play, pay most attention to how the dialogue works in the play. Which sections develop relationships? Which sections move the story forward? You will notice that this play involves very little action. It is totally dependent on the dialogue to tell the story. Watch for irony as well in this play! "To Be Immortal" can also be found at Freedrama.com along with a number of other original short plays. Let's start with a non-dialogue question. Who is the protagonist? The antagonist? Is there a supporting character? Answer Is the conflict in this play internal or external? Answer How does the dialogue develop the relationships between the two characters—and the antagonists? Answer How does the dialogue move the story forward? Answer The ending to this story is meant to be a surprise — and probably is for most readers. Do you think the dialogue includes enough clues to make the surprise believable? Or do you feel there are so many clues that you knew the ending before it happened? If you use a surprise ending, you will want to balance the "clues" so the audience is surprised but at the same time can nod their heads and say, "Oh yeah, that makes sense." In the next page you will begin writing your own dialogue. 1 15 15 19

x

Elements of Playwriting, Part 1 Discussion: Sharing and Helping By now, you may have your complete story idea and characters all worked out. Or some parts may be thought through, and other parts still have to be figured out. Take a few minutes now to share your story idea and your characters with your fellow playwrights. If you are stuck, ask for help. Do you have great characters — but aren't sure how to incorporate a good conflict? Do you have a great plot, but can't quite get your characters fleshed out? After posting a brief description of your characters and plot, ask for suggestions if you are unsure about where to go next. The important thing in this discussion is to respond to others! In order to help other writers, even if they don't ask for help, read through their post and ask questions. "What if" questions are the best. What if your character did this ..., what would happen? What if this character responded this way? What if a new character was introduced here? What if the character didn't learn about this until later? Your job is not to tell writers how to write their play, but to get them thinking about other possibilities. Be sure to go back a few times to check your post for other writers' questions. You may find yourself going in a whole new — and perhaps better — direction because of their questions. Please post your discussion into the Sharing and Helping Discussion, and respond thoughtfully to the posts of other students. For grading guidelines, please see the Discussion Rubric. 1 7 7 19

x

Elements of Playwriting, Part 1 Elements of Playwriting, Part 1: Introduction Hands kneading a ball of clay. Think of all the infinite possibilities in this lump of clay ... and in words "Writing dialogue, playing with words on a page, has almost the tactile pleasure of molding clay. It's not the concrete word per se that has meaning for me but its infinite possibilities, like building blocks in the hands of children. With words I can create metaphor which is my way of shouting to the world." —Rachel Feldbin Urist, American playwright and playwriting teacher Your characters will begin dealing with their conflicts in this section. We will read a few more play scripts as we learn about how plays are structured. We will investigate what a stage looks like and what that means for your setting. We will also begin working with effective dialogue. By the end of this section, you will have your story idea and at least part of the dialogue written. Your final play will be between five and ten pages long. It should involve at least two characters, and no more than five. A five- to ten-page play equals approximately three to ten minutes of acting time, depending on the amount of action involved. While so many pages may seem daunting, it really isn't because of the way plays are formatted. Your five- to ten-page play is the equivalent of a three to six page story. 1 1 19

x

Elements of Playwriting, Part 1 Play Structure in The Game Imported Asset Will Youth and the Girl live? Or will Death win the game? Read "The Game" to find out! Let's read another short one-act play. This one is an allegory, written in 1916. Although it was written some time ago, you will find some of the ideas presented still valid today. As you read "The Game", by Louise Bryant, notice the Scene divisions. When you come to the end of a scene and start of a new scene, think about why the scene is changing. After reading, check your understanding of scene divisions and purpose in the activity. It will be helpful to either print out The Game or have it open in a separate window so you can refer to it as you read the questions. When you get ready to write your play, even a short one, it is important to think about each scene you use. Every scene needs to have a purpose — either to move the story forward in some way, or to develop characters. Scenes in the middle or end of the play should mostly be focused on moving things forward. If there is a need to develop a character later in the play, try to do it in a way that also moves things forward or keep the scene short since pure character development will generally slow down the action of the play. 1 5 5 19

