The Basic Elements of Playwriting

Please read the chapter (handout) "What Makes a Play?"
Feel free to complete any of the journal exercises at the end of the chapter.

You should be familiar with the structure of plays.
All plays should have a beginning, middle, and end

All plays are written for the stage (not to just be read)

All plays are written in present tense (not past)

All plays are more powerful if they are tightly written. To be "tightly written" you should avoid using broad-sweeping plots, with many cinematic scene changes.

Plays should adhere to what are called the unities:
1. The unity of time (plays should not span many years)
2. The unity of place (plays should concentrate action in one or few settings)
3. The unity of action (plays should limit their plots so they are not confusing)

All plays require conflict
Conflict should be balanced (in other words the struggle between protagonist and antagonist should be a fair fight)

Meaning in a play is tied to the action and conflict being presented on stage

All plays should be entertaining (and written to be performed)

All plays should communicate an idea (or belief about the human condition)

Plays are NOT movies. The best way to learn how to write scripts is to read them and see play productions whenever possible.

The Where and What in your play

With a partner, gather at least 10 places. These places should be designed for a stage. In other words, realize that you will use them on a stage (such as the blackbox theatre, or the ensemble, or the main stage). For each space include the following information:
1. Is the space interior or exterior (inside or outside)?
2. What time of day or night is it?
3. What season or weather?
4. Is the space cramped or open?
5. Is the ceiling high or low?
6. Where is the entrance?
7. What is the quality and source of light?
8. Is there anything unexpected about the space or its contents?

After concluding this exercise, please add 10 or more "WHAT's" for your play.

a what is WHAT is happening in a particular space. It may be a poetic metaphor or symbolic, or stated plainly. Try ten of these.

Gathering the People: The Who in your Play

Today, in lab you may work with a partner, provided both of you participate in the following exercise:

In your journal create a series of characters (some of whom will be used in future assignments).
Rules:
1. Take turns coming up with a character concept. Listen to each other to help create plausible character ideas. Do not place your character in any specific setting.

2. Answer these questions:
a. Who is in that space?
b. what is the character's gender?
c. what is the character's first name?
d. How old is this character?
e. How does this character move? (easily, hesitantly, gracefully, defiantly? etc.)
f. Jot down what the audience can see or hear when this character first appears on stage. (for example, as a writer we may know that Lucy is two-timing Shayla, but at first look, the audience will not know this information - what about her appearance might suggest her to be the type that might cheat?)
g. Jot down specific information that would interest a director, designer, or an actor. (what body type is the character, what culture, what size, what specific details would be important to know in order to cast someone like this?)

Make notes for at least 10 characters. Don't relate the characters to each other. Include different types and ages of characters, too.

Examples:
A. Alexandra: 17, jeans, sandals, wears a man's xl sweater with a hood, attractive, no make-up, moves with purpose and energy.
B. Marla: 38, wrinkled-unkempt clothes, afro. Wears a lot of bling and has a nose-piercing. She moves gracefully, sure of herself and her environment. She pops her gum and always speaks in a loud voice.
C. Burt: 70, thin and dark. He wears a three-piece business suit and clown shoes. He moves unsteadily about with the help of a metal walker. He is often smiling or laughing.

One Minute Writer

Check out the blog the One Minute Writer. Use the prompts to freewrite and get your ideas moving.

One Minute Play - exercise (draft 1 & 2)

After reading the plays by Christopher Durang, we went to the lab and wrote a "1-minute" play. Your play was 1-2 pages long and included a few characters, a description of the setting, place and time.

Today, we will read a series of one-act plays (monologues or soliloquys, mainly). The purpose of a monologue is to develop character. It is the fastest way for the audience to get to know (and therefore care) about a fictional character. Monologues provide characterization.

In lab, please go back to your one-minute play. Call this play draft #2. In this draft, give each of your characters a monologue. The monologue can be:
--A character talking about his/her own background
--A character talking about what important event happened to him/her
--A character talking about the other character
--A character talking about an important idea that explains why or what the character is interested in
--A character talking about a problem or conflict in his/her life
--A character talking about... (your choice)

Add details, additional dialogue or anything else that you feel the scene needs to make a statement or explore a personal belief that you hold. (see the chapter on Being a Playwright)

Recap: Write draft #2 of your 1-minute play. Give each character a monologue. Add details and lines (beats) to your script. When you are ready to turn the play in for a grade, print out your play.

Playwriting - Being a Playwright

Please read the chapter handout on "Being a Playwright" from the book The Elements of Playwriting by Louis Catron.

Particularly take note of the writerly advice (most of which should sound familiar): to overcome a blank page, the only way to push through "writer's block" is to write. Set time aside every day to write. For you (and your busy lives) use the time given to you every day in the lab to focus on your writing. You can socialize later.
Find inspiration from reading plays and seeing plays. Get involved in theatre in order to understand the form. This is how you grow as a student and a writer.

After completing the handout, please complete the five exercises at the end in your journal. You should continue to keep a journal to jot down ideas and exercises we complete in class. Continually add to your brainstorming. As you know, brainstorming is the first step in the writing process.

Recap: read the chapter, complete the five exercises at the end of the chapter in your journal (do not turn these in to me--put them in your journal).

Portfolio due today!

Your portfolio will be collected by the end of class today. Please make sure your poems are titled, indicate draft #, and include your name. Please ONLY select your BEST 5 to 7 poems. I will not grade more than 7. Your poems should show me clearly that you understand the craft of poetry (see the blog entry below).

Also, please finish reading the confessional poems given to you in the first part of class today.

There is a test on the craft of poetry on Thursday. You should refer to the blog notes below to study for material that will likely be found on the test.