Download Teacher / Student Inspiration Pack

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Teacher / Student
Inspiration Pack
© Singapore Repertory Theatre. This resource pack is created by Singapore Repertory Theatre to support The Write Stuff, a
Nationwide Playwright Competition in 2008 created by SRT’s The Little Company.
1
Content
•
Introduction
3
•
Glossary of Terms
4 – 10
•
Character Profiling & Building a Character
12 – 14
•
Dialogue
15 – 16
•
Duologue
17 – 20
•
Stage Directions/ Orientation
21 – 27
•
Plot, Themes & Setting
28 – 31
•
An Overview of a Play
•
The ‘Who, What, Why, Where, When, Whom’ List
•
Using Emotions
•
Planning Your Play
•
Games & Activities
32
33 - 35
36 - 39
40
41 - 46
Introduction
© Singapore Repertory Theatre. This resource pack is created by Singapore Repertory Theatre to support The Write Stuff, a
Nationwide Playwright Competition in 2008 created by SRT’s The Little Company.
2
Getting started!
Here’s a question!...Ready?....
What is a Play?
1. A play is a script that is to be used by actors to be presented as a performance.
2. A play is written as dialogue. We get to understand what happens to the characters
through what they say.
3. A play can be about the relationships between people at any given moment of their
lives.
4. A play is very important because it can help us investigate our lives and the society
we live in.
5. A play usually has people involved in some sort of conflict.
6. A playwright writes a play to be performed.
7. The following elements are essential for a play:
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Characters
Setting
Dialogue
Plot
Theme
Conflict
All the above highlighted words, and more, can be found in the glossary of terms on
the next page.
Glossary of Terms
© Singapore Repertory Theatre. This resource pack is created by Singapore Repertory Theatre to support The Write Stuff, a
Nationwide Playwright Competition in 2008 created by SRT’s The Little Company.
3
1. Actors
Actors are the people on the stage
performing. Actors usually mean both
men and women. Sometimes female
actors are called actresses. There are
also film and T.V. actors. Actors have
to train to be able to do the things they
do on the stage.
The Ugly Duckling by SRT’s The Little Company
Audience
An audience is a group of people that have come to watch the performance. They
have often booked tickets in advance to pay for their seat. They are also called
theatre-goers. Actors need an audience to perform in front of!
3. Blocking
One of the first things a Director will do when he has met his actors is to ‘Block’ the
play! It’s a rather strange word but it means he will tell the actors where to stand on
the stage and how to move. Blocking helps the actors to understand where they make
their entrances and exits from and how they move around the stage with each other
in certain scenes. If all drama was stationary it would be very boring. Actors have to
have very good memories to remember everything! There is a chapter coming up on
basic stage terminology that will help you understand more about the stage and its
geography.
4. Cast list
A cast list is the list of characters in the play. It is found at the beginning of the play.
It will have their name and sometimes even their age.
5. Characters
A character is a person in the play who takes part in the action of the play and
influences it! We learn about characters by what they do, their actions and also what
they say about themselves and what people say about them. Characters are very
important because they help us understand the themes of the play and also help us
learn about ourselves.
6. Climax
The climax refers to the high point of the story. This is really where the whole play is
headed. It also allows the audience to understand the journey of each character and
what has happened to each and every one of them up to this point.
7. Conflict
A play must have a central conflict or problem for a character or characters to
overcome. This makes for exciting drama! There are many different types of conflict.
© Singapore Repertory Theatre. This resource pack is created by Singapore Repertory Theatre to support The Write Stuff, a
Nationwide Playwright Competition in 2008 created by SRT’s The Little Company.
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Usually it is between one person and another or between groups. A conflict occurs
when a strong desire to achieve a goal by a character faces opposition. The conflict
may be physical, emotional or may occur within a character. The conflict is usually
introduced early in the play so that there is a chance for the audience to understand
it and follow it through with all the characters.
Costume design sketches for
Scrooge – The Musical
8. Costumes
A costume is what the actor
wears during the show. A
costume designer will be
employed to create
costume designs for all the
characters. Some may have a number of costume changes. The costumes are made
before the opening night so that the actors can work in them and feel comfortable.
9. Designers
There are many designers in the theatre and they all have a responsibility to design
certain things. For instance the set designer will create drawings of the setting of the
play so it might be on the moon, in a bedroom or at the zoo!
10. Dialogue
What people say in the play is very important. The dialogue reveals what each
character is thinking and feeling and how they are reacting to others around them.
Often there is a hidden meaning behind what they are saying. This is called subtext.
The dialogue is spoken by the actors to each other and the audience. The dialogue is
written as script in the play. One person speaks after the other. There are plenty of
examples for you to look at further on.
11. Director
A Director is responsible for bringing the whole production together! They are in
charge or making all the different pieces fit together. They guide the actors and tell
them what to do in rehearsals. He or she also works closely with all the designers.
12. Drafts
Some writers, through the editing process, will write many drafts of the play. Each
draft is a finished version in its own right but it is still undergoing changes. The writer
© Singapore Repertory Theatre. This resource pack is created by Singapore Repertory Theatre to support The Write Stuff, a
Nationwide Playwright Competition in 2008 created by SRT’s The Little Company.
5
might get help and support from fellow writers or friends who will give sound and
constructive advice. A big change also happens when the actors start to use the script
in the rehearsal process. I know a writer who wrote 12 drafts before the play was
ready for opening night!
13. Duologue
A duologue is when just two people are speaking together.
14. Editing
No writer is ever totally happy with what they have written so they will always go
back and make changes. They have different ideas at different stages so they will
always go back to the script and make adjustments. Some characters may change
totally through the editing process and some may be cut out of the play altogether!
The computer makes things a lot easier because you can save all your drafts and
never have to rub anything out permanently.
15. Emotions
We all feel different things at different times! Sometimes we may feel angry of sad or
even confused or a little hurt. Those feelings we feel are called emotions and actors
have to understand how to use their emotions. Actors are trained to use their
emotions but remember it’s the characters’ emotions they are helping to create, not
their own!
