ACTORS 2/10
A quick recap of script analysis:
We read the script to find out the OBJECTIVES of each scene the character is in, and the TACTICS used in each BEAT of the scene by the character in pursuit of the OBJECTIVE.
Another way to say this: we read the script to find the WANTS of the character in each scene and the ACTIONS used in each BEAT of the scene by the character in pursuit of the WANTS.
We also figure out the SETTINGS, the ACTIVITES, the RELATIONSHIPS - we can call all of this stuff the GIVEN CIRCUMSTANCES or simply, the GIVENS.
OBJECTIVES, WANTS, INTENTIONS - all the same thing.
TACTICS, ACTIONS - the same thing.
We divide the script into SCENES, often into FRENCH SCENES if necessary, and then further dividing the SCENES into BEATS.
OBJECTIVES - what the character WANTS from other characters. Written like this:
Karen wants her mom to let her go to the dance.
The OBJECTIVE can be gotten in the course of the scene, and it is testable, ie, there needs to be clear evidence of the character getting the OBJECTIVE.
TACTICS - the ACTIONS the character takes to get the OBJECTIVE. Written using descriptive verbs...
Karen begs, Karen pleads, Karen bargains, Karen demands, Karen threatens, Karen guilts (uses guilt), Karen jokes, Karen frightens, etc...
GIVENS are things that cause the actor to have to adjust PHYSICALLY - the temperature, the type of room, the other people in the room, his or her job, etc.
ACTIVITIES are things the character is doing that, while they might be expressive of emotions or something, aren’t directed at other characters.
We avoid thinking about emotions and states of being!
NOW... what about a consideration of the entire script? A character exists across and throughout the entire script. If we see the character in multiple scenes we might see many different objectives and tactics used, and we might see the character change. This is commonly called the ARC OF THE CHARACTER.
A character, in moving across their arc, does so in accordance with and is expressive of the character’s SUPER OBJECTIVE.
The SUPER OBJECTIVE is what the character wants across the entire script.
SO... going back to Native Dancer, what are the SUPER OBJECTIVES of
Shirley?
Max?
Francis?
Oscar Miller?
Shirley’s Mom?
Showing posts with label Sprint 1. Show all posts
Showing posts with label Sprint 1. Show all posts
Wednesday, February 15, 2012
actors Sprint 1
ACTORS 2/9
You’ve now analyzed two different scripts; you’re already seeing things in a different way and thinking about acting rather than approaching it mindlessly.
OBJECTIVE/WANT/INTENTION - what the character wants the OTHER character to do. It is possible in the course of the scene. It is testable.
I want world peace. This isn’t worth anything to us. We can’t get this from someone in a scene, nor do we know when we have it.
I want Chuck to leave me alone. This is better. We can get that in a scene, and we can know when we get it.
I want Chuck to leave the room... this is even better. It’s really easy to know I get my want, because Chuck leaves the room.
I want Doris to feel better. This is ok. What does better look like, though, how do I know I get it? When she stops crying? When she hugs me?
These are all better: I want Doris to stop crying. I want Doris to hug me. I want Doris to say, “It’s Ok. I feel better.”
REMEMBER - no emotional state for you. No “I want to feel better.” Nothing like that.
ACTION/TACTIC - this is what you are doing to the other person in the scene in order to get the Want. These are verbs ONLY, and the more one can see them or move them or embody them the better they are.
OBJECTIVE/WANT - I want mom to let me go to the dance.
TEST - Mom says “Ok, go to the dance.”
TACTIC/ACTION - I beg, I make a deal, I promise, I use guilt, I threaten....
There is usually one WANT across a scene, and then the character uses a bunch of TACTICS to try to get it. This is strangely just like real life.
ACTIVITY - this is some sort of physical thing you are doing in the scene that you just happen to be doing, but it can be used expressively.
While doing the dishes, I’m pleading with mom because I want to go to the dance. Which is the action? Which is the activity?
Now... you’ve heard the word BEAT. Each time a character switches to a different tactic, that is a beat.
SO... our new analysis system looks like this:
1) Read the script straight through;
Work through the script, writing down anything you figure out or that is said about the character. Find evidence of WANTS and TACTICS.
Break the script into French Scenes.
For each French Scene write the following information down in your notes;
Setting/Activities;
What happening between the characters?
