It's like finals week in TH ARTS! You get to get the hard work part out of the way early in the semester!!!
(week 4) What we'll cover from chapter "Writing a Winning Sketch"
Dialogue, Show Don’t Tell, Suspense, Surprise, Reversals
5 sketch evaluations due
2 x play idea worksheets
2 character analysis
Students will read one of their play ideas.
Can they say what their play is about in 3-4 sentences which includes these elements:
Inciting action
Rising action
Climax
Falling off action.
And THEME?
Exercise: Hot seating a few of their characters to ask them questions about the story.
Assessment on the Draft of short play/sketch (10%)
Due: week 5
1. Premise is clear
2. Is there evident structure? (exposition, inciting action, rising action, climax, denouement).
3. Is there a clear protagonist with a strong evident conflict?
4. Has the student created believability/suspension of disbelief?
Assessment on the Final draft of short play/sketch (15%)
Due: week 10
1. Is there evidence of rewriting between drafts?
2. Will there be strong audience Identification?
3. Is the piece humorous or moving?
4. Does it move forward with action with a variety of Pace? (Showing more than telling)?
5. Are there examples suspense & surprise?
6. Is there an economy of words?
7. Is there suspense & surprise?
8. Are the characters believable/realistic characters with realistic dialogue (utilizing unfinished/partial sentences, short lines, talking over one another, subject changes, characters having to repeat themselves or clarify, etc).
NOTE: The original short plays will be assessed based on subjects found in DRAMA MINISTRY, Steve Pederson (chapter 6), this is also the foundational information needed for your final exam.
Monday, May 18, 2009
Instant Character Analysis
(ast least 2 required. One must be for a protagonist in one of your play idea worksheets)
In 2004 I attended a playwrighting master class. This was a great exercise for creating a play idea and character on-the-spot. The teacher, British playwright, Kaite O'Reilly ran through the list of questions at a fairly fast pace. We were all writing furiously and felt like we were really beginning to pull a real person out of thin air when finished. This is not as in depth a character analysis as you can do, I'm assigning this as a short version.
Here's the list of questions (red coloured ones are most crucial):
Your gender? Age?
Do you swear?
With whom do you live?
What’s your favourite drink?
When you were small, what was your nickname?
Favourite colour?
In material terms, do others consider you successful?
When you were 5 years old, what did you want to be?
Have you ever been in love?
What’s your marital status?
What is your ambition?
Your favourite music? Song?
Educational level?
Ethnicity
What makes you laugh?
Are your parents living? Do they live nearby?
What is your favourite holiday? Why?
Where do you live?
What would your mother say is your biggest weakness?
What would she say is your greatest strength?
Do you have any dependants?
What is your relationship with them like?
Who do you despise most in the world? Why?
What are you really good at?
Do you run your own life, or do you do what others tell you to do?
Are you concerned with pleasing anyone? Who?
What is your greatest fear?
If your enemy were to use 3 words to describe you, what would they say?
Why do you have an enemy?
What do others think about you?
What is your favourite holiday destination?
What is your private joy?
Are you religious? Are you moral?
Who do you resemble most in the world?
What is a secret you don’t feel you can tell anyone?
Do you have any rituals? Describe.
Sports?
How do you feel about your body?
How do you feel about those 5 year old dreams of yours now?
Do you have a hobby?
How would you describe your emotional life?
What do you want from life?
What is stopping you?
What are you going to do about it?
Your gender? Age?
Do you swear?
With whom do you live?
What’s your favourite drink?
When you were small, what was your nickname?
Favourite colour?
In material terms, do others consider you successful?
When you were 5 years old, what did you want to be?
Have you ever been in love?
What’s your marital status?
What is your ambition?
Your favourite music? Song?
Educational level?
Ethnicity
What makes you laugh?
Are your parents living? Do they live nearby?
What is your favourite holiday? Why?
Where do you live?