16. Interval
The interval is the break in the play usually in the middle
where the audience can take a toilet break and the actors
get to rest, but not for very long!
17. Lighting
Lighting is used in the theatre to create mood and
atmosphere. If you want a dark night with just moonlight
lighting up the stage, that can be achieved! Theatres are
very well equipped and a designer will work very hard to
re-create the mood the writer has intended in his or her
play.
18. Literature
A play is considered to be a piece of literature. It is story
of sorts but it’s written for actors to speak.
The Snow Queen by SRT’s The Little Company
19. Location
A play needs to be set somewhere! In fact it might have a number of locations. They
might be very simple like the bedroom or the kitchen. Or they could be very
imaginative like the interior of a rocket or on the surface of a strange new planet.
Whatever your setting the set designer will help realize the locations in the design.
© Singapore Repertory Theatre. This resource pack is created by Singapore Repertory Theatre to support The Write Stuff, a
Nationwide Playwright Competition in 2008 created by SRT’s The Little Company.
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20. Make-up
Actors wear make-up on stage to help make their facial features stand out. Some
make-up has to be applied by a specialist who is called a make-up artist. Some actors
have to look old and some might even have to transform into another creature.
21. Monologue
A monologue is when just one person is speaking. There is no other speech being
performed at that time by any other character. However the character may be talking
to themselves or the audience or even to someone else on the stage.
22. Objective
A character needs and wants to achieve certain things in the story that they are in.
He or she often has obstacles to overcome. They keep focused and always play to
their objective, which is a bit like winning a race. Another word for it that is often
used is victory. If a character plays towards his victory then there is concentration
and the belief that they will win even if they don’t.
23. Performance
A performance in this case would be the play from the beginning to the end. A play is
a complete piece of work.
24. Play
The play is the ‘book’ of the story! It is divided into a series of Acts. And those acts
are further sub-divided into scenes. The play can have a number of intervals but plays
can’t be too long or people would miss their last bus home!
25. Playwright
This is the writer of the play. Another name for him or her is author.
26. Plot
The plot is the story really. What happens! We use the story of the play to investigate
the themes
27. Programme
A programme is a small booklet that is given to the audience before the play starts. It
contains very useful information about the play, the actors, the story and the whole
creative team and process.
28. Props
Props are items that the actors use on
stage that often help define their
character. It is not considered to be a
part of costume or furniture but they
© Singapore Repertory Theatre. This resource pack is created by Singapore Repertory Theatre to support The Write Stuff, a
Nationwide Playwright Competition in 2008 created by SRT’s The Little Company.
7
are things like an umbrella, a walking stick or even glasses. Actors sometimes need to
learn how to use props because they can be rather tricky.
The Ugly Duckling by SRT’
29. Protagonist.
A protagonist is really the lead person in the story. They have a central role to the
story line and remember they can be a good guy or a bad guy!
30. Rehearsal
A rehearsal is the time needed for the actors and the director to polish the play till it
is ready for presentation. Actors will learn their lines and be told how to move and
what to think and feel. It’s also time for the designers to make everything!
31. Relationships
All the characters in the play have a
relationship to each other that’s if
they know and speak to each other of
course! Some may be actually related
like a brother and sister or have a
relationship like a teacher and
student. It could even be that they
are enemies. It is this relationship
and how they behave in it that will be
intriguing to an audience!
The Snow Queen by SRT’s The Little Company
32. Resolution
This refers to a certain resolve or ending to the story. It usually occurs after the
climax of the play and there may be more than one climax. The resolution is really
the end and it’s there for the audience to understand the final outcome. Could there
be a strange twist? Does it all end rather tragically? Or will everything go back to
normal! You are the writer and you have a choice and remember not all endings are
happy!
33. Scene
A scene is part of the play and it is part of the act that a playwright had written to
show certain characters interacting. A number of scenes make up an Act.
34. Set
The set is made to look like a certain place. It is a re-creation of a real place. Perhaps
a waiting room at a dentists or even a school room- it could look very real! However,
some times sets are very magical and are not realistic at all.
© Singapore Repertory Theatre. This resource pack is created by Singapore Repertory Theatre to support The Write Stuff, a
Nationwide Playwright Competition in 2008 created by SRT’s The Little Company.
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35. Script
The script is the play! It is a series of pages full of dialogue that the actors must
memorize. A script is a very important document. Every single person in the creative
team will use it not just the actors and the directors. Everything anyone needs to
know about the play is between the beginning and the end page.
36. Setting
Most plays have a setting which means many things! It could be a location like a beach
for example or it could
mean that it is set in a
certain part of history like
the Second World War and
the location is Singapore
during the Japanese
occupation. Or it could just
be the type of weather; for
example, the setting could
be a rainy day! The writer
will give an indication as to
where the play is set in his
or her stage directions.
Scrooge - The Musical by SRT’s The Little Company
37. Society
We all live in a society! That’s a large group of people who all live together in the
same area. We like to observe ourselves at work! Whether it’s in the daily newspapers
or on T.V. Another way is to go to the theatre. We often see the way we live by the
plays we see on the stage.
38. Sound effects
Sound effects are used to create mood and atmosphere! Imagine the sound of an owl
hooting on a very dark night or the squeak of floorboards in an old house. A sound
designer will help you realize all the sounds you want in your play. Technology is
amazing!
39. Speech
Speech is literally what people say in the play.
40. Stage Directions
Stage directions are part of the script and are very, very useful to all concerned!.
They are not part of the speech that the actors have to learn. They are helpful
directions for the creative team and the director to use. For instance the playwright
might have explained the exact layout of a particular room or told us what time of
day it was and even the weather conditions. They tell us about the general comings
© Singapore Repertory Theatre. This resource pack is created by Singapore Repertory Theatre to support The Write Stuff, a
Nationwide Playwright Competition in 2008 created by SRT’s The Little Company.
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and goings of the characters. However you must not write too much because it will
take up too much space and it must not be personal!