What does your character WANT?
What is the TEST?
5) Draw a line in the script to indicate each beat, and write the Tactic/Action in the margin.
There really is no other way to analyze a script, and any system of analysis will always come back to the OBJECTIVES/WANTS and the TACTICS/ACTIONS.
SO... yer homework...
Boys - Re-analyze Native Dancer for MAX.
Girls - Re-analyze Native Dancer for SHIRLEY.
Choose a character you best understand. This is hard enough without getting fancy.
Write/type up your analysis and give it to me tomorrow, and then we will move on to the next thing. What I should get is a simple list of the OBJECTIVE’S and TESTS for each French Scene, and a marked up script, divided into French Scenes and then into beats, with the Tactic or the Action written in the margin.
You’ve now analyzed two different scripts; you’re already seeing things in a different way and thinking about acting rather than approaching it mindlessly.
OBJECTIVE/WANT/INTENTION - what the character wants the OTHER character to do. It is possible in the course of the scene. It is testable.
I want world peace. This isn’t worth anything to us. We can’t get this from someone in a scene, nor do we know when we have it.
I want Chuck to leave me alone. This is better. We can get that in a scene, and we can know when we get it.
I want Chuck to leave the room... this is even better. It’s really easy to know I get my want, because Chuck leaves the room.
I want Doris to feel better. This is ok. What does better look like, though, how do I know I get it? When she stops crying? When she hugs me?
These are all better: I want Doris to stop crying. I want Doris to hug me. I want Doris to say, “It’s Ok. I feel better.”
REMEMBER - no emotional state for you. No “I want to feel better.” Nothing like that.
ACTION/TACTIC - this is what you are doing to the other person in the scene in order to get the Want. These are verbs ONLY, and the more one can see them or move them or embody them the better they are.
OBJECTIVE/WANT - I want mom to let me go to the dance.
TEST - Mom says “Ok, go to the dance.”
TACTIC/ACTION - I beg, I make a deal, I promise, I use guilt, I threaten....
There is usually one WANT across a scene, and then the character uses a bunch of TACTICS to try to get it. This is strangely just like real life.
ACTIVITY - this is some sort of physical thing you are doing in the scene that you just happen to be doing, but it can be used expressively.
While doing the dishes, I’m pleading with mom because I want to go to the dance. Which is the action? Which is the activity?
Now... you’ve heard the word BEAT. Each time a character switches to a different tactic, that is a beat.
SO... our new analysis system looks like this:
1) Read the script straight through;
Work through the script, writing down anything you figure out or that is said about the character. Find evidence of WANTS and TACTICS.
Break the script into French Scenes.
For each French Scene write the following information down in your notes;
Setting/Activities;
What happening between the characters?
What does your character WANT?
What is the TEST?
5) Draw a line in the script to indicate each beat, and write the Tactic/Action in the margin.
There really is no other way to analyze a script, and any system of analysis will always come back to the OBJECTIVES/WANTS and the TACTICS/ACTIONS.
SO... yer homework...
Boys - Re-analyze Native Dancer for MAX.
Girls - Re-analyze Native Dancer for SHIRLEY.
Choose a character you best understand. This is hard enough without getting fancy.
Write/type up your analysis and give it to me tomorrow, and then we will move on to the next thing. What I should get is a simple list of the OBJECTIVE’S and TESTS for each French Scene, and a marked up script, divided into French Scenes and then into beats, with the Tactic or the Action written in the margin.
Actors Sprint 1
CTORS 2/8
I suppose that took forever. But the only way you get faster at it is to do it again and again. It goes about twice as fast each time you do it.
SO... today you’re starting a new script! Due tomorrow!
We’re working with another wonderful television play, She Walks in Beauty, by Ken Kolb.
I’ve marked on the script the character for which you are doing your analysis.
In short, you’re each analyzing a major and a minor character.
Follow the process as I outlined it:
1) Read the script straight through;
Work through the script, writing down anything you figure out or that is said about the character;
Break the script into French Scenes (I did this one for you), numbering each French Scene;
For each French Scene write the following information down in your notes;
What’s the environment/Where is it set?
Who’s in the scene;
What is happening between the characters?
What are the characters doing?
Attached is a script. You might find it helpful, after reading it through, to cross out the camera shots and action bits of the script so you can concentrate on the dialog.