What would your mother say is your biggest weakness?
What would she say is your greatest strength?
Do you have any dependants?
What is your relationship with them like?
Who do you despise most in the world? Why?
What are you really good at?
Do you run your own life, or do you do what others tell you to do?
Are you concerned with pleasing anyone? Who?
What is your greatest fear?
If your enemy were to use 3 words to describe you, what would they say?
Why do you have an enemy?
What do others think about you?
What is your favourite holiday destination?
What is your private joy?
Are you religious? Are you moral?
Who do you resemble most in the world?
What is a secret you don’t feel you can tell anyone?
Do you have any rituals? Describe.
Sports?
How do you feel about your body?
How do you feel about those 5 year old dreams of yours now?
Do you have a hobby?
How would you describe your emotional life?
What do you want from life?
What is stopping you?
What are you going to do about it?
Play Idea Worksheets
(at least 2 required, more encouraged!) (5%)
1. Does the form show that the student understands the purpose of the exercise?
2. Are the questions thoroughly answered with thoughtfulness and creativity?
Date:
Working Title:
Central Character:
Central Character’s dominant need:
Other major character(s):
Setting:
Occasion:
Major conflict/dilemma as it manifests itself in action:
Resolution:
How the central character changes by the end:
Dramatic premise:
NOTE: The original short plays will be assessed based on subjects found in DRAMA MINISTRY, Steve Pederson (chapter 6): Will there be strong audience Identification? Is the piece humorous or moving? Is there evident structure? Does it move forward with action? (Showing more than telling)? Is there an economy of words? Is there suspense & surprise? Is there evidence of rewriting between drafts?
1. Does the form show that the student understands the purpose of the exercise?
2. Are the questions thoroughly answered with thoughtfulness and creativity?
Date:
Working Title:
Central Character:
Central Character’s dominant need:
Other major character(s):
Setting:
Occasion:
Major conflict/dilemma as it manifests itself in action:
Resolution:
How the central character changes by the end:
Dramatic premise:
NOTE: The original short plays will be assessed based on subjects found in DRAMA MINISTRY, Steve Pederson (chapter 6): Will there be strong audience Identification? Is the piece humorous or moving? Is there evident structure? Does it move forward with action? (Showing more than telling)? Is there an economy of words? Is there suspense & surprise? Is there evidence of rewriting between drafts?
Sketch Evaluations 2009
Sketch evaluations (15% of grade) (5 required)
you can copy and paste what's below to use in a word document, or you can paste your answers as a comment below....
Name of Sketch:
Name of Sketch Collection/Book:
Publisher:
Copywrite date:
On a scale of 1-10, how would you rate this script?
Do you feel that it would work in your setting without modifications?
Do you feel it would work with minor modifications?
STYLE:
(Realistic Drama or Comedy, Farce, Reader’s Theatre, Radio Drama, Mime, Puppet Show, Clown, Stylized, Musical, Opera, etc.)
TARGET AUDIENCE:
(Christians, Unchurched, Children, Youth, Adults, a specific ethnic group, etc. )
PERFORMERS NEED TO BE:
Beginning, Intermediate, Advanced
STRUCTURE:
Does it grab your interest and make you want to see what happens? How?
Does it develop logically, so that the action can be followed? (Inciting action, rising action, climax, denouement)
Does it reach a satisfying conclusion? How?
What is the playwright’s theme? (Issue)
Is the premise believable? (What happens?)
Does it have clear and adequate conflict? What is the conflict?
Does it appeal to the imagination?
If a comedy sketch, is it funny?
If a drama sketch, is it actually dramatic?
If a mime, are the stage directions clear?
If a reader's theatre, is it voiced well?
Is it developed in a fresh creative way or is it too predictable?
MESSAGE:
What is it about? What Christian truth does it reflect or set up teaching about?
Does it deal with one issue, or avoid trying to say too much for it's length?