41. Subtext
Not every character means what he or she is saying! Think of the Child-Catcher in
Chitty Chitty Bang Bang! What he says and what he is thinking are two different
things. It’s the audience’s job, as well as the other characters on stage, to understand
these hidden meanings and make decisions about the character! This is called
subtext.
42. Theatre
The theatre is the building or place where the performance will take place. Theatres
come in all shapes and sizes and prices.
43. Themes
The theme or themes of the play is the message or point of view that the writer wants
to establish and get across to his audience. The theme is developed throughout the
play and is often revealed in all its glory at the high point of the story. Do you
remember ‘Charlie and the chocolate factory? Well a theme there is greed! And did
you remember how all those nasty kids met a stick end!
44. Topography
This is a great word and one of the most important in the glossary! It’s all about page
layout! You need to keep your work clear for all to read. Some ideas will be shared
with you later on how to type up a play! Just a quick word of warning! Always keep
the stage directions separate from the speeches!
This is a general series or ‘popular’ theatre terminology that will be useful for all
students to understand. A suggested follow up exercise is to use a standard dictionary
to get the absolute definition. This is a good vocabulary building exercise and helpful
to build a general theatrical knowledge base.
© Singapore Repertory Theatre. This resource pack is created by Singapore Repertory Theatre to support The Write Stuff, a
Nationwide Playwright Competition in 2008 created by SRT’s The Little Company.
10
A quiz or mastermind game could be established once all the terms have been
thoroughly investigated.
There is ample opportunity to add new words to this glossary.
Character Profiling & Building a Character
Exercise on Describing a Character
© Singapore Repertory Theatre. This resource pack is created by Singapore Repertory Theatre to support The Write Stuff, a
Nationwide Playwright Competition in 2008 created by SRT’s The Little Company.
11
Choose one of the following cartoon characters
Imagine that they are real people. Answer these questions about them and help build
a real picture of them. This will help you build a character profile.
1. Name
................................................................ .................................. ............................ .......…
2. Age
................................................................ .................................. ............................ .......…
3. Occupation
................................................................ .................................. ............................ .......…
4. Education
................................................................ .................................. ............................ .......…
5. Marital status
................................................................ .................................. ............................ .......…
6. Hobbies/ interests
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Nationwide Playwright Competition in 2008 created by SRT’s The Little Company.
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................................................................ .................................. ............................ .......…
................................................................ .................................. ............................ .......…
7. Personality
................................................................ .................................. ............................ .......…
................................................................ .................................. ............................ .......…
................................................................ .................................. ............................ .......…
8. How would they behave at a party?
................................................................ .................................. ............................ .......…
................................................................ .................................. ............................ .......…
................................................................ .................................. ............................ .......…
9. How would they behave at a meeting?
................................................................ .................................. ............................ .......…
................................................................ .................................. ............................ .......…
................................................................ .................................. ............................ .......…
10. How would they behave in danger?
................................................................ .................................. ............................ .......…
................................................................ .................................. ............................ .......…
................................................................ .................................. ............................ .......…
•
With a partner try to bring them to life!
•
Tell them everything you know about them.
•
Use your basic character profile as a start!
•
Swap the information.
•
Listen very closely to what they say about their character.
© Singapore Repertory Theatre. This resource pack is created by Singapore Repertory Theatre to support The Write Stuff, a
Nationwide Playwright Competition in 2008 created by SRT’s The Little Company.
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Imagine that these two characters have met for the first time. Get them to introduce
themselves and talk about their backgrounds.
This is how a writer starts to develop his characters. They put them in familiar or
unfamiliar settings and get them talking. A writer has many characters to deal with
and sometimes a writer can wander around with all these different characters in his
head imagining what one might say to the next! And this is all before the writer has
written anything down!
Dialogue
Here’s an example of dialogue. See how it is set out on the page. It’s simple and
clear! After this exercise have a go at writing your own!
Going to the movies.
Boy. Hi Dad!
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Nationwide Playwright Competition in 2008 created by SRT’s The Little Company.
14
Dad. Hello John. Did you have a good time at the movies with your Aunt and Uncle?
Boy. Oh Yes! We saw the new star wars movie and...
Dad. I hope you didn’t get your new shirt all dirty with ketchup...Did you?
Boy. No Dad! But I had a bar of chocolate and an ice cream and nachos with cheesy
sauce.
Dad. I hope you said thank you to your Aunt and Uncle for being so kind and buying
all those treats for you. You did say thank you didn’t you?
Boy. Yes! The battles were amazing Dad...The intergalactic mission station was...
Dad. I hope you didn’t ask for all those things from them. Did you ask for those
things? Did you ask politely?
Boy. It must have gone on for ten minutes the battle sequence and the sound
system...
Dad. Answer me!
Boy. What dad?
Dad. What do you mean ‘What?’ Haven’t you heard of Pardon?
Boy. Yes! I didn’t get my new shirt dirty and Yes! I asked politely and No! I didn’t ask
for the treats...
Dad. Did you say please and thank you?
Boy. Yes. Of course I did.
Dad. What did you see?
Boy. Star Wars episode 6 ‘The Earth’s Revenge!’ Amazing!
Dad. You didn’t talk through the movie did you?
Boy. No it was too noisy to even hear yourself speak!
Dad. Did your Aunt and Uncle have to tell you to be quiet?
Boy. No! But uncle did talk to me...
Dad. About what?
Boy. What?
Dad. Don’t say what say pardon!
Boy. Pardon?
© Singapore Repertory Theatre. This resource pack is created by Singapore Repertory Theatre to support The Write Stuff, a
Nationwide Playwright Competition in 2008 created by SRT’s The Little Company.
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Dad. Don’t you remember what we were talking about? Aren’t you listening?
Boy. About the movies Dad.
Dad. Well! I’m glad you had a nice day.
______________________________________________________________________
For discussion
•
What can you tell about the age and interest of John from the dialogue? Go back
to the dialogue and just re-read John’s lines.
•
What happens before a scene is called the background. What is the background to
this scene?
•
Why is John not always able to finish what he is saying?
•
What does this tell us about his dad? His personality?
•
Why does John get confused about what his father is talking about? How is this
shown?