You’re handing it in tomorrow, along with your first script if you’re not done with that. I want the script, all broken down, and your notes on it.
Your work tomorrow is your ticket to talking....
I suppose that took forever. But the only way you get faster at it is to do it again and again. It goes about twice as fast each time you do it.
SO... today you’re starting a new script! Due tomorrow!
We’re working with another wonderful television play, She Walks in Beauty, by Ken Kolb.
I’ve marked on the script the character for which you are doing your analysis.
In short, you’re each analyzing a major and a minor character.
Follow the process as I outlined it:
1) Read the script straight through;
Work through the script, writing down anything you figure out or that is said about the character;
Break the script into French Scenes (I did this one for you), numbering each French Scene;
For each French Scene write the following information down in your notes;
What’s the environment/Where is it set?
Who’s in the scene;
What is happening between the characters?
What are the characters doing?
Attached is a script. You might find it helpful, after reading it through, to cross out the camera shots and action bits of the script so you can concentrate on the dialog.
You’re handing it in tomorrow, along with your first script if you’re not done with that. I want the script, all broken down, and your notes on it.
Your work tomorrow is your ticket to talking....
Actors Sprint 1
ACTORS 2/6
Text Analysis is the process by which one translates the play on the page into the actions of the actor. The majority of actors are really pretty bad at doing it, and it is virtually unknown as a skill in high school theatre. It seems to be uncreative, even boring, but it is one of the those theatre skills that relies more on work than talent, and anyone who has some ability to parse out a script automatically becomes a more competitive actor, but also a better director and generally more useful in any performance situation.
This work requires writing. I keep this sort of stuff in a notebook and I’d prefer you do the same. If you don’t, at least keep everything you write together in a folder. Bring your scene notes and your script to class everyday this week. Should you forget either, you’re out.
We’re working with a wonderful television play, Native Dancer, by David Shaw.
Gentleman: you’re analyzing the script for Max Binder and Oscar Miller
Ladies: you’re analyzing the script for Shirley Kochendorfer and Francis
In short, you’re each analyzing a major and a minor character.
Here is the process you will follow:
1) Read the script straight through;
Work through the script, writing down anything you figure out or that is said about the character;
Break the script into French Scenes (I did this one for you), numbering each French Scene;
A French Scene is an arbitrary division made in a scene. Whenever the characters go into a new room, or a new character enters, that will generally mean a new French Scene is happening.
For each French Scene write the following information down in your notes;
What’s the environment/Where is it set?
Who’s in the scene;
Include only major characters. Lump minor characters together.
What is happening between the characters?
Characters NEVER talk. They argue, fight, make-up, court, etc., but they never simply talk;
What are the characters doing?
Again, they never talk. Describe with VERBS. Don’t mention emotions.
Attached is a script. I’ve broken the first few pages into French Scenes for you (you have to do the rest of the script) and I’ve done step 4 of the first French Scene as an example.
This is enough for the first day. Bring all your work, completed, to class tomorrow so I can check it all over. Don’t forget to do the sheet of terms too. That’s due Tuesday Night.
SCENE 1
Analysis for Shirley:
What’s the environment/Where is it set?
Drug store/Soda fountain/diner in NYC, day, the 1950’s
Shirley is behind the counter in a cooking area - it’s hot and cramped back there.
Who’s in the scene;
Shirley the short order cook, Francis the waitress
What is happening between the characters?
They’re kind of fighting in a frustrated, friendly way.
What are the characters doing?
Shirley is cooking slowly and day dreaming a lot, and practicing her dancing.
Analysis for Francis:
What’s the environment/Where is it set?
Drug store/Soda fountain/diner in NYC, day, the 1950’s
Francis is “on the floor” — tables and people everywhere
Who’s in the scene;
Francis the waitress, Shirley the short order cook
What is happening between the characters?
They’re kind of fighting in a frustrated, friendly way.
What are the characters doing?
Francis is bugging Shirley to work faster.
Text Analysis is the process by which one translates the play on the page into the actions of the actor. The majority of actors are really pretty bad at doing it, and it is virtually unknown as a skill in high school theatre. It seems to be uncreative, even boring, but it is one of the those theatre skills that relies more on work than talent, and anyone who has some ability to parse out a script automatically becomes a more competitive actor, but also a better director and generally more useful in any performance situation.
