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Theatre 348: Playwriting
Fall 2003
Instructor:
Phones:
Email:
Website:
Leslie Sloan Orr, Ph.D.
(309) 438-2895 (Work)
[email protected]
http://www.ilstu.edu/~lsorr/
Class: Mon. & Wed. 11 – 12:15 p.m.
Classroom: Centennial East 08
Office Hours: Tues. & Thurs. 2 - 3 p.m..
(All other times by appointment.)
I. COURSE OBJECTIVES:
A. Study the theory of writing plays and obtain practical experience by selecting and
completing writing assignments.
B. Read, discuss, and analyze the structure of Perfect 10: Writing and Producing the
10-Minute Play.
C. Construct an original Ten-Minute play – 1st half of the semester.
D. Construct a one-person choreopoem or dramatic monologue – 2nd half of the
semester.
E. Develop group criticism by reading, discussing, and analyzing the works of
fellow writers.
F. Attend the plays in the Theatre’s season: Amadeus’, A Lie of the Mind, A View
from the Bridge, Pride’s Crossing, and Electra.
G. Attend Shame the Devil! An Audience with Fanny Kemble at Heartland Theatre
Company.
H. Each writer must schedule two one-hour meetings with the instructor to read and
discuss your completed 10-minute play and choreopoem or monologue before the
scheduled class readings.
I. You have been paired in the following groups of two. The playwrights are to
help/assist each other by reading the others’ works and making suggestions on
how to improve the work before the scheduled in-class reading and discussion of
the work.
Group 1
Ryan Thomas Holloway
Michael Stephen Rudolph
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Group 2
Kyle E. Wright
Katie Elizabeth Carlson
Group 3
Danielle Lemaire Cochran
Leah Christine Hansen
Group 4
Jared Beckley
Caroline Anne Wycislak
Group 5
James Patrick Foy
Graham Andrew Lamontagne
Group 6
Cassandra L. Fox
Mary Elizabeth Dileo
Group 7
David Jon Carter
Sarah E. Jorgensen
Group 8
Benjamin Glen Harris
Mathew Edward Husky
Group 9
Kortni Renea Osler
Lindsay Clark Shoemaker
J. Playwrights will be given opportunities to have their works produced in the
following venues: Kennedy Center/American College Theatre Festival (ACTF),
Mid-America Theatre Conference (MATC), School of Theatre Free Stage, and
School of Theatre Women’s Project.
K. Create an environment whereby the instructor can learn, mature, and evolve as a
writer alongside her students.
II. Course Text:
1. Perfect 10: Writing and Producing the 10-Minute Play by Gary Garrison.
III. Course Format:
A. Participation in daily discussions and constructive criticism of reading materials
and writing assignments are required.
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B. Class attendance is essential for successful completion of the course. Your
presence is needed in class, and your absence will be felt in classroom discussions
and responses. Therefore, any absences will be assessed as follows: Unexcused
absences will reduce your grade by one mark. Thus, if your final grade is an A,
an absence will reduce this grade to a B; a B would be reduced to a C. Four or
more absences are grounds for immediate failure. Excessive and repetitive
lateness will also constitute one or more absences. For every three times late, you
will be considered one day absent. While this attendance policy may sound harsh,
it is for y/our benefit, as the classroom is our communal learning environment.
C. Grading:
Class Participation
Attending of Plays
*Writing Assignments
Original Ten-Minute play
Original Choreopoem or Monologue
Total Possible Points
20%
20%
20%
20%
20%
100%
A = 90 to 100%
B = 80 to 89%
C = 70 to 79 %
D = 60 to 69%
F = 59% and below
*The instructor will participate in many of the writing assignments, including revising
a play. An attempt will be made to provide an environment whereby learning is a
shared experience between the teacher and students.
**Plays, choreopoems and monologues will not be accepted from writers who have
not completed all writing assignments. The assignments form a pyramid for dramatic
writing.