Does it avoid answering its central question with platitudes and clichés?
Does it refrain from being too preachy?
Is it relevant?
PRODUCTION:
Are the playwright’s production notes adequate?
Is it possible to produce?
you can copy and paste what's below to use in a word document, or you can paste your answers as a comment below....
Name of Sketch:
Name of Sketch Collection/Book:
Publisher:
Copywrite date:
On a scale of 1-10, how would you rate this script?
Do you feel that it would work in your setting without modifications?
Do you feel it would work with minor modifications?
STYLE:
(Realistic Drama or Comedy, Farce, Reader’s Theatre, Radio Drama, Mime, Puppet Show, Clown, Stylized, Musical, Opera, etc.)
TARGET AUDIENCE:
(Christians, Unchurched, Children, Youth, Adults, a specific ethnic group, etc. )
PERFORMERS NEED TO BE:
Beginning, Intermediate, Advanced
STRUCTURE:
Does it grab your interest and make you want to see what happens? How?
Does it develop logically, so that the action can be followed? (Inciting action, rising action, climax, denouement)
Does it reach a satisfying conclusion? How?
What is the playwright’s theme? (Issue)
Is the premise believable? (What happens?)
Does it have clear and adequate conflict? What is the conflict?
Does it appeal to the imagination?
If a comedy sketch, is it funny?
If a drama sketch, is it actually dramatic?
If a mime, are the stage directions clear?
If a reader's theatre, is it voiced well?
Is it developed in a fresh creative way or is it too predictable?
MESSAGE:
What is it about? What Christian truth does it reflect or set up teaching about?
Does it deal with one issue, or avoid trying to say too much for it's length?
Does it avoid answering its central question with platitudes and clichés?
Does it refrain from being too preachy?
Is it relevant?
PRODUCTION:
Are the playwright’s production notes adequate?
Is it possible to produce?
PRIMING THE PUMP
Before you start Brainstorming Play Ideas....
Brainstorm 10-20 of your most influential life experiences.
(also can 10 values you hold important, 10 of your favourite stories or movies)
Now add to your list: one experience you’ve never had but always dreamed of doing, or can imagine yourself doing.
IMPORTANT: Give examples of at least 3 interesting and multilayered characters (in movies or plays) and describe how these strong underlying aspects about them made them more interesting.
Brainstorm 10-20 of your most influential life experiences.
(also can 10 values you hold important, 10 of your favourite stories or movies)
Now add to your list: one experience you’ve never had but always dreamed of doing, or can imagine yourself doing.
IMPORTANT: Give examples of at least 3 interesting and multilayered characters (in movies or plays) and describe how these strong underlying aspects about them made them more interesting.
The Practitioners & Tour of UCC at NUS
Thanks Daniel Loh for the amazing tour of NUS' super facility! We were wowed!
Besides Actor, Director and Playwright, who are the other players in the world of theatre?
Producer
The person ultimately in charge of a production. THE BOSS. Often the person who raises/provides the money, and wields day-to-day financial control.
Stage manager/Production Stage Manager
The person, subordinate only to the DIRECTOR, in charge of everything that occurs on the stage. During rehearsals the stage manager is chief of all the crews who work on a production, and assistant to the director in matters affecting entrances, exits and cues. During the run of the show, after the DIRECTOR’S job has been completed, the stage manager is in charge of every performance in every detail, from the way actors handle cues, to the timing of curtain openings and closings as well as curtain calls. “Calls the show”
Set/Scenic Designer
structural design of set + those who will execute the design and turn it into something real!
Set/Scene Dresser
Selects furniture and trim props for each scene of the play and designates their placement in the set.
PROPERTIES MASTER
The person or team responsible for providing and managing all the props throughout a production. Works from a prop list.
COSTUME DESIGNER,
Designs clothes and accessories to be worn by actors in a production.