This work requires writing. I keep this sort of stuff in a notebook and I’d prefer you do the same. If you don’t, at least keep everything you write together in a folder. Bring your scene notes and your script to class everyday this week. Should you forget either, you’re out.
We’re working with a wonderful television play, Native Dancer, by David Shaw.
Gentleman: you’re analyzing the script for Max Binder and Oscar Miller
Ladies: you’re analyzing the script for Shirley Kochendorfer and Francis
In short, you’re each analyzing a major and a minor character.
Here is the process you will follow:
1) Read the script straight through;
Work through the script, writing down anything you figure out or that is said about the character;
Break the script into French Scenes (I did this one for you), numbering each French Scene;
A French Scene is an arbitrary division made in a scene. Whenever the characters go into a new room, or a new character enters, that will generally mean a new French Scene is happening.
For each French Scene write the following information down in your notes;
What’s the environment/Where is it set?
Who’s in the scene;
Include only major characters. Lump minor characters together.
What is happening between the characters?
Characters NEVER talk. They argue, fight, make-up, court, etc., but they never simply talk;
What are the characters doing?
Again, they never talk. Describe with VERBS. Don’t mention emotions.
Attached is a script. I’ve broken the first few pages into French Scenes for you (you have to do the rest of the script) and I’ve done step 4 of the first French Scene as an example.
This is enough for the first day. Bring all your work, completed, to class tomorrow so I can check it all over. Don’t forget to do the sheet of terms too. That’s due Tuesday Night.
SCENE 1
Analysis for Shirley:
What’s the environment/Where is it set?
Drug store/Soda fountain/diner in NYC, day, the 1950’s
Shirley is behind the counter in a cooking area - it’s hot and cramped back there.
Who’s in the scene;
Shirley the short order cook, Francis the waitress
What is happening between the characters?
They’re kind of fighting in a frustrated, friendly way.
What are the characters doing?
Shirley is cooking slowly and day dreaming a lot, and practicing her dancing.
Analysis for Francis:
What’s the environment/Where is it set?
Drug store/Soda fountain/diner in NYC, day, the 1950’s
Francis is “on the floor” — tables and people everywhere
Who’s in the scene;
Francis the waitress, Shirley the short order cook
What is happening between the characters?
They’re kind of fighting in a frustrated, friendly way.
What are the characters doing?
Francis is bugging Shirley to work faster.
photography, Sprint 1 Stops to Memorize
PHOTOGRAPHY 2/13
Memorize this!
Av (aperture size values)
f1.0
f1.4
f2.0
f2.8
f4
f5.6
f8
f11
f16
f22
f32
ISO (speeds)
50
100
200
400
800
1600
3200
6400
12800
25000
Tv (shutter speed values)
2000
1000
500
250
125
60
30
15
8
4
2
1
Memorize this!
Av (aperture size values)
f1.0
f1.4
f2.0
f2.8
f4
f5.6
f8
f11
f16
f22
f32
ISO (speeds)
50
100
200
400
800
1600
3200
6400
12800
25000
Tv (shutter speed values)
2000
1000
500
250
125
60
30
15
8
4
2
1
Photography, Sprint 1
PHOTOGRAPHY 2/9
Today... YOU SHOOT!
You’ll do two shoots today, one with one light, then you’ll add a light to get two lights going.
WITH FLASH
ONE LIGHT SHOOT
Set your camera to black and white.
Set up a single light without anything to modify the light (a bare head). This light is your KEY.
Use the pink background. Put a stool in front of it. Have about 5’ of separation between the stool and the backdrop.
Camera is in MANUAL mode, set to 100 ISO, Tv 125, Av 5.6 ~ 8. Adjust the power and distance of the light such that you get what looks like a good exposure in the display.
Shoot the following patterns:
Paramount
Hatchet
Rembrandt (short)
Loop (broad)
As you move the light you might have to correct the distance of the light and/or the power of the pack to get a consistent exposure in the display.
TWO LIGHT SHOOT
Add another flash head. Put the white shoot-through umbrella on it, but spin it around so you’re not shooting through, you’re instead reflecting the light off of it. This will be your FILL. As you shoot keep the KEY light higher than the FILL light (the KEY vertically higher than the FILL).