x

Elements of Playwriting, Part 1 Section Objectives After you have completed this section, you will be able to: Apply the writing process to drafts of playwriting: generative writing, drafting. Read and respond to short play scripts. Identify structural elements of a play including scenes and acts. Identify characteristics of typical stage structures: proscenium, thrust, theater-in-the-round. Analyze the use of setting on the stage. Analyze the use of dialogue in playwriting. Apply the use of setting to writing exercises or short drafts. Apply the use of dialogue in playwriting to writing exercises or short drafts. Apply understanding of structural elements of plays to writing exercises or short drafts. 1 2 2 19

x

Elements of Playwriting, Part 1 Section Warm-Up This warm-up will be a writing notebook entry. You are going to write a journal entry as if you were the antagonist that you have chosen. This journal entry should include something about the protagonist, but beyond that, it is up to you what you write. This will help you get to know the antagonist better, and will also give some motivation for the antagonist's actions. You can use any of the following questions if you are not sure where to start, but if you have something else in mind, go for it! How did you meet the protagonist? What's your relationship with him or her? What don't you like about the protagonist? Why are you against him or her? What is your biggest want in the whole world? What do you need to get that want? How does your want (and the getting of that want) conflict with the protagonist's want? Writing Notebook: Warm-up: Antagonist Journal 1 3 3 19

x

Elements of Playwriting, Part 1 So What About Props? The theatrical properties being set on stage Every prop used in a play should have a purpose. The setting is made up of stationary objects and objects that are moved or handled by the characters. The moveable objects are called props. In The Game, the dice that Life and Death play with are props. The dish with sandwiches in The Importance of Being Earnest is a prop. So is the cigarette box. Just as everything else written into a play, every prop used by a character should have a purpose. Let's look at the props used in two of the plays you read in the last section, Trifles and The Importance of Being Earnest. Think about why you think each prop was put into the play, and then see how you did. Props in "Trifles" Purpose County Attorney's notebook Answer Broken jam jars Answer Dirty towel and unwashed dishes Answer Items left half done: bread, dishrag on a half-clean sink, etc. Answer Bird cage Answer Quilt Square Answer Canary Answer Props in "The Importance of Being Earnest" Purpose Salver (tray) with sandwiches Answer Second plate with bread and butter Answer Silver cigarette case Answer As you work on your play, think about what objects can be used to either develop your characters or to provide reasons for dialogue or action that will move the story forward. 1 11 11 19

x

Elements of Playwriting, Part 1 Structure of a Play Just as prose and poetry have structures and form, so do plays. Complete the activity to learn more about the structure of plays. View the presentation as often as you would like, and take notes as you follow along. Download script as PDF file. 1 4 4 19

x

Elements of Playwriting, Part 1 Structure of the Stage Although playwrights cannot control the type of stage that their play may be presented on, it is helpful while writing to understand what the main types of stages look like. This will help when it comes to thinking about the setting of your play. View the information about the three main types of stage that are used today. 1 8 8 19

x

Elements of Playwriting, Part 1 Structure of the Stage (continued) Fragment of the ancient amphitheater Fragment of the ancient proscenium-style stage in Plovdiv, Bulgaria The proscenium stage is the most commonly used type of stage, although both theater-in-the-round and thrust stages have been gaining in popularity. That is partially because they are both less formal and allow the audience to feel more like they are part of the play rather than just viewing it through an invisible wall. As a playwright, you can write your play specifically with one of these types of stages in mind, or you can choose to write it without a specific stage type in mind. What might the advantages and disadvantages of the proscenium stage be in playwriting? Answer What about a thrust stage? Answer So, what do you think might be some advantages and disadvantages of a theatre-in-the-round? Answer If you picture your play being presented in one of these types of stages, keep it in mind when you decide on how to present your setting. 1 9 9 19

