The Colored Museum is a collection of monologue and short sketch scenes revolving around the theme of African American culture and how old traditions and identity in the AFrican American community needs both to be respected and honored, but also overcome when it keeps people from moving on and forming their new identities. This is an important theme and the play deals with it through a series of short 1-5 minute plays.
Now it's your turn to try something similar. Follow the directions below:
1. Get into groups of 5-8.
2. Together offer suggestions about a theme you collectively would like to work on. Write down these suggestions to be handed in as participation credit. Examples might be: Peer pressure, Teenage-issues, Rochesterians, love, death, dating, etc. The more specific the theme, probably the better.
3. Once you have all had a chance to brainstorm some ideas, look at your list. Choose the idea that suggests the most interesting possibilities. The group should vote on the top choice. Once you have decided on the theme, please go to the next step.
4. Alone, use your theme and write a 3-5 minute play or monologue dealing with your group's chosen theme. Try to keep cast #'s to about 6 or fewer. Once you complete your scene, proofread, add details as a second corrected draft, then come back together as a group.
Today, choose a theme and write your 1st draft of your scene.
Homework: Bring your 1st draft of your scene to class on Wednesday. Complete for homework if you are not done by the end of class.
Monday, February 22, 2010
Thursday, February 11, 2010
Who/What/Where excercise & The Colored Museum
Please complete and turn in your cooperative 1-minute play. Our printer is still not working, so please drop your file in the dropbox with your NAME on the file.
Today, in lab during 7th period 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 3 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.
After you have come up with 3 characters each, with your partner, gather at least 3 places each. 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 3 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. It is what you hold in your mind while you write.
Example: fighting for acceptance, showing bravery in the face of adversity, standing up to a bully, breaking a personal rule, breaking free, gossiping about an important secret, succeeding in love, etc.
Try 3 of these.
Again, the basic components of all plays are character + setting + conflict = situation. Or who + where + what = scene.
HOMEWORK: Alone or with a partner, write a 3-minute play (3-5 pages, playscript format) using a who + where + what from your list.
During 8th period we will begin reading the play: The Colored Museum. Please finish reading this play over break. We will be working with it when we return.
Today, in lab during 7th period 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 3 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.
After you have come up with 3 characters each, with your partner, gather at least 3 places each. 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 3 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. It is what you hold in your mind while you write.
Example: fighting for acceptance, showing bravery in the face of adversity, standing up to a bully, breaking a personal rule, breaking free, gossiping about an important secret, succeeding in love, etc.
Try 3 of these.
Again, the basic components of all plays are character + setting + conflict = situation. Or who + where + what = scene.
HOMEWORK: Alone or with a partner, write a 3-minute play (3-5 pages, playscript format) using a who + where + what from your list.
During 8th period we will begin reading the play: The Colored Museum. Please finish reading this play over break. We will be working with it when we return.
Tuesday, February 9, 2010
1-minute collaborative play & David Ives
During 7th period, please work with your collaborative groups (2-3 members) and write a 1-minute play together. Your play should be about 2-3 pages at most. Members of the group should take turns typing the dialogue for the scene. Members should "act" and "speak" for their own character.
During 8th period, we will be reading 2 plays by David Ives and one by Mary Louise Wilson.
During 8th period, we will be reading 2 plays by David Ives and one by Mary Louise Wilson.
Friday, February 5, 2010
1-Minute Play
During 7th period, please write a 1-minute play. This is an exercise. The directions are posted from last class. Please read the instructions carefully and complete this exercise.
If you finish early, please write the following in your journal:
Make a list of settings.
Make a list of characters. For each character provide a name and brief description.
Examples:
List of Settings:
A park
Winter, 1918; New York Subway
Easter Sunday, in a suburban living room
A locker room after a game
etc.
List of characters:
Jim, a 20-30 year old garbage collector.
Takia, a 18 year old student, studying geometry. She wears thick glasses.
Mr. Biggles, a 50 year old custodian. He wears overalls and carries a broom.
During 8th period. Please stop writing, send me your 1-minute script. We will spend the rest of class today reading a few plays. Please come forward and select a character card for participation credit.
If you finish early, please write the following in your journal:
Make a list of settings.
Make a list of characters. For each character provide a name and brief description.
Examples:
List of Settings:
A park
Winter, 1918; New York Subway
Easter Sunday, in a suburban living room
A locker room after a game
etc.
List of characters:
Jim, a 20-30 year old garbage collector.
Takia, a 18 year old student, studying geometry. She wears thick glasses.
Mr. Biggles, a 50 year old custodian. He wears overalls and carries a broom.
During 8th period. Please stop writing, send me your 1-minute script. We will spend the rest of class today reading a few plays. Please come forward and select a character card for participation credit.
Wednesday, February 3, 2010
Christopher Durang: 1 Minute Plays
Today, let's read a bunch of short plays. Gather in the front of class, take a role card (index cards with roles on them) and let's read. This will require you to focus and listen to one another. Please be considerate.