Keep the camera settings as they were - 100 ISO, Tv 125, Av 5.6 ~ 8. You’ll need to dial up the power on the pack to compensate for the additional flash head.
Adjust the lights so that you get the required pattern - generated by the KEY, but fill in and soften the shadows by using the FILL.
Shoot the following patterns:
Paramount
Hatchet
Rembrandt (short)
Loop (broad)
Save all the pictures to a computer, upload them to the STAC photo website. File them under PHOTO INTENSIVE.
WITH COOL LIGHTS
ONE LIGHT SHOOT
Set your camera to black and white.
Set up a single light with the specular reflector on it (the pie pan). This light is your KEY.
Use the black background. Put a stool in front of it. Have about 5’ of separation between the stool and the backdrop.
Camera is in AV mode, Av to 5.6, adjust the ISO to get a good exposure on the display and a Tv of around 100. AV is an automatic mode - the camera will adjust the shutter speed to keep a consistent value, but if it gets too low you’ll get blurry pictures.
Shoot the following patterns:
Paramount
Hatchet
Rembrandt (short)
Loop (broad)
As you move the light you might have to correct the distance of the light to get a consistent exposure in the display.
TWO LIGHT SHOOT
Add another light head. Put a white shoot-through umbrella on it, but spin it around so you’re not shooting through, you’re instead reflecting the light off of it. This will be your FILL. As you shoot keep the KEY light higher than the FILL light (the KEY vertically higher than the FILL).
Keep the camera settings as they were.
Adjust the lights so that you get the required pattern - generated by the KEY, but fill in and soften the shadows by using the FILL.
Shoot the following patterns:
Paramount
Hatchet
Rembrandt (short)
Loop (broad)
Save all the pictures to a computer, upload them to the STAC photo website. File them into the folder marked PHOTO INTENSIVE.
Today... YOU SHOOT!
You’ll do two shoots today, one with one light, then you’ll add a light to get two lights going.
WITH FLASH
ONE LIGHT SHOOT
Set your camera to black and white.
Set up a single light without anything to modify the light (a bare head). This light is your KEY.
Use the pink background. Put a stool in front of it. Have about 5’ of separation between the stool and the backdrop.
Camera is in MANUAL mode, set to 100 ISO, Tv 125, Av 5.6 ~ 8. Adjust the power and distance of the light such that you get what looks like a good exposure in the display.
Shoot the following patterns:
Paramount
Hatchet
Rembrandt (short)
Loop (broad)
As you move the light you might have to correct the distance of the light and/or the power of the pack to get a consistent exposure in the display.
TWO LIGHT SHOOT
Add another flash head. Put the white shoot-through umbrella on it, but spin it around so you’re not shooting through, you’re instead reflecting the light off of it. This will be your FILL. As you shoot keep the KEY light higher than the FILL light (the KEY vertically higher than the FILL).
Keep the camera settings as they were - 100 ISO, Tv 125, Av 5.6 ~ 8. You’ll need to dial up the power on the pack to compensate for the additional flash head.
Adjust the lights so that you get the required pattern - generated by the KEY, but fill in and soften the shadows by using the FILL.
Shoot the following patterns:
Paramount
Hatchet
Rembrandt (short)
Loop (broad)
Save all the pictures to a computer, upload them to the STAC photo website. File them under PHOTO INTENSIVE.
WITH COOL LIGHTS
ONE LIGHT SHOOT
Set your camera to black and white.
Set up a single light with the specular reflector on it (the pie pan). This light is your KEY.
Use the black background. Put a stool in front of it. Have about 5’ of separation between the stool and the backdrop.
Camera is in AV mode, Av to 5.6, adjust the ISO to get a good exposure on the display and a Tv of around 100. AV is an automatic mode - the camera will adjust the shutter speed to keep a consistent value, but if it gets too low you’ll get blurry pictures.
Shoot the following patterns:
Paramount
Hatchet
Rembrandt (short)
Loop (broad)
As you move the light you might have to correct the distance of the light to get a consistent exposure in the display.
TWO LIGHT SHOOT
Add another light head. Put a white shoot-through umbrella on it, but spin it around so you’re not shooting through, you’re instead reflecting the light off of it. This will be your FILL. As you shoot keep the KEY light higher than the FILL light (the KEY vertically higher than the FILL).
