Watching Twelve Angry Men and What to Note

Term:

Cinematic: Written and directed for film.  When writing a play, you must avoid cinematic features

How to avoid the storied and oft dreaded comment: "Too Cinematic": Cinematic means the design and flow of your play is more appropriate for film (the use of a camera). So, when your scenes are too cinematic, it means your play is taking on a form that is not well-suited for the stage. 


Examples of too cinematic: constantly switching scenes, explosions, the use of  vehicles, sets that are far too complex



While watching the film version of Twelve Angry Men, pay close attention to the visuals of the production. I want you to imagine that the play version has not yet been produced, and you are responsible for adapting it. You are watching the T.V. production to get a sense of what you can easily adapt, and what you would have to adjust. Please take note of elements/moments that you believe are much too cinematic for a STAGED PRODUCTION of this play.

This exercise will not only give you a greater insight into the emotional depth of the play we just read, but it will also help you become a more critical thinker when it comes to designing the structure of a play (in terms of using physical space wisely and practically)

HW: Reflection on Twelve Angry

Please take down the following question if you do not have access to the internet:

(question from Exploring Literature, Ginn Literature Series)

Notice that you--along with the jurors--never know for certain whether the accused man is guilty or innocent. Assume, for the sake of discussion, that the man on trial is guilty. Now decide whether or not Eight acted correctly in persuading the other jurors to change their votes. (of course, the members of the jury, Eight included, are NOT privy to this info). Write the reasons for your opinion.

A good page of reflection will do. Times New Roman, 12 pt. font. Double-Spaced. And oh, what the hay, MLA heading.

The Play Online

Twelve Angry Men (click on it!)

Aristotle's Three Unities

Play Structure

*Borrowed from Mr. Bradley Craddock, Creative Writing teacher at Rochester School of the Arts. Mr. Craddock is also an actor and published writer. These are excellent playwriting tips, so please read carefully, underline parts that are especially interesting or new to you, and use this to help guide your writing.

Ever wonder about the spelling of playwright? Why not playwrite? Well, it's because a "wright" is someone who builds. The idea is that a playWRIGHT carefully constructs and builds a play. We craft plays, not just write them.

Way back in ancient times, Aristotle (that famous Greek philosopher) wrote a book called the poetics about how to write a play. 

**He said that every play needs the following elements:

1. Plot
2. Character
3. Thought (by which he meant theme)
4. Spectacle (special effects, props, costumes, scenery, etc.)
5. Diction (effective dialogue)
6. Song (music)

Apart from #6, all plays usually include these things. Musicals, film, and opera incorporate all of the elements rather effectively

THREE UNITIES

Unity of time: limits the supposed action to the duration, roughly, of a single day

Unity of place: limits the setting to one general locality.

unity of action:  limits action to a single set of incidents which are related as cause and effect, "having a beginning, a middle, and an end.

HW: In your journal, please reflect on each unity, asking yourself, "why might it be important to follow such a guideline" (especially for a beginning playwright)

Drama/Playwriting- day 1

Write what you know about drama.

Write what you would like to know about drama.




Terms:

Time lock: There is a time constraint that adds urgency and purpose to the action of the play

MDQ- Major dramatic question--the question the audience wants answered by the end of the play

Podcasts: The Final Step (for you at least)

Yes. We are approaching the end of your maiden voyage on the podcast seas! Today, you will be exporting your podcast and emailing it to me (and, heck! send it to yourself!)

Then I will take care of the "cast" part of the podcast. That's right! They will be broadcast!

On this blog.

There is a time when we must come to terms with the fact that our voices do not, in fact, sound as divine as they do when we experience them with our inner ears. The outward ear now must be ready to accept the voice you've carried, and will carry for the rest of your lives! MuHAHAHAH,..eh hem, sorry.

But seriously. You sound fine. You should be very proud the of the work you've done so far.

Oh, and one more thing. HIT THE YELLOW BUTTON before attempting to export your file : )

Here's Sleeptalkers, 8-2 Edition, to prove I'm not bluffing. Click here.

Bon jour!