During the first half of today's class, your plays will be anonymously evaluated.
When evaluating plays, please consider them "works in progress." ("D work," therefore, probably should not be considered)
After your play has received 2 readings (at least!), you will receive the rubrics back with highlighting on them.
In journals, please reflect on the evaluations. Do you agree, or disagree, why or why not. It's okay to get sassy here (no one has to see this reflection but you), but also try to be objective and fair about your own work.
For the final portion of class, TACTFULLY discuss your plays, the evaluations, or your reflection of those evaluations with a partner (i.e. "do you agree with this person's opinion that my conflict is resolved too easily?")
Wednesday, June 4, 2014
Monday, June 2, 2014
Plot twists and Conflicts and the mundane
Just a reminder: Do not write a play that exists for the sole purpose of having a plot twist. The "Duh-DuH-DUH!" ending is cheesy and not the best use of your expansive minds.
Good conflicts come from unique situations and characters. Do your characters have a unique view on life? Is your situation (premise) original? In a short play, conflict is more meaningful when it's produced through your characters rather than an outside force.
Do NOT overlook the mundane (the everyday things) as source for interesting plays. Aisle six in Wegmans might change your life one day. (another line for my biography?...a possible chapter title? Who knows. I'm just the looks, not the brains of this operation)
Good conflicts come from unique situations and characters. Do your characters have a unique view on life? Is your situation (premise) original? In a short play, conflict is more meaningful when it's produced through your characters rather than an outside force.
Do NOT overlook the mundane (the everyday things) as source for interesting plays. Aisle six in Wegmans might change your life one day. (another line for my biography?...a possible chapter title? Who knows. I'm just the looks, not the brains of this operation)
Friday, May 30, 2014
PLAY SCRIPT FOR HW
HW: Please complete the first page of your page of your play with the CORRECT script formatting.
If you are writing a review, please watch your play on youtube. On Monday, provide me with the link of the version you watched.
Dear Mr. B.
Remind students about punctuation, unnecessary stage directions and utterances.
Love,
Mr. B.
If you are writing a review, please watch your play on youtube. On Monday, provide me with the link of the version you watched.
Dear Mr. B.
Remind students about punctuation, unnecessary stage directions and utterances.
Love,
Mr. B.
Thursday, May 29, 2014
IT WAS ALL A DREAM!!!!!!
If your play does this, get back to the drawing board.
Your first idea probably won't be your best. Be free. Jot down 10 ideas, 100 IDEAS EVEN!
Your first idea probably won't be your best. Be free. Jot down 10 ideas, 100 IDEAS EVEN!
Wednesday, May 28, 2014
The Three C's
Please read. (First 15 minutes of class)
The middle of a play is fraught with a series of obstacles (rising action). During the middle, you need to pay attention to the 3 C's: conflict, crisis, and complication. These 3 C's will lead to the dark moment of your play (more on that later).
Conflict can be person vs. person (often true in plays), person vs. self (also common), person vs. society (common as well if done correctly), and person vs. nature (God, etc.) (not as great, but some plays do this one perfectly.) The more interesting the conflict, the more interesting the play. Crises and complications cause the conflict to be more interesting. The crisis is a critical moment--a place in time for the protagonist to act, make a decision--that usually has consequences. Complications are problems (usually unforeseen) that arise to thwart or challenge the protagonist.
THEN, draw a picture that represents the relationship between the three C's. You might start by drawing a symbolic representation of each C first, then arrange them.
By the end of class, on a half sheet of paper, please describe a premise you are thinking about using for your play.
The middle of a play is fraught with a series of obstacles (rising action). During the middle, you need to pay attention to the 3 C's: conflict, crisis, and complication. These 3 C's will lead to the dark moment of your play (more on that later).
Conflict can be person vs. person (often true in plays), person vs. self (also common), person vs. society (common as well if done correctly), and person vs. nature (God, etc.) (not as great, but some plays do this one perfectly.) The more interesting the conflict, the more interesting the play. Crises and complications cause the conflict to be more interesting. The crisis is a critical moment--a place in time for the protagonist to act, make a decision--that usually has consequences. Complications are problems (usually unforeseen) that arise to thwart or challenge the protagonist.
THEN, draw a picture that represents the relationship between the three C's. You might start by drawing a symbolic representation of each C first, then arrange them.
By the end of class, on a half sheet of paper, please describe a premise you are thinking about using for your play.
Tuesday, May 27, 2014
Switching Dialogues/Monologues
DO NOT GIVE YOUR PARTNER YOUR CHARACTERS' BIO INFO.
Instead, they will read your dialogue and do two things: PLEASE WRITE ON PARTNER'S PAPER
1.Cast an actor/actress
2. provide reasoning for why the actor fits the character.
If your partner can do this with relative ease (given they put in some critical thinking as well), then you did a nice job of SHOWING character.
On to the big question!
To write a play or to analyze!
Instead, they will read your dialogue and do two things: PLEASE WRITE ON PARTNER'S PAPER
1.Cast an actor/actress
2. provide reasoning for why the actor fits the character.
If your partner can do this with relative ease (given they put in some critical thinking as well), then you did a nice job of SHOWING character.
On to the big question!
To write a play or to analyze!
Thursday, May 22, 2014
Writing a dialogue or monologue
The dialogue or monologue is due Tuesday. Here's what you'll need to do:
Start with a character. Give him/her a a name (see brainstorming activities for names on 10 Minute play formula sheet). Describe the character's personality and goals. Be descriptive.
Repeat.
Incorporate these characters into a short (2-3 page) dialogue that clearly represents motive or at the very least, PERSONALITY. This doesn't have to be an incredibly insightful or profound dialogue, but it should clearly SHOW who your characters are (versus a narrator "telling").
If you'd like, you may choose to write a monologue
Monologue- extended speech made by one character. (could be innermost mental thoughts, or simply a rant or speech on a topic or something that is on their mind--perhaps a recent event that has affected him/her)
If you choose to write a monologue, 1 page will do.
Start with a character. Give him/her a a name (see brainstorming activities for names on 10 Minute play formula sheet). Describe the character's personality and goals. Be descriptive.
Repeat.
Incorporate these characters into a short (2-3 page) dialogue that clearly represents motive or at the very least, PERSONALITY. This doesn't have to be an incredibly insightful or profound dialogue, but it should clearly SHOW who your characters are (versus a narrator "telling").
If you'd like, you may choose to write a monologue
Monologue- extended speech made by one character. (could be innermost mental thoughts, or simply a rant or speech on a topic or something that is on their mind--perhaps a recent event that has affected him/her)
If you choose to write a monologue, 1 page will do.
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