x

Elements of Playwriting, Part 1 Writing Assignment: Hearing Your Characters Speak Because plays are meant to be presented, and the dialogue meant to be heard, it is helpful for playwrights to hear their dialogue as it is being written. That's what you are going to do now. Please record yourself reading the two sections of dialogue that you wrote in your writing notebook. If you have friends who would like to read parts for you and be recorded - that would be great. Otherwise, you will need to read in such a way as to let your listeners know when different characters speak. In other words, try to use a slightly different kind of voice or speed of talking - and leave a brief pause between each character's words You will find directions on how to record your voice in the Orientation section of this class. After you have recorded your sections of dialogue, listen to them and write a paragraph about what you hear. Answer the following questions in your paragraph: Do you think you accomplished the goals of establishing relationships in one section and moving the story forward in the other? How or how not? If not, what can you do to make that happen? Do you think each character's words and way of speaking sounds like it is different from the other characters? Explain. If you think all your characters sound alike, what can you do to change that? Do you think the dialogue sounds like real conversation? Explain. If you think it does not, what can you do to change that? Although this is the only recorded assignment you will submit, you should record your script and listen to it often as you draft. It will help you hear what is working and what is not working. Once you have your recording and your paragraph, submit them to the Hearing Your Characters Speak Assignment link for grading. You will be graded on whether or not you submitted both parts of the assignment, but most of the grade will be based on your written analysis of the recorded dialogue. For grading information, see the Writing Assignment Rubric. 1 17 17 19

x

Elements of Playwriting, Part 1 Writing Notebook: From Prose to Dialogue fountain pen Get out the story plan that you wrote in the last writing notebook activity. You are going to begin writing dialogue for your characters. 1. First, write a short scene of dialogue between characters (either protagonist and antagonist — or protagonist and supporting character(s) — or all of them) that help establish their relationship with each other. This can be either a positive relationship or a conflicting relationship. Look at your story map and choose a scene where this type of dialogue will fit. Set it up like this: CHARACTER NAME Dialogue: CHARACTER NAME Dialogue: And so on. We will work more with formatting in the next section, but this will get you started on the right track as far as writing dialogue goes. 2. Next, write a short conversation between two of your characters that moves your story forward. You may want to use the inciting event (see your story map) for this one. Use the same format as above. On the next page, you will be asked to record yourself reading these two sections of dialogue, and you will do some writing about them, so you may want to revise them a bit. You can also begin working on filling in the rest of the scenes. In the next section, you will continue drafting your script. Writing Notebook: From Prose to Dialogue 1 16 16 19

x

Elements of Playwriting, Part 1 Writing Notebook: Mapping the "Journey" fountain pen It's time to begin planning out your story. If you still aren't sure of what your conflict or plot will be, scroll down to find some idea-generating questions. Creating your plan, or map, will make writing the script much easier. Describe your exposition. In one to two paragraphs, describe a scene that introduces your characters, your setting, and the main conflicts in your story. You should have an internal conflict for your protagonist — and possibly an external conflict as well. Describe your inciting incident. In one paragraph, describe the event that causes your protagonist to begin his or her adventure. Describe some of your rising action. Write a list of three events that build up to the climax of your script. Don't forget to include your supporting characters if you have them. Describe your climax. In one paragraph, describe what will happen in the climax of your script. Describe your falling action. In one to two paragraphs, describe what happens after the climax. Does your protagonist get what he or she wants? Does the antagonist get defeated? How? Describe your resolution. In one to two paragraphs, describe how everything works out in the very end. Remember to show how your characters changed because of their journey. Idea-Generating Questions for those who need them If you still are not sure what goal or what conflict your protagonist has, here are a few more questions to get you thinking: What if your protagonist had a secret that he/she didn't want anyone to find out — but someone did? What if your protagonist discovered something terrible about either a friend or enemy — what will he/she do? What if your protagonist discovered something about him or herself that will change his or her life? What will he/she do? What if your protagonist has to make a decision that will change his or her life? How will he/she decide? Writing Notebook: Mapping the "Journey" 1 6 6 19