•
How does the dialogue show that they are not talking about the same thing?
•
Both characters change the subject of the conversation what effect does this
have?
•
What does it tell us about them and their relationship?
•
Should the audience feel sympathy for John or his Father? How and why?
This was a Duologue. Have a go at writing your own!
Duologue
Write your own Duologue with hidden meaning!
Choose two characters from the list below:
™
™
™
™
Parent
Child
Student
Doctor
© Singapore Repertory Theatre. This resource pack is created by Singapore Repertory Theatre to support The Write Stuff, a
Nationwide Playwright Competition in 2008 created by SRT’s The Little Company.
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™
™
™
™
™
™
™
™
™
™
Teacher
Employer
Dentist
Boyfriend
Girlfriend
Grandmother
Grandfather
Alien
Brother
Patient
Write a short dialogue in which there is hidden meaning in what they say! Remember
the subtext in the glossary of terms!
Guidelines:
1. Maximum 20 lines
- That’s 10 lines per character
2. Create a character profile first
3. Create a sense of the background before you start writing
4. Remember you are controlling two voices in your head!
5. Don’t forget the page layout. Clear neat print!
6. Get together with a friend and read the script together.
7. Working and Writing with Conflict
8. A play must have a central problem or conflict for the characters to overcome.
Here is an example of a duologue between two people with direct conflict.
The characters are just A and B in this instance so they can be male or female and in
any combination.
Read through the script several times with a partner then have a go at acting it out.
Someone’s been telling tales!
A Come in.
B What’s this about?
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Nationwide Playwright Competition in 2008 created by SRT’s The Little Company.
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A Come in and close the door I haven’t got all day.
B I don’t understand...
A Just sit and listen will you.
B But I haven’t done anything wrong...have I?
A Several people have complained about you
B What? Why? Who are they?
A I’m afraid I’m not allowed to reveal their names.
B But how can I defend myself if I don’t know who they are?
A What?
B That’s not fair. You can’t accuse me and not say who said it or what they have
been saying about me!
A They say that you have been very unfair.
B Well! Give me some examples. I don’t know what they can be talking about
A I’m afraid I can’t.
B How can I defend myself from them?
A You don’t need to defend yourself.
B What do you mean?
A I’m not taking any action against you. This is just a little warning.
B But this is taking action against me!
A You are not being reasonable! Calm down! You are over reacting!
B That means you believe what they say doesn’t it?
A I’m not taking sides
B you are! Tell me who has been saying these things!
A I was told in confidence
B Then why are you paying attention to people who won’t even speak up? Answer me
that?
A They say they are afraid of you!
B That’s utterly ridiculous!
© Singapore Repertory Theatre. This resource pack is created by Singapore Repertory Theatre to support The Write Stuff, a
Nationwide Playwright Competition in 2008 created by SRT’s The Little Company.
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A look! It seems you ask them to do too much and they think you should share the
work load. You should be setting a good example to the rest.
B They are behaving like kids! Running back to mummy and telling tales! I refuse to
discuss it any further
A Don’t get so upset
B I’m not upset
A We all have problems
B I don’t have a problem!
A Anyway this is just a friendly warning
B There is nothing friendly about a warning. If you believe in gossip then you are a
fool
A I’m not a fool. Don’t call me a fool
B You are a fool and I quit!
A Wait....
Further Discussion
What is the central conflict here?
How did you feel when you read it?
Who did you have the most sympathy for?
How do you think this conflict will end?
Would it make a difference if it were two men or two women or a man and a woman?
You can try the different combinations and see how it changes the sense and
meaning.
© Singapore Repertory Theatre. This resource pack is created by Singapore Repertory Theatre to support The Write Stuff, a
Nationwide Playwright Competition in 2008 created by SRT’s The Little Company.
19
These exercises can be played out in front of the whole class. Lines don’t have to be
learnt! Just use the script.
Stage Directions
Example 1: THE SNOW QUEEN by SRT’s The Little Company
Snow Queen. Stop! Don’t touch her, she’s mine! (They back off slightly)Let’s
see, what do we have here then?
Weezil.
Delivered just as you asked lady.
Gerda.
Please! Please let me go…
Weezil.
But you’ve only just arrived.
© Singapore Repertory Theatre. This resource pack is created by Singapore Repertory Theatre to support The Write Stuff, a
Nationwide Playwright Competition in 2008 created by SRT’s The Little Company.
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Snow Queen. What’s this? A purse full of money! Here boys, your payment!
(She flings it all around and the robbers rush to pick up their earnings)
All Robbers.
Yeah! Woah!
Gerda.
Just let me go. I’ve got to find Kay. The Snow Queen’s taken him
to her palace in the far north.
Weezil.
Has she indeed, so you think you’re a strong enough match for the
Snow Queen!
Gerda.
I don’t know but I am not going to give up my brother without a
fight.
Weezil.
Whoo, that’s fightin’ talk.
Snow Queen. Who asked you’re opinion! Nobody has ever fought the Snow
Queen before.
Gerda .
Well it’s about time they did.
Snow Queen. I think the Snow Queen will enjoy freezing you. You’ll be so cold
that your heart will shatter into a thousand tiny pieces.
Robbers.
Ooooh…
Snow Queen. And then all her little sprites will jump up and down on the ice
pieces until it’s crushed ice to use in her Frappuccino smoothie.
(All laugh)
Gerda.
You’re a vicious old woman!
Snow Queen. Are you talking to me!
(She reveals herself as the Snow Queen and threatens Gerda with the dagger.
The robbers all run off)
Snow Queen. Get back here! Your job’s not finished!
(the two ring leaders come back)
Snow Queen. I’ll have these, I don’t want you to be too comfortable where
you’re going.
© Singapore Repertory Theatre. This resource pack is created by Singapore Repertory Theatre to support The Write Stuff, a
Nationwide Playwright Competition in 2008 created by SRT’s The Little Company.
21
(She pulls Gerda to her feet and snatches her hat and muff.)
Gerda.
Take them. I don’t care.
Weezil.