COSTUME MASTER & CREW
Sees to the assembly or rental of costumes and accessories, helps with fittings, keeps care of, & helps in costume changes.
Make-up Artist & Crew
Designs and creates an appropriate face for and actors by applying make-up.
Stage Hands
Any person who works with scenery and furniture on the stage, setting up each scene, shifting from one scene to the next, etc.
House Manager
The person who manages all functions of the theatre building except those specifically concerned with the production itself.
Ushers, Ticket booth/sales, lighting in the hall, handling emergencies in the audience…
Publicity works with producer graphic artists & printers in the design, printing & distribution of publicity, tickets, and programs for the show.
Technical Director (Production Manager)
Oversees the behind the scenes technical preparation of the show. Often oversees the following technicians and directors.
Lighting Engineer
determines how each scene will be illuminated and specifies the type, power, color, and aiming of all the lighting instruments need to do the job. Writes out a lighting plot. Oversees the execution of hanging the lights and focusing the lights. Makes a light cue sheet/script, directs the operation of lighting changes for a show, (in motion pictures, this is call a Director of Photography)
Sound Engineers/Operators
Determine how actors will be heard, & oversees the production of sound FX and any other sound used in, before and after the show. Oversees the execution of designing and setting up the sound equipment and balancing the sound in the house from the control booth console. Makes a sound cue sheet/script.
Sunday, May 03, 2009
Reaction paper (5%)
“When the Curtain Opens: A Christian Response to Theatre”
Dale Savidge, in Sights & Sounds
Write out your answers to FIVE QUESTIONS (minimum).
We will be discussing this article during class time on May 4, 2009 (the first week of class) Answering these questions will help you prepare for the discussion. You can post your answers on the blog, or submit your written answers in class.
1. Informed by your reading of this chapter, explain why theatre is a powerful communication tool.
2. How is a play not like a sermon?
3. Francis Schaffer’s understanding of a Christian worldview explains that there is a minor theme of the Bible (man is a sinner and we live in a fallen world) and the major theme of the Bible (Christ’s death provides redemption from our sin). What is your opinion on what Dr. Savidge believes that plays that present only the minor theme of the Bible can be powerful?
4. What is your opinion of the plays you have seen presenting the major theme of the Bible (redemption of sin through Christ)?
5. Why theatre “is the most directly human of all the arts”?
6. Why is it important to “engage culture”?
7. After reading Dr. Savidge’s suggestion for how Christians should respond to the offensive nature of many theatre productions or the lifestyle of theatre practitioners, what is your stand on this?
8. How can Christians discern to what extent they should experience theatre (as audiences and as artists)?
9. What did you learn about the difference between entertainment and amusement? Does that have any effect on how you see the use of “entertainment” in a worship setting?
10. Dr. Savidge wrote about playwright playing to our sympathies. Do you think this affects us? If so, how?
11. What are your thoughts after reading about the objectionable elements you might find in theatre?
12. Why is working in theatre a frustrating occupation? Why would it be dangerous for a Christian?
13. Have you ever had an opportunity to “come alongside” a theatre practitioner? How did you respond to them and they to you?
Dale Savidge, in Sights & Sounds
Write out your answers to FIVE QUESTIONS (minimum).
We will be discussing this article during class time on May 4, 2009 (the first week of class) Answering these questions will help you prepare for the discussion. You can post your answers on the blog, or submit your written answers in class.
1. Informed by your reading of this chapter, explain why theatre is a powerful communication tool.
2. How is a play not like a sermon?
3. Francis Schaffer’s understanding of a Christian worldview explains that there is a minor theme of the Bible (man is a sinner and we live in a fallen world) and the major theme of the Bible (Christ’s death provides redemption from our sin). What is your opinion on what Dr. Savidge believes that plays that present only the minor theme of the Bible can be powerful?
4. What is your opinion of the plays you have seen presenting the major theme of the Bible (redemption of sin through Christ)?