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Course Outline:
Week 1
Monday, August 18
1. Introduction to Playwriting – Lecture/demonstration/discussion
2. The Process of Playwriting
a). Creative Compulsion – the inner readiness of the playwright.
b). Germinal Idea (the basis for the formulation of a play such as: a person or
character, place, incidents, conceptual thought, situations, and informational area).
3. In-class activity/Step 1: Write on a sheet of paper in one sentence something
that truly concern you – your passion, your curiosity. For example, “WHAT
DOES SUCCESS MEAN TO ME?” or “I LOVE THE UNEXPECTED,” or “I’M
LOOKING FOR LOVE IN ALL THE WRONG PLACES.” For this class, keep
whatever you write in the back of your mind the whole time you’re writing.
4. In-class activity/Step 2: Make up a person with an identity. Do it quick. Don’t
think much about it yet. Say something to yourself like, “I want to write an artist
– a painter.” Now make something up that the artist/painter really wants, really
needs in his big life story: success, recognition, money. Now give him a real
reason that he needs what he needs: For example, he’s been painting for twelve
years and has gotten nowhere and he’s losing his confidence. He can’t even think
of what he’d do if he weren’t a painter. Now stop, that’s all you need to do for
the moment on the artist.
5. In-class activity/Step 3: Next, think of one, two, or three other characters in the
same exact quick way you thought of the artist. Like your central character, they
all should want or need something in their lives in a significant way. Make it up
if you have to. Don’t try to make sense of it now. Just let something fly out of
your imagination and on to the paper. You can change it later if it’s not what you
want to write about.
Homework for Wednesday
Tonight, spend just an hour fleshing out all of your characters with micro-biographies.
Think about:
1.
2.
3.
4.
5.
6.
7.
Where they grew up, what their family life was like?
Where and how they were educated or if they were formally educated?
What religion do they believe in, if at all?
What are their politics?
What are their passions?
Have they ever been in love? How many times?
What are their weird, eccentric, secret quirks they don’t want anyone to find out
about?
8. Most importantly, what do they want or need right now, and why do they need it?
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Write all of this down. Don’t try to make it sound pretty or resemble something you’d
hand in to your English or Theatre Lit professors. Just let the thoughts flow. But do
write it down; it’s more concrete then. We’ll read and discuss them in class on
Wednesday.
Wednesday, August 20
Due: Perfect 10: Writing and Producing the 10-Minute Play – Chapters 1 and 2.
Due: Off Hand by Michael Wallerstein (Pages 77-87 in Perfect 10 book).
Due: In-class discussion of questions on pages 86-87 in the Perfect 10 book).
In-class activity: Read and discuss characters bios.
Homework for Monday
Step 1: Finesse the characters that you wrote about. Bend and shape what you’ve
thought of in such a way that you can see the one, two or three character(s) in the
same space at the same time with your central character – and make sure it seems
logical. For example, what would allow that? What circumstance could bring them
together? What twist of fate, chance meeting or innocent collision of their worlds
will best focus back on the central character and whether that person will get what he
or she wants in this story?
If I’m using the example from Monday’s class of the painter who really wants and
needs recognition, maybe I give him a wife who needs more of his attention (because
she needs to feel loved), an agent who needs to get out of the art business and pursue
his dream of flying (because he needs to be free of responsibility), and a best friend
who thinks he needs to join the Hair Club for Men (because he needs to feel
attractive). Can you see the conflict beginning to build itself? And we haven’t really
even started writing, yet.
Step 2: A setting. Think of an interesting, unusual setting for your play. Take your
lead from your central character. If I use the artist/painter example, I can always set
the play in his studio or an art gallery. But what if I stick him in a waiting line at the
Internal Revenue Service or at a service counter for lawn mowers at Sears? What do
I get when I take him out of the expected and put him in an unexpected place we
don’t usually associate him with. Wherever you set your play is it someplace where
you can introduce your other characters with ease? Bend and shape it to make it so.
Using my painter, if he’s in a waiting line for the IRS, called in for who knows why,
maybe his wife and best friend are with him. And maybe, just maybe, his agent
shows up because he’s being audited somewhere in the same building.