x

Elements of Playwriting, Part 1 Writing Notebook: Setting to Set fountain pen Where does your play take place? If you are writing a play script, consider trying to keep the story in one setting. If you are writing a movie script, you can have characters move from place to place, but because the play you are writing is short, you may want to limit movement somewhat. Now, open your writing notebook to a new page, or download the pdf file. First describe the setting as if it were a real place. Remember that setting will help set a tone and create a mood for the audience, just as it does in a story. What colors are most obvious? What objects are important — furniture, trees, rocks... . Write down everything and anything you can think of. After you've described a real setting for your story, think about how it could be created on a stage. What about the setting is absolutely necessary for the action in your play? What is necessary for the mood of your play? What background should there be? What kinds of entrances do you need for actors to appear and disappear (doorways? Cave openings? Holes in the wall?) What objects on the stage? Remember that every object must be important to the action of the play as well as the setting. Too many objects on the stage can get in the way of the action. Then write a second description of the setting as it could appear on the stage. If you are an artist, you may want to draw a few sketches. You might also consider how your play would work if the setting was left more up to the audience's imagination. Writing Notebook: Setting to Set 1 13 13 19

x

Introduction to Playwriting Characterization in Plays: The Importance of Being Earnest Oscar Wilde Oscar Wilde, author of The Importance of Being Earnest The playwright doesn't have the luxury of giving the audience long, detailed descriptions of his or her characters, which is one way that fiction writers use to develop the people in their stories. Instead, everything the audience learns about the characters has to come through in the action and dialogue of the play. How does the writer do that? We are going to read the beginning — the exposition — of a comedy written by British writer Oscar Wilde in the late 1800s. This time, you will have to take yourself back to a time and place where upper-class people had servants, and the young men and women were elegant and had a great deal of leisure time. You will get to know three characters, plus a few who do not yet appear in these scenes. As you read "The Importance of Being Earnest" pay attention to how the writer develops the characters for you. After you read the play, you may want to watch the movie made from this play released in 2002. In the exposition that you just read, we get to know quite a bit about two of the main characters: John Worthing (or is it Ernest?) and Algernon Moncrieff. We also meet Lane, who is Algernon's servant. We hear about Lady Bracknell (who is Algernon's Aunt Augusta), Gwendolyn, and Cecily, and we get information that is designed to set up the rest of the play. So, what do we now know about each of the characters? How does Oscar Wilde give us this information? Go to the next page to analyze what methods of characterization Oscar Wilde used in these scenes to develop Algernon Montcrief. 1 12 12 18

x

Introduction to Playwriting Discussion: What Makes a Good Script? Using the lists you created in your writing notebook, post a discussion explaining what you think makes a good play (or movie or TV show) and what makes a bad play (or movie or TV show). Use examples to support your points. Be sure to read other students' posts — you will read different perspectives and opinions which may give you additional insights, all of which you can use as you explore writing your own script. Respond to other students as well — do you agree with their lists? Do you see any of their positives as negatives ... and vice versa? Please post your discussion into the What Makes a Good Script Discussion, and respond thoughtfully to the posts of other students. For grading guidelines, please see the Discussion Rubric. 1 5 5 18

x

Introduction to Playwriting Elements of a Play: Characters in Trifles Illustration of a woman in a long dress, holding a flower, drawn in an art nouveau style. Without characters there is no play. This is a costume design for a character, drawn around the turn of the last century. So what exactly is a play? What elements can we expect to see in a play? How are those elements presented? We'll start by reading a short play. The one-act drama "Trifles" was written in the early 1900s, so you will have to place yourself in that time — a time when women and men had very different roles. Men were the "breadwinners"and women stayed at home, raising children, growing and preserving food, sewing, knitting and quilting. This play takes place in a rural and rather lonely area, where homes are far apart from each other. The word trifles means "small, unimportant things." Go to the link now and read the play "Trifles." As you read, the first thing you probably noticed that the play is basically a story, told mainly through dialogue. So if a play is really just another vehicle for storytelling, how do the elements of fiction play out in a script, and specifically in Trifles? We'll start by looking at characters. Who were the characters in this play? Who do you think is the protagonist of this play? Why? Who is the antagonist? How do we get to know the characters? How do we know about their relationships to each other and to the conflict of the play? Answer Are the characters well developed? Are they round characters or flat ones? Are they dynamic? Answer We are going to take a break on the next page and get started with some idea generating writing in your writing notebook. After that, we'll examine plot and setting as they appear in Trifles. 1 6 6 18