5. Why theatre “is the most directly human of all the arts”?
6. Why is it important to “engage culture”?
7. After reading Dr. Savidge’s suggestion for how Christians should respond to the offensive nature of many theatre productions or the lifestyle of theatre practitioners, what is your stand on this?
8. How can Christians discern to what extent they should experience theatre (as audiences and as artists)?
9. What did you learn about the difference between entertainment and amusement? Does that have any effect on how you see the use of “entertainment” in a worship setting?
10. Dr. Savidge wrote about playwright playing to our sympathies. Do you think this affects us? If so, how?
11. What are your thoughts after reading about the objectionable elements you might find in theatre?
12. Why is working in theatre a frustrating occupation? Why would it be dangerous for a Christian?
13. Have you ever had an opportunity to “come alongside” a theatre practitioner? How did you respond to them and they to you?
Sunday, November 16, 2008
Tuesday, October 28, 2008
Character Analysis Sample:
from SPREAD YOUR GARMENT OVER ME, Gillette Elvgren
RIZPAH, (see comment 1)
WITCH OF ENDOR, (see comment 2)
RIZPAH, (see comment 1)
WITCH OF ENDOR, (see comment 2)
Describing the Setting. A Sample
Thanks Jaqueline for this description for RAHAB in SPREAD YOUR GARMENT OVER ME, Gillette Elvgren (see comment)
Character Journal Sample:
SPREAD YOUR GARMENT OVER ME, Gillette Elvgren.
RIZPAH, from Jocelyn (comment 1)
PETER'S WIFE, from Ella (comment 2)
WITCH OF ENDOR, from Daniel (comment 3)
RIZPAH, from Jocelyn (comment 1)
PETER'S WIFE, from Ella (comment 2)
WITCH OF ENDOR, from Daniel (comment 3)
Monday, October 20, 2008
Tuesday, October 14, 2008
HIGHLIGHTS from Acting Class
Bee Luen
learning to make strong choices. I have a better idea now of the kind of decisons I should make for the characters when I'm doing a character analysis. Just need to keep remembering: strong choices....
Jocelyn
-Making STRONG choices (they make the difference between good and excellent acting)
and
-Decide who you're speaking to (in a monologue).
Cheryl
Subtext & layers help to bring out the rightful emotions/behaviour of the character one is playing. :)
learning to make strong choices. I have a better idea now of the kind of decisons I should make for the characters when I'm doing a character analysis. Just need to keep remembering: strong choices....
Jocelyn
-Making STRONG choices (they make the difference between good and excellent acting)
and
-Decide who you're speaking to (in a monologue).
Cheryl
Subtext & layers help to bring out the rightful emotions/behaviour of the character one is playing. :)
Monday, September 08, 2008
YouTube Playlist of Samples
I've not been able to find really outstanding videos on YouTube, but here's a list of what I've found of items or styles which would work in a cross cultural setting.
Homework for week 4: let's get reading!
Familiarize yourself with glossary terms (PICTIONARY!).
Read forward & chapter 1 AND 2 of the text (after looking again at the book, you should be able to read through the two by next week). Bee Luen will lead a short discussion.
I have a little game I like to play to make everyone offer some feedback, so READ the chapters and have some kind of "ah ha!" that you've learned and will share with the group.
Read forward & chapter 1 AND 2 of the text (after looking again at the book, you should be able to read through the two by next week). Bee Luen will lead a short discussion.
I have a little game I like to play to make everyone offer some feedback, so READ the chapters and have some kind of "ah ha!" that you've learned and will share with the group.
Sunday, August 31, 2008
Tuesday, January 01, 2008
Highlights of the THEATRE ARTS course 2007:
making a realistic breast-plate & sword with cardboard and masking tape.
what it takes to create a character in writing!
being able to think up my own story for a sketch
the imagination involved in creating a set
director's job is to let actors trust him/her that you will not let them make a fool of themselves,
director's attitude & confidence influences the cast & crew! don't let on if your scared!
seeing plays while taking the class opened my eyes to what is going on behind the scenes to make a good play too.
reading other sketches gave more ideas and examples
good to learn a whole lot more vocabulary terms!