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Step 3: Reassess everything. You’ve got a central character that wants/really needs
something, and for the purpose of the ten-minute play, will either get it, not get it
or think of plan B by the plays’ end. You’ve got at least one other character in the
play that needs and wants something too, and if you’ve thought it through, can
somehow be responsible for helping the central character or hindering him from
getting what he wants. You’ve created an interesting setting for everyone’s world
to collide in, and if you’ve been able to just let your mind wander, you’ve seen the
smallest kernel of conflict beginning to form. Write down all of your ideas. We’ll
read and discuss them in class on Monday.
Week 2
Monday, August 25
1. Due: Perfect 10: Writing and Producing the 10-Minute Play – Chapter 3.
2. Due: Perfect Hair by David Crespy (Pages 87-98 in Perfect 10 book).
3. Due: In-class discussion of questions on pages 97-98 in the Perfect 10 book).
In-class activity/Step 1: Read and discuss setting chosen for characters.
Homework for Wednesday
Step 1: Solidify the story you have been working on as much as you can and be specific.
Let your mind imagine all the possible directions the story could take. Toss around a lot
of ideas. Play each idea out to find out what best makes sense for the characters you’ve
created. When you settle on a semi-solid idea, make sure you’re clear about it – or as
clear as you can be a this point by writing down the simple version of the story line. It
might read something like this: “This is the story of a painter who desperately needs
recognition from the art world but realizes in the course of the play that what he really
needs is to be recognized – seen for what he is – by those who love him.” It could also
read something like this: “This is the story of a painter who, having an affair with his
best friend or his agent or (what he fears most) . . . And of course, there’s every variation
in between and beyond these two examples. Condense your story down to a simple oneor two-line description, which is a great exercise that forces you to get really clear about
what you’re writing.
Step 2: Now take out your paper that we started this whole process with – the one that
identifies your curiosity/passion. Think about it one more time because it’s time to start
writing. We will read and discuss your story line in class on Wednesday.
Wednesday, August 27
1. Due: Perfect 10: Writing and Producing the 10-Minute Play – Chapter 5.
2. Due: Hairstory by Tish Benson (Pages 107-118) in Perfect 10 book).
3. Due: In-class discussion of questions on pages 117-118 in the Perfect 10 book).
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In-class activity: Read and discuss story lines for play.
Homework for Wednesday
Go for it! Start writing your play. Don’t get bogged down with a title; let the play
inspire you later for a title. Maybe you don’t even know what you’re going to write.
That’s okay. Just start writing.
Remember the play has to have some type of structure to it, and since time is of the
essence, try to start in the middle, not at the beginning. Or start at the end and write
backward to the beginning. Do whatever you want to do, but keep the structure thing
in the front part of your brain and don’t forget that you must have some sort of
driving action (the central character growing more and more desperate to get what
he/she wants) in the story that is complicated by other people, events beyond
everyone’s control or life circumstances. And as you write along, complicate the
story. Make it seem like the obstacles that keep the central character from getting
what she/he wants are almost insurmountable.
Now take us on a ride! Let us think we’re going in one direction and surprise us by
shifting to another direction. Write the unexpected! Surprise us! Don’t let me
predict what’s going to happen – that’s boring! Keep us guessing what’s going to
happen next. Go, go, go! Don’t be afraid to write too much. You can cut it back
later. Stop thinking! Just write. Write until you have to stop. So what if you only
write three pages? Who cares? You’ll write three more pages tomorrow. Do what
you can, then pat yourself on the back.
For Wednesday, be prepared to discuss your progress in class.
Week 3
Monday, September 1
Labor Day – No Class.
Wednesday, September 3
Shame the Devil! An Audience with Fanny Kemble by Anne Ludlum
Heartland Theatre Company in the Community Center
Beech and Lincoln Streets, Normal, IL
Wednesday, 9/3 or Thursday, 9/4, at 7:30 p.m.