x

Introduction to Playwriting Elements of a Play: Plot in Trifles Scene from play The Cripple from Inishmaan at Theatre on Taganka, Jan 18, 2012, Moscow, Russia. Roles are performed by Dmitry Vysotsky - Billy, Alexandra Basova - Helen. Characters' responses to each other and to situations create the plot of a play Let's now take a closer look at plot as it is organized in "Trifles". Think about each of the plot parts listed in the chart below. What happened in the play during each part? How were those events presented? In other words, how do we know what happened? After thinking about each part, check the answers to see if you missed anything. What happens in Trifles? How is it presented? Exposition Answer Answer Conflict Answer Answer Rising Action Answer Answer Climax Answer Answer Falling action and/or Resolution Answer Answer The next pages will conclude our look at the play elements in Trifles. After that we'll go into more detail about how we develop and write these different elements into a play. 1 8 8 18

x

Introduction to Playwriting Elements of a Play: Setting and Theme in Trifles Empty bird cage. Objects in a play can be important both for what they are physically and for what they might symbolize Let's spend just a few more minutes on "Trifles". What is the setting of this play? How do we know? Does "Trifles" have a theme? If so, what is it? Just as in prose and poetry, playwrights incorporate symbols into their plays. What is the main symbol in this play? Answer As you begin working with your own play idea, remember that all of the elements of fiction apply to play writing as well. 1 10 10 18

x

Introduction to Playwriting Introduction to Playwriting The Cats - a scene from the legendary musical first staged in Moscow in 2005 Play ideas can come from anywhere; the idea for the musical Cats came from a book of poems. "In a painting called Moonlight [by Edvard Munch], a full moon illuminated a dark, almost barren landscape where a picket fence surrounded a lone cottage; the figure of a woman stood nearby. Although not visible in the painting, I sensed the closeness of the ocean and the icy dampness of the cold night air. But the woman, dressed in black and standing alone at the gate staring off in the distance, seemed not to feel the cold, as if numb to anything but the pain so clearly expressed on her weary face. Suddenly, I understood the cause of her grief . . . I took this spark of a story and lifted her spirit from the painting, and I placed the woman I would come to know as Kathleen on a blank piece of paper." —Mary Hanes, American playwright and screen writer How will this woman deal with her grief? Who does she have relationships with? Will they help her or create additional problems for her? What does she want? What will prevent her from getting what she wants? What secrets is she holding? These, and many more, are all questions Mary Hanes probably asked herself as she moved from seeing a painting to writing her play The Crimson Thread. When you wrote short stories, you may also have started your idea with a character. Or, you may have started your idea with a conflict, or a plot or even a setting or theme. Play ideas can also start in many different ways, but ultimately most plays are driven by characters. This section will be largely focused on characters, although we will also explore plot and setting as they apply to playwriting. If you are interested, you can look at Edvard Munch's painting Moonlight — when you get to the website, scroll down the page until you come to the picture titled Moonlight. 1 1 18

x

Introduction to Playwriting Introduction to Playwriting Review It's time to review what you have learned in this section. See how much you know in the activity below. 1 17 17 18

x

Introduction to Playwriting Protagonist ... Antagonist ... Supporting Characters Actors in role of pirates on stage at Big Concert Hall Izmailovo during musical spectacle for children Treasure Island, December 15, 2012, Moscow, Russia. Who is the protagonist? A play can have one or more protagonist. In Trifles, all of the women are protagonists. In The Importance of Being Earnest, John Worthing is the main protagonist, while Algernon is a secondary one. So what makes a character a protagonist? Or an antagonist? What about other characters? Read about how each type of character functions in a play. In the next page you will start looking at your characters with these roles in mind. 1 14 14 18

x

Introduction to Playwriting Section Objectives After you have completed this section, you will be able to: Apply the writing process to drafts of playwriting: generative writing. Read and respond to short play scripts. Analyze elements of fiction as they apply to playwriting, including character, plot and setting. Apply elements of fiction as they apply to playwriting to writing exercises or short drafts. 1 2 2 18