After we read, go back to your journal homework. You were supposed to brainstorm a remembered or observed conversation between 2 people. One part of the exercise asked you to recall a short overheard conversation. The other part was to recall and record a conversation you directly listened to. If you did this, you have started an idea that will take you through today's exercise. If you didn't do your homework, you should complete this now, but realize you are falling behind.
Write a 1-minute play. You may use your journal/brainstorming to get you started with an idea for your scene. This is an exercise. Try to write quickly. Avoid personal judgment. Don't let your procrastinator win. Your play should be 1-2 pages.
Some advice from the Creative Writer's Craft book:
Strong characters and dramatic dialogue are the secret to writing successful plays. The type of character that works best on stage is one who is strong willed, knows what they want (or don't want), have a tendency to be verbal, stand up for themselves or others, are ready to be confrontational, and are passionate about what they perceive as truth.
Good dialogue in plays requires you to speak in short sentences. Characters often answer questions with questions, or simply avoid the subject or answer in favor of something else the character wants to talk about. Or a character simply ignores what is being said, changes the subject, or responds to things that haven't been said. This helps build conflict. All these things are frustrating in conversation. Therefore, conflict.
After we read, go back to your journal homework. You were supposed to brainstorm a remembered or observed conversation between 2 people. One part of the exercise asked you to recall a short overheard conversation. The other part was to recall and record a conversation you directly listened to. If you did this, you have started an idea that will take you through today's exercise. If you didn't do your homework, you should complete this now, but realize you are falling behind.
Write a 1-minute play. You may use your journal/brainstorming to get you started with an idea for your scene. This is an exercise. Try to write quickly. Avoid personal judgment. Don't let your procrastinator win. Your play should be 1-2 pages.
Some advice from the Creative Writer's Craft book:
Strong characters and dramatic dialogue are the secret to writing successful plays. The type of character that works best on stage is one who is strong willed, knows what they want (or don't want), have a tendency to be verbal, stand up for themselves or others, are ready to be confrontational, and are passionate about what they perceive as truth.
Good dialogue in plays requires you to speak in short sentences. Characters often answer questions with questions, or simply avoid the subject or answer in favor of something else the character wants to talk about. Or a character simply ignores what is being said, changes the subject, or responds to things that haven't been said. This helps build conflict. All these things are frustrating in conversation. Therefore, conflict.
Monday, February 1, 2010
10 Minute Play - Due!
Please complete and prepare your 10-minute play script for the Geva contest.
Your play scripts should have a title page. Yes, name your baby.
Make sure your name (with address, phone #, and email) is on your title page.
It is okay that on your title page you have a short cast list (with brief descriptions of characters, and setting - both time and place).
Your 2nd page should begin with dialogue or setting.
Please proofread your work. If you have more than two commas in a sentence, shorten lines. People talk in short sentences. Really. You can also add a lot to your script by removing non-essential phrases like...well, Hmmm, etc. Let the actor deal with this kind of thing.
Your script should be dropped into the drop box with your name on it (only after you have done all of the above).
If you finish early, please complete your homework.
HOMEWORK: Please read the handout "The Rules of Writing Practice" from the book "Wild Mind" by Natalie Goldberg.
Answer:
1. What rules does Goldberg set forth for writing practice?
2. What does she consider to be the basic advice for writing?
3. What does she mean by "kindness" in writing practice?
4. What advice does she have regarding "style"?
5. Regarding your own experience writing, what advice does Goldberg give you that you found helpful?
Then please read Pg. 291-295 in your The Creative Writer's Craft books. In your journal, please complete exercises 13.1 and 13.2. Label these assignments as such.
Homework is due next class.
Your play scripts should have a title page. Yes, name your baby.
Make sure your name (with address, phone #, and email) is on your title page.
It is okay that on your title page you have a short cast list (with brief descriptions of characters, and setting - both time and place).
Your 2nd page should begin with dialogue or setting.
Please proofread your work. If you have more than two commas in a sentence, shorten lines. People talk in short sentences. Really. You can also add a lot to your script by removing non-essential phrases like...well, Hmmm, etc. Let the actor deal with this kind of thing.
Your script should be dropped into the drop box with your name on it (only after you have done all of the above).
If you finish early, please complete your homework.
HOMEWORK: Please read the handout "The Rules of Writing Practice" from the book "Wild Mind" by Natalie Goldberg.
Answer:
1. What rules does Goldberg set forth for writing practice?
2. What does she consider to be the basic advice for writing?
3. What does she mean by "kindness" in writing practice?
4. What advice does she have regarding "style"?
5. Regarding your own experience writing, what advice does Goldberg give you that you found helpful?
Then please read Pg. 291-295 in your The Creative Writer's Craft books. In your journal, please complete exercises 13.1 and 13.2. Label these assignments as such.
Homework is due next class.
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