In that case can I have the coat!
Gerda.
Come and get it! (she kicks Weezil in the shins as he takes her
coat)
Weezil.
Owch!!
Snow Queen. You think you're so tough.
Gerda.
I have nothing else of interest to you, what are you going to do?
Snow Queen. Enough! Put her in the ice cave.
(Two robbers take her to one of the caves)
Snow Queen. Ice of steel, create your jail
A tomb from which you will never prevail!
(As the Queen speaks her magic words the cave is sealed. The Queen laughs and
they all exit)
Example 2: SCROOGE! THE MUSICAL by SRT’s The Little Company
Scene 2
Scrooge sits at his desk and lights his candle. He shakes his cash box and rubs his
hands in glee. He works with his ledger book and abacus.
Cratchit clears his throat rather loudly as if trying to get Scrooge’s attention. He
does it again. This time he starts coughing mildly. It’s late and Cratchit wants to get
home to his family. It’s Christmas Eve.
Scrooge. Mr. Cratchit will you kindly stop that hacking cough. You are making a
racket! You are up and down like a jack-in-a-box!
Cratchit. Mr. Scrooge… I…
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22
Scrooge. Will you kindly stop!! Is that clear? I can’t hear myself think!
Cratchit. Yes Mr. Scrooge. But may I enquire about my wages Sir…
Scrooge. He ignores his last request How much of that candle have you wasted today,
Cratchit? If you are sick then put a paper bag over your head! Keep it to
yourself! I don’t want to catch it, Cratchit! Understand?
Cratchit. Yes! Mr. Scrooge I understand. I shouldn’t want you to catch any nasty
diseases. He puts a paper bag over his head and his voice becomes muffled.
May I enquire as to whether I may get wages? It’s Christmas and I want to
buy my little Timmy…
Scrooge. He peers over the rim of his spectacles. What are you doing with a paper
bag on your head! I can’t understand a word you are saying! Just get on
with your work! That’s what I pay you for!
Cratchit. But you told me to put it on my head Mr. Scrooge! You said…
Scrooge. Oh! Did I?... I am quite familiar with every trick in the book you know! I
know how to run a tight ship…
Cratchit. No! Mr. Scrooge.. I mean yes Mr. Scrooge. You do Mr. Scrooge! I mean, you
are!
Scrooge. I employ you to do my accounts! My mathematics! My sums! Not to have
little chit chats with you over tea and biscuits! If I want a conversation with
you I will start one! But I don’t want to have a conversation with you so
back to your work!
Cratchit. Yes! Mr. Scrooge. Perfectly clear! Back to my work!
Scrooge. He busies himself Twittering on and on about nothing you sound like a mad
chicken…with tummy ache…
Cratchit puts his hand up just like a school boy in class. He strains to be seen. Finally
Scrooge, who is very close to losing his temper, sees him.
Scrooge. Bellowing For Pete’s sake! What is it now? Have you got ants in your pants?
Cratchit. Excuse me! Mr. Scrooge I do have one more question about my wages…am I
getting paid or not?
Scrooge. I believe you are doing it on purpose! Cratchit! I ask the questions in this
office. Not you or the chair or the door or the clock! It’s Me! Me! Me! Me!
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Me! Me! Me!! And I don’t have the time especially for a twittering tweeteepie twit like you.
Cratchit. He puts his paper bag over his head again only this time he adds eyes and a
nose and a mouth Yes Mr. Scrooge. Cratchit works
Scrooge. Bah Humbug!
______________________________________________________________________
As you can see from the examples set out in these scripts stage directions are very
important. They help the director and his/her cast to get to understand what is going
on. It will help them play the action. Stage directions don’t have to be long and
complicated in fact the opposite is better! As you can see from the examples, the
directions are set apart from the script and are often in italics or a different font size.
Experiment with you own stage directions in your own play. If you write too much at
first, don’t worry you can always edit it at a later stage.
™ Stage Direction Checklist:
Things you might wish to include:
¾
Exits
¾
Entrances
¾
Who is standing, sitting, walking in relation to the other characters
¾
Weather
¾
Time/ date
¾
Location
¾
Room layout
¾
Props- who is carrying/ using certain things
¾
Clothing
¾
Music
¾
Lighting
¾
Sound
¾
Special effects e.g. video screen
© Singapore Repertory Theatre. This resource pack is created by Singapore Repertory Theatre to support The Write Stuff, a
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24
¾
Stage geography- It is important for a writer to understand the stage
geography. This will help him/her to position the actors and help them
make their entrances and exits.
Have a look at the following drawings
Moving towards the audience is always called going downstage.
Moving up and away from the audience is called going upstage
Now the stage is split into 12 parts! Learn them and them see how many you can
remember!
Up Stage Left
USL
Centre Stage Left
CSL
Down stage left
DSL
Centre Stage
CS
Up Stage Centre
USC
Down Stage Centre DSC
Up Stage Right
USR
Centre Stage Right CSR
Down Stage Right DSR
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Remember it’s the actors left and right when they are on stage facing the audience
and not the audience’s!
Try practise writing these and other useful words listed below in your own script.
Research their meanings and add them to your stage map.
1. Back stage
11. Flies
21. Flat
2. The wings
12. Follow spot
22. Footlights
3. Front of house
13. Barn doors
23. Fourth Wall
4. Sound box
14. Strobe
24. Green room
5. Proscenium arch
15. Hazer
25. Proscenium arch
6. Prompt corner
16. Dry ice
26. Rake
7. Tabs
17. Trap door
27. Thurst stage
8. Legs
18. Apron
28. Amphitheatre
9. Fly floor
19. Box Set
29. Theatre in the round
10. Stalls
20. Cyclorama
30. Angels
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Here are some examples of a simple set with props.
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Plot, Themes & Setting
The plot of the play is the story! Have the story of your play in mind before you start
writing. In fact you can write the story first which will help you get the order of
events and the sequence right. It will also help you introduce your characters. This in
itself is a good comprehension exercise! Now you have to adapt your story to script;
while you’re at it, you should be thinking of what title you would like to give your
play.