x

Introduction to Playwriting Section Warm-Up How familiar are you with the vocabulary of plays? Review the terms you know, and learn the ones you don't yet know. Some of these terms will be very familiar to you from past units; others are specific to plays. While we will explore some of these terms in more detail, many will be used in the lessons in this unit without further explanation, so it is important that you know what they mean. 1 3 3 18

x

Introduction to Playwriting Writing Notebook: Character Biographies fountain pen Choose at least two characters from the last writing notebook entry you wrote. If you aren't very interested in working with any of those characters, you can begin from scratch. One way to generate character ideas is to start with paintings, as Mary Hanes did. You will see a number of paintings below that might spark ideas. Remember that the painting is just a beginning — any character that evolves from it may not look anything like the original. The painting may simply give you an idea for personality, or a character's mood — as Moonlight did for Mary Hanes. You may also already have a story idea for your play; in that case, use the characters that you've chosen for that idea. If you have not yet chosen your characters, come back and complete this activity once you do. For each of the characters that you think you will use in your play (at least two), create a biography by answering the questions in the Character Biography handout. This will take a little time, but the more you get to know about your characters, the more ideas you will have for your play — and the more believable your character will be when you begin writing. This will also help your characters speak and react to things as individuals who are different from each other. After the dancing lesson 1 11 11 18

x

Introduction to Playwriting Writing Notebook: Good Scripts — Bad Scripts fountain pen Open your writing notebook or download the pdf file and date it. Then think back to plays that you've seen. You can also think of movies, especially if you haven't seen many plays - or if you are thinking about writing a movie script rather than a play script. Think about plays or movies (or even TV shows) that you really liked. Think about ones you would never in a million years recommend to your friends. Then write the following: List three plays/movies/TV shows that you really like. Then write a list of the things that make these plays/movies/TV shows good. Don't think so much about the actors, but rather the characters, the action, the story line and the dialogue. Think in terms of a writer! Now list three plays/movies/TV shows that you really dislike. Write a list of what makes these plays/movies/TV shows bad. You will share some of the items on your list with your fellow playwrights in a discussion. Add to your list as you read what others post and refer back to these lists as you work on your own play scripts. Make it your goal to include as many of the positive things as you can - and to avoid as many of the negatives as possible! Writing Notebook: Good Scripts — Bad Scripts 1 4 4 18

x

Introduction to Playwriting Writing Notebook: Neutral Play fountain pen This writing notebook activity is designed to help generate possible story ideas. It is also a chance to practice writing dialogue and possibly develop characters as well. It could even end up being the start of your short play if the story goes in a direction that gets you excited. Read the following dialogue, which is the "beginning" of a scene or play. Continue writing the dialogue — see where it takes you. You can use a couple of characters that you wrote about in the last writing notebook activity, or you can create two different characters. A Did you bring it? B Why? A Don't you ever listen to me? B Of course I do. Have fun! Writing Notebook: Neutral Play 1 9 9 18

x

Introduction to Playwriting Writing Notebook: Six Possessions fountain pen This is the first of a number of writing notebook entries designed to generate ideas for your short play or scene script, which will be your unit project. This one will start you looking at character possibilities. To begin, click on any six letters in the chart below. Write down the object that appears with each letter — these are six possessions owned by a character that you will now create. What kind of person would own these things? How did he/she come to own them? What do they mean to him or her? What do they say about this person? Consider creating two or three characters using six different possessions for each. Don't forget to give them names. This activity works best if you stick to the six random possessions you choose first; that way you are forced to create reasons for the character owning things that may not typically belong together. When you are ready, open your writing notebook or download the pdf file. Write as much as you can about your character(s) — the more you write, the more possibilities you will have for a play idea using the character. You will have an opportunity to work further with the character(s) created here if you choose. Writing Notebook: Six Possessions A Show W Show B Show X Show C Show Y Show D Show Z Show E Show AA Show F Show BB Show G Show CC Show H Show DD Show I Show EE Show J Show FF Show K Show GG Show L Show HH Show M Show II Show N Show JJ Show O Show KK Show P Show LL Show Q Show MM Show R Show NN Show S Show OO Show T Show PP Show U Show QQ Show V Show RR Show 1 7 7 18