Keep the camera settings as they were.
Adjust the lights so that you get the required pattern - generated by the KEY, but fill in and soften the shadows by using the FILL.
Shoot the following patterns:
Paramount
Hatchet
Rembrandt (short)
Loop (broad)
Save all the pictures to a computer, upload them to the STAC photo website. File them into the folder marked PHOTO INTENSIVE.
Photography, Sprint 1
PHOTOGRAPHY 2/13
First, something technical then something creative:
Lighting the Backdrop
Spend the first bit of the period working out how to get the backdrop both dark and light using a combination of distance and lights. There is a special short stand specifically designed to be placed on the floor behind the subject such that the photographer can throw a blog of light on the backdrop to get a glow on it. Hence, you get a three light shoot that looks something like this:
Note that you need to have the backdrop further back in order to get separation on it from the Key light — otherwise the Key throws light equally on the subject and the backdrop. Generally you need to double the distance to get a 1 stop drop off in the light.
Formal Portraits
I need seven portraits shot of the girls in the arts class. These should all be dramatic, high contrast pictures with plenty of interesting shadows falling on their faces, interesting light on the backgrounds, etc. Now, don’t just shot weird pictures, make the people look good. To do this, you need to find their good side.
The “good” side of a person’s face depends on two things – the curvature of their nose and the relative sharpness of their jawline.
Noses curve.They have a slight bow shape. On some people it can be really extreme. Usually if you set the camera shoot into the curve, the net result will be the nose appears straighter in the photograph. If you shoot across the curve, the nose will look more curved usually.
Jawline - in nearly all people, one side of their face is a little bit fatter than the other. One side has more definition, the other side less so. Generally, people will look a little better if you show that sharper side of the face in some sort of relief and keep the fatter side in the shadows or hidden.
For each girl, shoot a number of pictures such that we get a nice dramatic one that shows their face to advantage. Then, choose the best shot of each girl and either email them to me or give them to me on a flash drive. I need this done by tonight.
First, something technical then something creative:
Lighting the Backdrop
Spend the first bit of the period working out how to get the backdrop both dark and light using a combination of distance and lights. There is a special short stand specifically designed to be placed on the floor behind the subject such that the photographer can throw a blog of light on the backdrop to get a glow on it. Hence, you get a three light shoot that looks something like this:
Note that you need to have the backdrop further back in order to get separation on it from the Key light — otherwise the Key throws light equally on the subject and the backdrop. Generally you need to double the distance to get a 1 stop drop off in the light.
Formal Portraits
I need seven portraits shot of the girls in the arts class. These should all be dramatic, high contrast pictures with plenty of interesting shadows falling on their faces, interesting light on the backgrounds, etc. Now, don’t just shot weird pictures, make the people look good. To do this, you need to find their good side.
The “good” side of a person’s face depends on two things – the curvature of their nose and the relative sharpness of their jawline.
Noses curve.They have a slight bow shape. On some people it can be really extreme. Usually if you set the camera shoot into the curve, the net result will be the nose appears straighter in the photograph. If you shoot across the curve, the nose will look more curved usually.
Jawline - in nearly all people, one side of their face is a little bit fatter than the other. One side has more definition, the other side less so. Generally, people will look a little better if you show that sharper side of the face in some sort of relief and keep the fatter side in the shadows or hidden.
For each girl, shoot a number of pictures such that we get a nice dramatic one that shows their face to advantage. Then, choose the best shot of each girl and either email them to me or give them to me on a flash drive. I need this done by tonight.
Playwrights Sprint 1/4 Monologues
PLAYWRIGHTS 2/15
Monologues...
We’re going to write some of those today. Knock out the following.
A character dredges up a painful memory and cries.
A character looses his or her temper at another character and completely lets them have it in a scathing, brutal, primal rage.
A character confesses to having done something despicable.
A character expounds on their major personality flaw and how it causes them all sorts of problems.
All of these are serious monologues, except the last, which is humorous.
Write them all in a single Celtx file, as separate scenes. Call the file
your_name_monologues.celtx
Email them to me as STAC Play Intensive 6.
Knock it out!
Monologues...
We’re going to write some of those today. Knock out the following.
A character dredges up a painful memory and cries.