You can always change the sequence and events and any part of the plot during the
writing process. You will create drafts that can always be changed with your editing
skills. Remember to keep all your drafts on file so that if you want to re-use
something you can access it easily and quickly.
The Theme of the play is the message or the point of view the writer wants to
establish. Themes are developed throughout the play and there can be more than
one. The theme usually comes to a climax at the end of the play.
Have a read of the next play extract from “The Bridge” and answer the questions
listed below.
Note the simple stage directions in Italics at the start of the scene and the plays
interesting setting. The setting of the play can influence the theme because it can
suggest a certain time period and location. In The Bridge the setting is a major part of
the story.
The Bridge
A man is leaning over a bridge gazing at the water.
He is joined by a small boy.
It is 3pm on a bright sunny day in late June.
Boy What are you doing?
Man Nothing.
Boy Are you going to jump?
Man I might.
Boy Can I watch?
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Man What’s your name?
Boy Marcus.
Man So is mine!
Boy So can I watch?
Man How old are you?
Boy
I’m si...seven.
Man Do you want to be a fireman?
Boy Yep! Wow! How did you know?
Man That’s what I wanted to be when I was six.
Boy
I’m seven...nearly.
Man So you are still six?
Boy Are you a fireman now?
Man No, I changed my mind.
Boy Why not?
Man I told you I changed my mind.
Boy So are you going to jump?
Man I might.
Boy Would you like a jelly bean?
Man No thanks.
Boy Don’t you like Jelly beans?
Man I can’t remember.
Boy Are you an Astronaut?
Man No.
Boy Are you a Train Driver?
Man No.
Boy Are you going to jump?
Man I might.
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Boy I don’t think I will!
Man Why not?
Boy I can’t swim.
Man Neither can I!
Boy Do you want to play I Spy?
Man No.
Boy Something starting with the letter ‘S’.
Man Seagull.
Boy Wrong.
Man Ship.
Boy wrong.
Man Star.
Boy Star? It’s the middle of the day!
Man Where do you live Marcus?
Boy Over there.
Man Garden Street?
Boy Yes!
Man That’s where I lived.
Boy Do you like dogs?
Man Yes I did!
Boy I’ve got a bike!
Man It’s red and blue isn’t it?
Boy How did you know?
Man Do you ride in the park?
Boy Mummy won’t let me ride on the road! She says I’m too small.
Man That’s what my mum said.
Boy
Have you got a Mother?
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Man No...Not any more
Boy Are you going to jump?
Man No.
Boy Oh! Why not?
Man I’ve changed my mind.
Boy Are you going home?
Man I don’t live here any more.
Boy Where do you live?
Man A long way away.
Boy I have to go now.
Man Goodbye Marcus it was nice talking to you.
Passer-by I’m sorry are you speaking to me?
Man I was talking to a little boy...his name is Marcus he was here just a second
ago...
Passer-by there is no-one here! You must be imagining things! Are you going to
jump?
Man I might...
_____________________________________________________________________
Q1. How has the writer established the two characters?
Q2. Was the character of the boy real?
Q3. What are the themes of this short play?
Q4. How did the setting help the play?
Write a character profile of all the characters in the piece.
Keep working on your own writing skills!
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An Overview of a Play
Plays establish obstacles for the main characters as they pursue their objectives and
struggle against the forces that oppose these objectives!
The action of the play develops through a series of problems, which the characters try
and overcome. Not all characters can overcome all of their problems.
This all finally reaches a climax which is at the point of the play where we as the
audience start to see how things have happened for each character and what the
possibilities are for each of them.
After the climax there follows a resolution! It’s really the tying up of the story. It
gives a chance for the characters to get back to their normal lives and allows the
audience time to calm down after being taken to such emotional heights!
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The ‘Who, What, Why, Where, When, Whom’ List
When you are writing a play there are some decisions you have to make before you
start to write.
1. Who are your characters?
Work out who the people are in your play. Here are just a few examples:
Space
explorers
Super
heroes
Robots
Evil aliens
Parents
Teachers
Friends
Gossips
Policeman
Bully
Children
Aunts
Uncle
Shopkeeper
Gangs
Animals
The brain
box
Principal
Politicians
Trades
people
Popular girl/ Boyfriends/
boy
girlfriends
Tramp
Jealous
Person
Feel free to add to the list!
2. What sort of play do you want to write?
Here are some ideas for you to look at:
Science fiction
A love story
A ghost story
A story about
school
A trip
A dream
Another world
A story about gangs
3. Where is your play set?
It is important to find an interesting location for your play. Remember that the play
will be performed on a stage. This means that you can’t have too many locations. Also
remember that a set designer will read your play and will try and imagine the places
you have described in your stage directions and notes on the play. It’s a good Idea to
make sketches as you go along so that you can remember what you want and it will
also help the designer to realize the set and how you have imagined it.
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Some Ideas for a setting:
School
The zoo
The park
On a bridge
In a hot air
balloon
In a haunted
house
Up a
mountain
In a deep
cave
In a room in
a house
The garden
The bird
park
On another
planet
In space
In a
spaceship
On a boat
On a desert
island
Under the
sea
On top of
the tallest
building
In a box
By the sea
By the river
In the
library
At the
fairground/
amusement
park
In the
swimming
pool
At the
shops/
supermarket
At the circus A birthday
party/
celebration
The head
teacher’s
office
The hawker
centre
A restaurant
A chocolate
factory
The gym
A time
machine
4. Why is the most important question of all! What the audience want to know is why
people in the play, the characters, behave in certain ways. The audience likes to
watch the drama unfold and see how characters deal with the conflicts placed in their
way. The why question is how a character deals with the obstacles put in their way
and how they keep the focus on what they want or need to do to overcome that
obstacle.
Here are a few ideas and examples about obstacles that are stopping someone from
doing something that they want to do!
¾ A father will not let his son play sport because he has to study.
¾ An alien who is trying to blow up the earth.
¾ A fellow student who is trying to get you to cheat.
You can make a list of the major problems that the people face in your play.