x

Introduction to Playwriting Writing Notebook: Who's Your Protagonist? Part 2 fountain pen Part 2: And now... a conflict Next, take out your writing notebook or download the pdf file, and begin writing about your protagonist and the kind of "journey" he or she will need to go on in order to reach his or her goals. You could write from his or her point of view or from a third-person point of view. You can use these questions as starting points. They are designed to get you thinking about conflict for your character, as well as a possible "journey." What does your protagonist want more than anything in the world? What might your protagonist have to sacrifice in order to get it? What is he or she afraid of? What is his or her greatest weakness? How would your protagonist react to having his or her goal blocked by the antagonist? Is there something your protagonist might discover that would change how he/she feels about the goal? Writing Notebook: Who's Your Protagonist? Part 2 1 16 16 18

x

Introduction to Playwriting Writing Notebook: Who's your Protagonist? Part 1 fountain pen Let's return to the characters you've been writing about. If you have not yet chosen characters, it is now time to do that. If the last two activities didn't give you character ideas, do a Google Image search for People (or narrow it down to teenage girls or boys, or another more specific group). Look for faces that look interesting, or pictures that make you wonder what the people are doing. Avoid celebrities. Then go back and complete your character biographies before you continue here. You should have at least two characters — probably no more than four or five. Do you already know who your protagonist is? What about your antagonist? If you have a story in mind, you probably know both. In that case, skip Part 1 and work on Part 2. Part 1: Choosing your protagonist and antagonist Start by answering these questions: Which character do you like best? Which character has the strongest "want" or goal? Which character would you most like to see reach his or her goal? Which character is most likely to grow or change as a result of trying to reach his or her goal? Consider using this character (or one of the characters you responded with here) as your protagonist. Now, answer these questions: Which character has wants or goals that oppose the protagonist's goals? Which character has some reason to go against the protagonist? Consider using this character (or one of the characters you responded with here) as your antagonist. Remember, you can also have an abstract antagonist rather than a physical one. Any other characters will probably be supporting characters for your protagonist — or possibly for your antagonist, if the protagonist is in conflict with more than one person. Writing Notebook: Who's your Protagonist? Part 1 1 15 15 18 Learning Tools

x

What is the setting of this play? How do we know? The specific setting of this play is the kitchen of a country home. There are objects important to the play in this kitchen: a rocking chair, a bread box, sink, dishes and a bird cage among other things. We learn about this setting through the stage directions at the beginning of the play. We also learn about them as the characters either discuss or handle the objects. The larger setting is a lonely home in a rural part of the United States early in the 1900s. The time period we know only if we see the date of publication, but the other information is given to us indirectly through dialogue.

x

Who do you think is the protagonist of this play? Why? Who is the antagonist? In a way, Mrs. Wright could be considered a protagonist, even though we never meet her. The conflict of the play revolves around her and how she resolved her problems. On the other hand, the women that we do see in the play, Mrs. Peters and Mrs. Hale, are the ones who grow and change during the course of the play and could also be seen as the protagonists. If Mrs. Wright is the protagonist, then Mr. Wright was the antagonist. If Mrs. Peters and Mrs. Hale are the protagonists, then the antagonist is a more abstract one — the way that women are defined in their society. This abstract antagonist is somewhat represented by the men in the play.

x

Who were the characters in this play? There are five characters that we see and hear talking: George Henderson, Henry Peters, Lewis Hale, Mrs. Peters and Mrs. Hale. But there are also two important characters in this play that we don't ever see: Mr. and Mrs. Wright. The characters actually appearing in the play are listed at the beginning.