(Pay what you can preview performances)
1. Due: Perfect 10: Writing and Producing the 10-Minute Play – Chapter 6.
2. Due: E D F C Z P by Wendy Yondorf (Pages 98-107) in Perfect 10 book).
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3. Due: In-class discussion of questions on page 107 in the Perfect 10 book).
In-class activity: Discuss your progress on your play.
Homework for Monday
Finish your play. As muddy, confused, stupid, uninteresting, lame, and vile as you think
it is, just finish the play. Don’t go over what you’ve already written, just finish the play.
Force yourself; it’s the only way for you to know what you have and don’t have to play
with when you come down to the real skill of writing and rewriting.
We will discuss your progress on Monday.
Week 4
Monday, September 8
Due: One-page reaction paper for Shame the Devil! An Audience with Fanny Kemble
by Anne Ludum. (Attach program and ticket stub to paper.)
1. Due: Perfect 10: Writing and Producing the 10-Minute Play – Chapter 4.
2. Due: A Tail by Gary Sunshine (Pages 69-77) in Perfect 10 book).
3. Due: In-class discussion of questions on page 77 in the Perfect 10 book).
In-class activity: Discuss your progress on your play.
Homework for Wednesday
You have the first draft of your play. Congratulations! Now you have a chance to make
it better. Answer all of these questions, taking notes, before beginning your rewrite:
1. Did I make it clear in the story that the central character wants something? Is the
conflict clear?
2. Did I create enough obstacles that get in the way of the central character getting
what she or he wants.
3. Is there a structure to the story that pushes the dramatic action forward, causing
one event to lead to the next?
4. Is there any way that I can deepen or layer the characters? Can I give them
behaviors that will make them both interesting and engaging to an audience? Is
there something from their biographies that I can bring into the story that will add
texture?
5. Is there something theatrical about the story? Am I using all the dramatic
possibilities a stage can afford, such as live actors, lighting, sound, scenery, and
costumes?
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6. Do the characters sound different or do they all sound the same? Can I better use
language to indicate their personalities?
7. Is there anything that I’m being stubborn about that doesn’t belong in the story,
but that I like anyway and should cut now before I become too attached to it?
8. Do I address in the play what I was passionate about before I started writing, no
matter how subtle?
We will discuss your thoughts on how you can improve your play in class on
Wednesday.
Wednesday, September 10
In-class activity: Discuss your thoughts on how your play can be improved.
Homework for Monday
Start rewriting your play.
We will discuss your progress with rewrites on Monday.
Week 5
Monday, September 15
In-class activity: Discuss your progress with rewrites.
Homework for Wednesday
Rewrites of your play continue.
If you would like sections of your rewrites to be read in class, please make enough
copies for each character, a copy for stage directions to be read, and an additional
copy for the instructor.
Wednesday, September 17
In-class activity: Readings of rewrites, if desired.
Homework for Wednesday
Rewrites continue.
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If you would like sections of your rewrites to be read in class, please make enough
copies for each character, a copy for stage directions to be read, and an additional
copy for the instructor.
1. Live dialogue Condensed: One or two pages. This is an objective research
exercise in perception. It involves the use of a portable tape recorder. In the
unfortunate circumstance that you do not have or cannot borrow a cassette
recorder, a second-best method is to make, as accurately as possible, a quick
hand-written record. You will record one or two pages of “actual” dialogue
overheard in a public place. If possible, try to capture something of a coherent
conversation for the setting of your play. Then listen to the tape and write out two
pages of dialogue EXACTLY as you hear it. Transcribe the dialogue. Be precise.
The point of the exercise is to rivet actual conversation.
2. Place your attention on the vitality of language as it is actually spoken: its vibrant
syntax, idioms, slang, picturesque turns of phrases, and non-logical arrangement.
Please do not attempt to imagine dialogue, or to remember or recreate
conversations heard in the past. You will have ample opportunity to use material
from your imagination and your memory in every subsequent exercise.