A character looses his or her temper at another character and completely lets them have it in a scathing, brutal, primal rage.
A character confesses to having done something despicable.
A character expounds on their major personality flaw and how it causes them all sorts of problems.
All of these are serious monologues, except the last, which is humorous.
Write them all in a single Celtx file, as separate scenes. Call the file
your_name_monologues.celtx
Email them to me as STAC Play Intensive 6.
Knock it out!
Playwrights Sprint 1/3 and the Life of the Object
Day 3
FIRST:
A treat or torture! You’re going to hear your scripts read aloud! I’ve changed the names on them and cleaned up Julian’s so hopefully there will be no embarrassment. They’ll be read by the acting students as cold reads.
After the read, you’ll REVISE. So, having heard it, what is wrong, and what can be fixed. This will be your final revision and then this is done. Send it to me as
your_name_fight_final.celtx
and the subject line reads STAC Play Intensive 3.
Now, you’ve seen the weird found object. You’re going to write the life of it.
THE LIFE OF THE OBJECT:
This is to be written in Screenplay format! So far you’ve been writing Stage Plays, which are driven by text. A screenplay is driven by visuals - remember that.
You have to write three moments from the life of this object - that means at least three scenes. How did the object come to be? How was it received? How was it lost? How was it re-found? Was it inherited?
We’re not interested in the life of the people as much as we are the relationship of the people as transmitted to each other through the object. The scene from Pulp Fiction, marvelous as it is, is all backstory. Try to avoid this in your scene - make your scenes active in the moment.
Write your script, label it
your_name_object.celtx
and email it to me - the subject line is STAC Play Intensive 4.
The rewrite must get to me by 2:30 (this is realistic. If you were on a film set and you were called to rewrite a scene you’d have a limited amount of time to knock it out).
Life of the Object is due tomorrow (Thursday) in the evening. So, you’ve two days to work on it.
FIRST:
A treat or torture! You’re going to hear your scripts read aloud! I’ve changed the names on them and cleaned up Julian’s so hopefully there will be no embarrassment. They’ll be read by the acting students as cold reads.
After the read, you’ll REVISE. So, having heard it, what is wrong, and what can be fixed. This will be your final revision and then this is done. Send it to me as
your_name_fight_final.celtx
and the subject line reads STAC Play Intensive 3.
Now, you’ve seen the weird found object. You’re going to write the life of it.
THE LIFE OF THE OBJECT:
This is to be written in Screenplay format! So far you’ve been writing Stage Plays, which are driven by text. A screenplay is driven by visuals - remember that.
You have to write three moments from the life of this object - that means at least three scenes. How did the object come to be? How was it received? How was it lost? How was it re-found? Was it inherited?
We’re not interested in the life of the people as much as we are the relationship of the people as transmitted to each other through the object. The scene from Pulp Fiction, marvelous as it is, is all backstory. Try to avoid this in your scene - make your scenes active in the moment.
Write your script, label it
your_name_object.celtx
and email it to me - the subject line is STAC Play Intensive 4.
The rewrite must get to me by 2:30 (this is realistic. If you were on a film set and you were called to rewrite a scene you’d have a limited amount of time to knock it out).
Life of the Object is due tomorrow (Thursday) in the evening. So, you’ve two days to work on it.
Playwrights Sprint 1/2
PLAYWRIGHTS 2/6 to 2/10
Day 2
Today - another stage play scene.
Yesterday, we did the fight. After a fight comes the make-up, the apology.
You’re going to write a series of scenes that explore the possibilities of an apology.
Scene 1: a direct apology. The parties make-up and the issues are directly discussed. Now, the approach into the apology might be a bit more indirect, but the apology itself is a direct discussion of the issues. Now, don’t be a slave to the fight scene. If, in the apology scene, some new material comes up, then go with that. The scenes are related but not symbiotic. Pick your own length, write it, title it
your_name_apology_1.celtx
Most apologies are indirect. My wife gets mad at me, yells, feels bad, and then doesn’t apologize. Instead, she gets really nice and tries to connect somehow - she makes me tea or something. So, your characters make up indirectly this time. Make sure the apology is understood and accepted by both parties.