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34
5. When? What is the time period in which your play is happening?
You have a choice:
¾ The past
¾ The present
¾ The future
You play does not have to be limited to just one of these time frames. There might be
a scene in the future or in the past, so have fun and explore the idea of time travel.
Write down the time of the play using the date or historical events in your stage
directions. Ask yourself how your audience know that it is the past or the future?
Here’s an opportunity to look at costume and sound design. Have a sketchpad at hand
to jot down ideas and drawings.
6. How does it all come together? That’s your job!
Remember:
•
•
•
•
•
•
•
•
•
•
•
•
•
Write drafts
Edit your work periodically
Make detailed character profiles
Spend time thinking about who your characters are
Make sketches of their costumes
Make sketches of the setting
How will you use the ideas of the past and the present and the future?
Practise writing script
Use clear precise stage directions
Get a friend to help you speak the dialogue that you have written
Remember the stage layout and its geography- how do you want your
characters to move around the set?
Do you have any special sounds you want to use? Music maybe?
Will also need any make-up or props?
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35
Using Emotions
Here’s an exercise you could try out:
Find as many emotions as there are letters in the alphabets.
A
Angry
Anxious
B
C
D
E
F
G
H
I
J
Jealousy
K
L
M
N
O
P
Q
R
S
T
U
V
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W
Worry
X
Y
Z
Now don’t stop! See if you can do it again but remember you can’t use the same
emotion twice!
As you can see we humans are full of emotions. The same goes for the characters in
your play. So how does your character feel?
Here are a series of simple exercises to show you how you can get your characters to
have real emotions on stage.
A Simple Script
A hi!
B what?
A I said Hi!
B Oh!
A What are you doing?
B Nothing.
A What?
B I said nothing.
A That’s impossible!
B What?
A You must be doing something!
B No I’m not.
A Yes you are!
B I’m not!
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A Even by breathing you are doing something.
B Breathing?
A Yes breathing!
B Oh just go away.
A What?
B Go away and leave me alone.
A I beg your pardon.
B I said get lost!
A How rude!
B And shut up!
A Really I’ve never been so insulted in my life.
B GO AWAY!
A O.K. I’M GOING...SEE I’M GOING...
B. Good riddance!
______________________________________________________________________
•
Describe character A.
•
Describe character B.
•
What is the scene about?
•
What are the areas of conflict for each character?
•
How is character A feeling?
•
How is character B feeling?
•
Now use different emotions for each character from your list
Example 1
™ Perhaps character A could be very happy.
™ Perhaps character B could be very moody.
™ You could even swap them over!
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™ How does the mood of the script change when A is moody and B is happy?
Example 2
Now put two or three emotions together for each character.
Character A
™ Nosey
™ Annoying
™ Talkative
Character B
™ Tired
™ Depressed
™ Nervous
There are limitless possibilities. Enjoy playing with some of them.
Now that you have established how they feel and what emotions are bubbling, you
can make them even more real by adding the ‘who, what, why, when, where, how’
list.
Here is an example:
¾ Character A is a smart prefect at a school.
¾ Character B is a new student who has just arrived in the middle of the term.
¾ It is a break time and the two meet in the school play ground.
¾ It is lunch time and it’s the middle of winter in England.
¾ Character B did not want to leave his old school. He has no friends now at this
new school. He had no choice his father got a new job so they had to move. He
just wants to be left alone.
¾ Character A is the smartest kid in the school and is also the most irritating.
You are now at liberty to make your own scenarios a reality!
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39
Planning Your Play
Now you have to decide on all the major elements. It is time to plan your play. Use
the points listed below as a check list to help you keep things focused and in order.
1. Orientation
When and where the play takes place and who is in the play
2. Complications
Or problems or what goes wrong what obstacles arise that have to be overcome
3. Development
What the characters do to overcome their problems or further difficulties
4. Climax
The point of the play that all the plot has been leading to
5. Resolution
How the problems are eventually solved or how it all ends
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Games & Activities
1. Forum
•
Aims:
- Exploring characterisation and character development
- Communication skills- asking and giving relevant information
- Taking focus within a space
- Audience awareness
- Exploring characterisation
- Increasing confidence
- Encouraging spontaneity
- Imaginative skills
•
Space requirement: A classroom, as it is.
•
Procedure
1. A student sits on the Hot Seat (any chair or block) in character and answers
questions put to them by other students.
2.The questions should start out being quite general: age, occupation and so
on; and then gradually progress to being more specific and complex, for
example, the character’s feelings about other characters and situations.
2. List Games
•
Aims:
- Concentration skills
- Exercising memory
- Listening skills
- Building vocabulary
- Imaginative skills
- Encouraging spontaneity in speaking
•
Space requirement: A classroom, with the furniture moved aside.
•
Procedure
1. Have the students sit in a circle.
2. The students have to compile a list- a shopping list, a list of occupations,
whatever the class chooses.
3. The first item on the list must start with “A”, the second with “B” and so on.
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4. Each student takes his or her turn to contribute an item to the list starting
with the relevant letter.
3. Props
•
Aims:
- Physical awareness
- Taking focus within a space
- Increasing confidence
- Encouraging spontaneity
- Imaginative skills
•
Space requirement: A classroom, with the furniture moved aside.
•
Procedure
1. Divide the class into teams of 5.
2. Each team is given a prop. This prop can be anything from a piece of cloth to
a hat to a book. Each team has to take the prop in turn and find a unique use
for it. For example, they can use a piece of cloth as if it were a snake, an item
of clothing, a skipping rope, a shoelace and so on.
3. Each team has to find at least 5 (or a number previously agreed on) unique
uses for this prop. In turn, each team will demonstrate how the prop can be
used.
4. The teams are given a time limit of 3 to 4 minutes to think of different uses
for their prop and must try not to hesitate when it is time to demonstrate its
uses.
5. Each team is awarded points for inventiveness. Points may be taken away for
hesitation. The team with the most points at the end wins.