3. Be sure to have a copy for each character in your play, for stage directions, and an
additional copy for the instructor), photocopied and ready to be read.
Week 6
Monday, September 22
In-class activity: Readings of transcribed live dialogue.
Homework for Wednesday
(Rewrites of your play continue.)
If you would like sections of your rewrites to be read in class, please make enough
copies for each character, a copy for stage directions to be read, and an additional
copy for the instructor.
Wednesday, September 24
Amadeus by Peter Shaffer
Center for the Performing Arts Theatre
September 25-27, 30 and October 1-4, at 7:30 p.m.
September 28, at 2 p.m.
Ticket Price: $9
Due: Scheduled one-hour sessions with instructor begin to discuss completed plays.
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In-class activity: Readings of transcribed live dialogue recordings continue.
Homework for Monday
(Rewrites of your play continue.)
If you would like sections of your rewrites to be read in class, please make enough
copies for each character, a copy for stage directions to be read, and an additional
copy for the instructor.
1. Dialogue exercises for major characters. Draft two pages of original dialogue for
your play – preferably, the climatic scene. Use words, which conjure up visions,
sounds, and tastes.
2. Conflict is the essence of dramatic action. Disagreement, however cordial or
angry, is what energizes a scene. Realize that dramatic conflict need not be
hostile. It simply requires that characters have differing goals from moment to
moment, and are working, competitively, compassionately, cautiously,
cooperatively, nastily, gently, furiously, crudely, gracefully, confusedly, or
lovingly toward an accommodation with each other.
3. Remember that change and variety are hallmarks of good dramatic writing. Shifts
in emotional tone, attitude, length of sentences, and other elements give a scene
vitality and punch.
4. This exercise should demonstrate your effort to employ conflict, strong sense
imagery, and variety in two pages of dialogue. Don’t underestimate what can be
achieved in two pages.
Week 7
Monday, September 29
Due: Scheduled one-hour sessions with instructor to discuss completed plays.
In-class activity: Readings of dialogue exercises for major characters. Two pages of
original dialogue for your play – preferably, the climatic scene.
Homework for Monday
(Rewrites of your play continue.)
Readings of complete 10-minute plays begin on Monday. Be sure to make enough
copies of your script for each character to be read, a copy for stage directions to be
read, and an additional copy for the instructor.
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Wednesday, October 1
Due: One-page reaction paper for Amadeus by Peter Shaffer. (Attach program and
ticket stub to paper.)
Due: Scheduled one-hour sessions with instructor to discuss completed plays.
Due: Play readings begin:
1. Ryan Thomas Holloway
2. Michael Stephen Rudolph
3. Kyle E. Wright
Week 8
Monday, October 6
Due: Scheduled one-hour sessions with instructor to discuss completed plays.
Due:
1.
2.
3.
Play readings continue:
Katie Elizabeth Carlson
Danielle Lemaire Cochran
Leah Christine Hansen
Wednesday, October 8
A lie of the Mind by Sam Shepard
Westhoff Theatre
October 8-11, at 7:30 p.m.
October 12, at 2 p.m.
Ticket Price: $9
Due: Scheduled one-hour sessions with instructor to discuss completed plays.
Due:
1.
2.
3.
Play readings continue:
Jared Beckley
Caroline Anne Wycislak
James Patrick Foy
Week 9
Monday, October 13
Due: One-page reaction paper for Lie of the Mind by Sam Shepard. (Attach program
and ticket stub to paper.)
Due: Scheduled one-hour sessions with instructor to discuss completed plays.
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Due:
1.
2.
3.
Play readings continue:
Graham Andrew Lamontagne
Cassandra L. Fox
Mary Elizabeth Dileo
Wednesday, October 15
Due: Scheduled one-hour sessions with instructor to discuss completed plays.
Due:
1.
2.
3.
Play readings continue:
David Jon Carter
Sarah E. Jorgensen
Benjamin Glenn Harris
Week 10
Monday, October 20
Due: Scheduled one-hour sessions with instructor to discuss completed plays.
Due:
1.
2.