Save the scene with the name
your_name_apology_2.celtx
For your last scene, take your favorite of the two apologies and combine it with your favorite of your two fight scenes, and blend it into a two scene sequence. This will be your chance to fix whatever bothered you in your fight scene, and chances are some new creative material will spring up from the apology scene, so expect that both of the two scenes will change each other as you fuse them together. Save it as...
your_name_apology_3.celtx
You’ll email me all three scripts. Put “STAC Play Intensive 2” on the subject line.
Write about your experience in your blog.
Get going. You must get this ALL DONE TODAY!
Day 2
Today - another stage play scene.
Yesterday, we did the fight. After a fight comes the make-up, the apology.
You’re going to write a series of scenes that explore the possibilities of an apology.
Scene 1: a direct apology. The parties make-up and the issues are directly discussed. Now, the approach into the apology might be a bit more indirect, but the apology itself is a direct discussion of the issues. Now, don’t be a slave to the fight scene. If, in the apology scene, some new material comes up, then go with that. The scenes are related but not symbiotic. Pick your own length, write it, title it
your_name_apology_1.celtx
Most apologies are indirect. My wife gets mad at me, yells, feels bad, and then doesn’t apologize. Instead, she gets really nice and tries to connect somehow - she makes me tea or something. So, your characters make up indirectly this time. Make sure the apology is understood and accepted by both parties.
Save the scene with the name
your_name_apology_2.celtx
For your last scene, take your favorite of the two apologies and combine it with your favorite of your two fight scenes, and blend it into a two scene sequence. This will be your chance to fix whatever bothered you in your fight scene, and chances are some new creative material will spring up from the apology scene, so expect that both of the two scenes will change each other as you fuse them together. Save it as...
your_name_apology_3.celtx
You’ll email me all three scripts. Put “STAC Play Intensive 2” on the subject line.
Write about your experience in your blog.
Get going. You must get this ALL DONE TODAY!
Playwrights Sprint 1
PLAYWRIGHTS 2/6 to 2/10
Day 1
Think back to the most recent or most memorable fight you’ve had with either a friend or a family member. It must be a real fight, and it must have had yelling and all that stuff. Change the names to protect the innocent. You are writing something from memory, not making up something new. There isn’t a lot of imagination required here; it is more memory.
Write this fight out in Stage Play format on Celtx. Write as fast as you can and write at least 6 pages of dialog. Try not to use parentheticals and go easy on the stage directions — this is really about writing dialog and throwing up stuff quickly. Get through this as fast as you can — spend no more that 40 minutes on it. Shut the heck up and write the entire time.
When you’ve finished the 6 pages, title it like this:
your_name_fight_6.celtx
Then save it again, but with a new name, like this:
your_name_fight_3.celtx
Now, take the fight scene and cut it down to 3 pages. Eliminate anything superfluous or unnecessary. Again, go quickly. Save the scene when you’re done.
Save the scene again with the name
your_name_fight_1.celtx
Cut this one down to 1 page. Try to get the essence of the fight, the most important bit of it.
You’ll email me all three scripts. Put “STAC Play Intensive 1” on the subject line.
Write about your experience in your blog.
Get going. You must get this ALL DONE TODAY!
Day 1
Think back to the most recent or most memorable fight you’ve had with either a friend or a family member. It must be a real fight, and it must have had yelling and all that stuff. Change the names to protect the innocent. You are writing something from memory, not making up something new. There isn’t a lot of imagination required here; it is more memory.
Write this fight out in Stage Play format on Celtx. Write as fast as you can and write at least 6 pages of dialog. Try not to use parentheticals and go easy on the stage directions — this is really about writing dialog and throwing up stuff quickly. Get through this as fast as you can — spend no more that 40 minutes on it. Shut the heck up and write the entire time.
When you’ve finished the 6 pages, title it like this:
your_name_fight_6.celtx
Then save it again, but with a new name, like this:
your_name_fight_3.celtx
Now, take the fight scene and cut it down to 3 pages. Eliminate anything superfluous or unnecessary. Again, go quickly. Save the scene when you’re done.
Save the scene again with the name
your_name_fight_1.celtx
Cut this one down to 1 page. Try to get the essence of the fight, the most important bit of it.
You’ll email me all three scripts. Put “STAC Play Intensive 1” on the subject line.
Write about your experience in your blog.
Get going. You must get this ALL DONE TODAY!
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