4. One Word Drama
•
Aims:
- Exploring characterisation
- Taking focus within a space
- Physical awareness
- Spatial awareness
- Audience awareness
- Concentration skills
- Increasing confidence
- Encourage spontaneity
- Imaginative skills
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42
- Initiating and accepting action (scene-building)
- Teamwork and co-operation
•
Space requirement: Big space, little or no furniture.
•
Procedure:
1. The teacher suggests a scene for groups of four to six people, stating place
and situation.
2. The teacher gives each group a word appropriate to the scene. This is the
only word to be used as dialogue.
3. The groups are given 5 to 8 minutes to rehearse and are then asked to
present their scene to the class.
4. Some suggestions:
- Locked in a public toilet- Word: Toilet
- A bad meal in an Italian restaurant- Word: Spaghetti
- A rehearsal for Swan Lake- Word: Pirouette
- A portrait sitting with a model who can’t keep still- Word: Portrait
- Overworked in a laundry- Word: Scrubber
- A cardiac operating theatre- Word: Transplant
5. As an alternative, players may think of only one word (a different word
each), that helps him or her with their role.
5. Story-Go-Round
•
Aims:
- Encouraging spontaneity in speaking
- Exercising narrative skills
- Concentration skills
- Listening skills
- Imaginative and creative skills
- Practising sentence structure
- Vocabulary building
- Increasing confidence
- Taking focus within a group
- Alertness and quick reaction
•
Space requirement: A classroom, with furniture moved aside.
•
Procedure
1. The students choose two characters- one from a well-known television show,
another from a fairy tale- and one object, and weave them into a story.
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2. The students stand in a circle with the teacher as part of the circle. The
teacher points randomly to one student who must begin the story immediately.
The teacher then points to another student who has to carry on the story from
where the last student left off, even if the previous student stopped in midword.
3. There must be no hesitation and the students must strive to keep the storyline going.
4. This is a very challenging exercise, but is excellent practice for thinking on
your feet.
6. Tall Tale Gossip
•
Aims:
- Listening skills
- Audibility
- Alertness and quick thinking
- Imaginative skills
•
Space requirement: A classroom, with the furniture moved aside.
•
Procedure
1. The teacher shows the whole class how the game works. The teacher starts
with a statement, “It was raining so heavily I was drenched even though I was
carrying an umbrella.”
2. The next student has to start with “It was raining so heavily…” and
exaggerate the situation further. For example, “It was raining so heavily I had
to wade to the bus stop.”
3. Challenge the class and see how many exaggerations you can make up before
the idea can go no further.
4. Other openers you can use:
- I was caught in a traffic jam for 3 hours.
- The air was so foul I had to hold my breath.
7. Taboo
•
Aims:
- Building vocabulary
- Generating ideas
- Teamwork
- Imaginative skills
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44
•
Space requirements: A classroom, as it is.
•
Procedure
1. This is a team game. Each team should have 5 to 6 people.
2. Teacher has to prepare word cards. These can either be specific types of
words, for example, nouns or adjectives or concepts and ideas. You can use
flash cards.
3. During Round 1 of the game, each group is given word cards. Each group will
get one card first. For example “sky”, so the group has to write down 5 words
to describe it. E.g. huge, clouds, rainy, sunshine. These are now the taboo
words.
4. In the second round of the game, 2 teams will challenge each other. Team A
will give Team B their word card with the taboo words on it. One member from
Team B has to describe the word, for example “sky” to the rest of the team
without using any of the taboo words. If Team B can guess the word, it gets a
point. If any of the taboo words are used, the point goes to Team A. With more
advanced classes, you can set a time limit. The team has to be able to guess
the word within 1 minute or 30 seconds.
5. Variation: The teacher can also choose to give out more word cards during
Round 1 of the game.
The teacher or student can keep the word cards at the end of each game to build
a Word Bank.
8. What Is It?
•
Aims:
- Building vocabulary for descriptive speaking
- Generating ideas
•
Space requirement: A classroom, as it is.
•
Procedure
1. The teacher decides what is the focus of the description. This can be the
room the lass is in, small objects, or photos.
2. On small slips of paper or flash cards, the teacher prepares and writes down
prompt words. For example, if there is an object to be described, the prompt
words can be “shape”, “texture”, or “function.”
3. Students are to work in small groups of 5 to 6. Each group will be given an
object and its prompt cards.
© Singapore Repertory Theatre. This resource pack is created by Singapore Repertory Theatre to support The Write Stuff, a
Nationwide Playwright Competition in 2008 created by SRT’s The Little Company.
45
4. Each student is to pick a card, for example “Texture.” The student then has
to find words to describe the texture of the object. This continues till every
student has had a turn.
5. The group then has to decide what is the best way to organise all the words
used into a coherent description. This may also be done in writing. Assign 1
student in each group to be the scribe.
6. Possible extension: each group is to read out their description and the other
groups have to guess what is being described.
9. The Expert Story
•
Aims:
- Powers of observation
- Listening skills
- Problem solving
- Team work
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Space requirement: A classroom, as it is.
•
Procedure
1. Before the class, the teacher has to find a story that is told in a series of 4
to 5 pictures. There must be no words in the story, only pictures.
2. If the story has 4 pictures, the class is divided into 4 groups. Group A will be
given Picture A; Group B will be given Picture B and so on. Each group is given
5 minutes to study their picture. Tell the class that after this, they will be
required to describe their picture from memory.
3. At the end of that time, new teams will be formed comprising one person
from Group A, one person from Group B, one from Group C and one from Group
D. In turn, each person will describe from memory his picture. After hearing all
the descriptions, the team has to decide what sequence the pictures occur in
and how the whole story unfolds. There must be a group consensus about this.
Each group is given about 15 minutes to discuss this. At the end of this time,
each group is to tell their story to the class.
4. The presentation should be followed by a discussion focussing on what each
group found challenging, how different the stories turned out in the end (if
they did) and the importance of being systematic in talking about place
relations.
© Singapore Repertory Theatre. This resource pack is created by Singapore Repertory Theatre to support The Write Stuff, a
Nationwide Playwright Competition in 2008 created by SRT’s The Little Company.
46