x

Writing for Stage and Screen Theater masks "I am very, very aware of my place in the continuum that goes back two thousand years. I'm very proud to be like one of the soldiers in the army that Aeschylus started. Some of the greatest learning experiences I ever had were simply reading classics, reading Brecht and Chekhov over and over." —José Rivera, award winning Puerto Rican playwright and screenwriter Dramatic presentations have entertained, taught, and mystified people since prehistoric times, when hunters acted out the hunt for an awed audience. Since then, every culture has placed its stamp on the conventions of plays. In our western culture, improvised presentations of the hunt and spiritual lessons led to the written and rehearsed comedies and tragedies of ancient Greece. Europe in the middle ages saw the birth of religious mystery plays, which evolved into Elizabethan romantic comedies, grand tragedies and history plays, many of which were written by Shakespeare. In our own time, we have the luxury of being able to watch a variety of plays as well as movies and television shows, all of which begin with a script, written by a playwright or screen writer. In this unit we will explore the exciting world of play writing. You will learn about the elements of a play, read a few scripts and — best of all — write your own short play or scene! 1 1 4

x

Writing for Stage and Screen Unit Assignments In this unit you will complete the following graded assignments: Discussion: What Makes A Good Script? — 20 points Introduction to Playwriting Quiz — 35 points Discussion: Sharing And Helping — 20 points Writing Assignment: Hearing Your Characters Speak — 30 points Elements of Playwriting, Part 1 Quiz — 35 points Peer Review Discussion: Playwriting Project — 30 points Writing Assignment: Playwriting Project Draft — 30 points Elements of Playwriting, Part 2 Quiz — 35 points Writing Assignment: Unit Project — Play or Screenplay Script — 100 points Please download the unit assignment checklist to track your completion of all major assignments throughout the unit. 1 3 3 4

x

Writing for Stage and Screen Unit Objectives After you have completed this unit, you will be able to: Apply the writing process to drafts of playwriting: generative writing, drafting, self and peer review, revising, editing. Read and respond to short play scripts. Analyze elements of fiction as they apply to playwriting, including character, plot, and setting. Identify structural elements of a play including beats, scenes and acts. Apply elements of fiction as they apply to playwriting to writing exercises or short drafts. Apply understanding of structural elements of plays to writing exercises or short drafts. Identify characteristics of typical stage structures: proscenium, thrust, theater-in-the-round. Analyze the use of setting on the stage. Identify the structure of scriptwriting format. Analyze the use of dialogue in playwriting. Apply the use of setting to writing exercises or short drafts. Apply the use of dialogue in playwriting to writing exercises or short drafts. Analyze the use of monologue in playwriting. Analyze the effective use of stage directions. Apply the use of monologue to writing exercises or short drafts. Create effective characters, setting, plot, dialogue and script structure in a short draft. Apply the writing process to a draft of playwriting: revision, and editing. Synthesize feedback from peer review, evaluate revision options, and apply revisions to a short nonfiction piece. Apply editing skills using the conventions of language, including correct spelling, punctuation, grammar and sentence structure. Analyze personal writing process. Revisit, expand, and develop personal writing goals for the course. 1 2 2 4

x

Writing for Stage and Screen Unit Warm-Up To get you in a theatrical mood, and to give you a little background in the long history of theater arts and playwriting, explore this activity. 1 4 4

x

Introduction to Playwriting Characterization in Plays (continued) Bored student sitting at a desk in a library while taking notes and learning How can you approach character development? "I just sit down and write, and I don't think. And the characters just do it. Sometimes they won't, and that's a bad day ... I assume if I keep myself open and don't take myself too seriously, they'll keep talking. I live for those unexpected moments. I don't really know when they will come out — I just know what I want to say ... Control so you can lose control — that's what writing is. Disciplined control. If you can sustain that for ten pages, you're lucky." —Eduardo Machado, Cuban-American playwright and playwriting teacher If you really know your characters well and are a little bit lucky, your characters may take off with your play and write it themselves. But it's a good idea to understand how to go about doing it as the writer, too. So, let's look at what Oscar Wilde did in the beginning of his play. We will only look at Algernon, but you may also want to think about how Wilde has introduced us to the other characters. Methods of Characterization Evidence in the play What does it tell us about Algernon's personality? How does he talk? Answer Answer What does he say about himself? Answer Answer What does he say about others? Answer Answer What do others say about and to him? Answer Answer What does he do? Answer Answer Finally, how does the setting contribute to characterization? Answer Answer Algernon has been developed well enough to be a believable, round character, even if his personality is somewhat stereotypical of young upper-class men of the time. Because he has flaws, there is possibility for growth and change during the play. These are all things to think about as you create your own characters. 1 13 13 18

xs