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The Playwright The life of the Playwright A solo artist of sorts Separated and isolated from the production. This has exceptions of course, some playwrights serve an integral part of the rehearsal process while others never enter the theatre. Sam Shepard not only writes but also is instrumental in the directing and acting of his own work. The life of the Playwright A Playwright has many choices to make and questions to answer. When a playwright chooses a subject, develops the structure or creates the characters, it is usually done intuitively. A play usually evolves rather than put together in a technical fashion. In past eras, the structure and characters used, were traditionally accepted practices of a given period and society. Modern playwrights often begin without a clear plan and only later discover the type of structure and nature of the characters. We All Dream The Playwright in all of us We dream and imagine stories as we live our daily lives. We invent characters and situations that intrigue and motivate our lives. This is the foundation of a playwright, the main difference is pulling all of these creative ideas from our heads and putting it on paper. What does the word Playwright mean? Playwright The word “playwright” To make plays The term wright means craftsman or builder. A combination of not just words but both vocal and physical relationships. A play is designed to be performed not just read. Example from Cohen’s text Othello: Oh! Oh! Oh! King Lear: Howl, howl, howl, howl! Hamlet: No, no, the drink, the drink. O my dear Hamlet, The Drink, the drink! I am poisoned. These lines by themselves offer very little interest, but when performed by a trained actor, unveil the climax of the play. The tools of the Playwright Dialogue Physical action The play is a series of actions and events that evolve into a plot. Remember a play is more than words. It is words that are put into actions with objectives and goals. These events are designed to be acted out in front of an audience. A playwright must be able to hold the attention of the audience. These events can be linked together in a chronological order and show a progression of experiences in time. (This is not always true) What Makes a Good Play? What Makes a Good Play? Credibility Intrigue Speakability, stageability, and flow Richness Depth of characters Gravity and pertinence Compression, economy and intensity Celebration Credibility Credibility The play flows logically from point a to point b. The characters exist for a reason. They have goals and individual interests. The characters do not exist only to further the plot. The audience views the characters as actual people. Back Intrigue Intrigue Making the audience want more. Create suspense Draws the audience into the world of the play. Back Speakability, Stageability, and Flow Speakability, Stageability, and Flow Speakability Create words that provide the maximum effect on stage when spoken. The words are true to the character. They represent their own personality. Stageability Not only do the words need to be spoken but also performed on stage. All elements including design, acting, staging need to be integral to the plot. necessary information Flow A good combination of speakability and stageability creates good flow. Smooth scene changes, act breaks, and intermission. Back Richness Richness A play that is not two dimensional. Full of detail and information. Fully developed characters. Rich with texture. Back Depth of Characterization Depth of Characterization Every character in the play needs to have their own individuality. Separate intentions Good and bad Characters need to have life and energy and bring something to the play. Back Gravity and Pertinence Gravity and Pertinence The play must in some way effect the audience. The pertinence of the play is how it focuses on current audiences concerns. Some plays address current affairs Other plays address timeless issues. The gravity relates to the play’s theme and how it’s relevant to the concerns of the audience. current issues historical issues Back Compression, Economy and Intensity Compression, Economy and Intensity Compression: The playwrights ability to create a play that spans several days or years. Economy: The ability to adapt and understand the scenic and character needs of a play. Remember a play takes place in one location. (The Theatre) Intensity: The ability of the playwright to successfully build the actions of the play towards the climax. Back Celebration Celebration A play celebrates life. Early Greek tragedies, although contained very negative aspects, always focused on the human spirit. Back The Process The Process Every Playwright begins a process differently. There are no rules or structured outlines. Some playwrights start with dialogue and other with characters. Below are general introductory steps than may be taken. Subject Matter Dramatic Purpose Dialogue Conflict Structure Subject Matter Subject Matter The subject matter of drama is always about human beings. This is very different than abstract painting or music. The playwright must determine what aspect of human existence to write about. Will the play be based on history such as a war or will the play be based on a dramatization of someone’s life. The playwright must make these choices. Dramatic Purpose Dramatic Purpose Every theatrical event is intended to serve a purpose. Conscious Unconscious Deliberate Plays have been written to Entertain To impart information To explore the human condition To escape. To educate. Dialogue Dialogue Remembered dialogue Overheard conversations Conversations with the playwright Imagined dialogue Adding on to remembered information. Constructing new dialogue with old and new characters in new situations. Back Conflict Conflict Conflict has drama and needs to be resolved. This gives the play somewhere to go . Without conflict nothing interesting happens to the characters or story. Back Structure Structure A play needs a structure, it can’t simply be a bunch of scenes thrown together. Structure creates interest and carries the story. It creates expectations and the need to know. When does the action of the play begin? How are the scenes put together? How does the action unfold? What is the highpoint of the action? Is it climatic or episodic? Back Summary • There is no right or wrong way to approach a play. • Every playwright is different. • Once a play is finished, a playwright will have a stage reading with actors. • The Theatre Wing (Interview with Directors)