3.
Play readings continue:
Matthew Edward Husky
Kortni Renea Osler
Lindsay Clark Shoemaker
Wednesday, October 22
(10-Minute Plays for MATC Playwriting Competition must be mailed
today/Overnight-mailing service strongly recommended.)
Introduction to dramatic writing for choreopoems and monologues.
Week 11
Monday, October 27
Discussion: Choreopoems and monologues.
In-class: Writing activities.
Wednesday, October 29
(10-Minute Plays for ACTF Playwriting Competition must be mailed
today/Overnight-mailing service strongly recommended.)
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A View from the Bridge by Arthur Miller
Center for the Performing Arts Theatre
October 30-31 and November 1, 4-8, at 7:30 p.m.
November 2, at 2 p.m.
Ticket Price: $9
Discussion: Choreopoems and monologues.
In-class: Writing activities.
Week 12
Monday, November 3
Due: Scheduled one-hour sessions with instructor to discuss completed
choreopoems or monologues begin.
Discussion: Choreopoems and monologues.
In-class: Writing activities.
Wednesday, November 5
Due: Scheduled one-hour sessions with instructor to discuss completed
choreopoems or monologues continue.
Discussion: Choreopoems and monologues.
In-class: Writing activities.
Week 13
Monday, November 10
Due: One-page reaction paper for A View from the Bridge by Arthur Miller. (Attach
program and ticket stub to paper.)
Due: Scheduled one-hour sessions with instructor begin to discuss completed
choreopoems or monologues continue.
Due: Choreopoem or dramatic monologue readings begin:
1. Ryan Thomas Holloway
2. Michael Stephen Rudolph
3. Kyle E. Wright
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Wednesday, November 12
Pride’s Crossing by Tina Howe
Westhoff Theatre
November 13-15 and 18-21, at 7:30 p.m.
November 15-16, at 2 p.m.
Ticket Price: $9
Due: Scheduled one-hour sessions with instructor begin to discuss completed
choreopoems or monologues continue.
Choreopoem or dramatic monologue readings continue:
1. Katie Elizabeth Carlson
2. Danielle Lemaire Cochran
3. Leah Christine Hansen
Week 14
Monday, November 17
Due: Scheduled one-hour sessions with instructor begin to discuss completed
choreopoems or monologues continue.
Choreopoem or dramatic monologue readings continue:
1. Jared Beckley
2. Caroline Anne Wycislak
3. James Patrick Foy
Wednesday, November 19
Due: One-page reaction paper for Pride’s Crossing by Tina Howe. (Attach program
and ticket stub to paper.)
Due: Scheduled one-hour sessions with instructor begin to discuss completed
choreopoems or monologues continue.
Choreopoem or dramatic monologue readings continue:
1. Graham Andrew Lamontagne
2. Cassandra L. Fox
3. Mary Elizabeth Dileo
Week 15
Monday, November 24
Thanksgiving Holiday
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Wednesday, November 26
Thanksgiving Holiday
Week 16
Monday, December 1
Due: Scheduled one-hour sessions with instructor begin to discuss completed
choreopoems or monologues continue.
Choreopoem or dramatic monologue readings continue:
1. David Jon Carter
2. Sarah E. Jorgensen
3. Benjamin Glenn Harris
Wednesday, December 3
Electra by Sophocles
Allen Theatre
December 3-6, at 7:30 p.m.
December 6, at 2 p.m.
Ticket Price: $9
Due: Scheduled one-hour sessions with instructor begin to discuss completed
choreopoems or monologues continue.
Choreopoem or dramatic monologue readings continue:
Matthew Edward Husky
Kortni Renea Osler
Lindsay Clark Shoemaker
Week 17
Monday, December 8
Final – Monday, December 8, 2003, from 7:50 to 9:50 a.m.
(This scheduled final can be used to complete readings if we are unable to get through
them all during the scheduled times. Please note, if your play is being read during
final’s because you were not prepared during your scheduled time, your play
will be penalized by one letter grade.)