Directors need to respect the playwrights. and help actors get over their intimidation.
the fun way we learned the vocabulary (pictionary)
I learned so much new but valuable insights into the workings of theatre. My appreciation and hats off to these folks. Thank you for wisdom and joy and passion for the arts and Jesus. Who you are as a person is a great influence. God Bless you and your family!
making a realistic breast-plate & sword with cardboard and masking tape.
what it takes to create a character in writing!
being able to think up my own story for a sketch
the imagination involved in creating a set
director's job is to let actors trust him/her that you will not let them make a fool of themselves,
director's attitude & confidence influences the cast & crew! don't let on if your scared!
seeing plays while taking the class opened my eyes to what is going on behind the scenes to make a good play too.
reading other sketches gave more ideas and examples
good to learn a whole lot more vocabulary terms!
Directors need to respect the playwrights. and help actors get over their intimidation.
the fun way we learned the vocabulary (pictionary)
I learned so much new but valuable insights into the workings of theatre. My appreciation and hats off to these folks. Thank you for wisdom and joy and passion for the arts and Jesus. Who you are as a person is a great influence. God Bless you and your family!
Tuesday, April 10, 2007
Esplanade Screening Room 7PM sharp! Bring enough copies of your script for us to be able to share and read aloud. We'll move over to the cafe at 9 for cake!
BTW: I FINALLY submitted the grades from last term TODAY.
Since I've made it SOOO easy on you, I've decided to make the Evaluation of the class be part of your FINAL :-) (10%)
On Monday I handed it out to those who were in class, but for those who weren't there for the bleary eyed review of this past term's class sessions, here's the text from the evaluation. (your script will be 20% of the grade)
The HIGHLIGHTS of the last 14 weeks…
To help solidify learning, try to remember at least one highlight you’d like to remember from each class session/learning exercise:
Technical theater Vocabulary (pictionary & “quiz”)
Discussion on “A Christian Response to Theatre” article
Video samples (Rainbow Fish, Missing Bodies, Okalahoma)
Costumes
Set Design
Properties
Directing
Tour of NUS Cultural Centre
Tour of Costume shops & stage management
Script writing
Make-up
Attending plays
Reading Sketches
Writing a sketch
I can’t believe I did this
This class inpired me to work more on
I wish we’d had more time for
I hope I never have to ________________________________________ again!
I sensed God’s presence when
I also have this to say
How can we pray for you? (and we will pray!)
May the God of peace, who…brought back from the dead our Lord Jesus…equip you with everything good for doing his will, and may he work in us what is pleasing to him, through Jesus Christ. Hebrews 13:20,21
BTW: I FINALLY submitted the grades from last term TODAY.
Since I've made it SOOO easy on you, I've decided to make the Evaluation of the class be part of your FINAL :-) (10%)
On Monday I handed it out to those who were in class, but for those who weren't there for the bleary eyed review of this past term's class sessions, here's the text from the evaluation. (your script will be 20% of the grade)
The HIGHLIGHTS of the last 14 weeks…
To help solidify learning, try to remember at least one highlight you’d like to remember from each class session/learning exercise:
Technical theater Vocabulary (pictionary & “quiz”)
Discussion on “A Christian Response to Theatre” article
Video samples (Rainbow Fish, Missing Bodies, Okalahoma)
Costumes
Set Design
Properties
Directing
Tour of NUS Cultural Centre
Tour of Costume shops & stage management
Script writing
Make-up
Attending plays
Reading Sketches
Writing a sketch
I can’t believe I did this
This class inpired me to work more on
I wish we’d had more time for
I hope I never have to ________________________________________ again!
I sensed God’s presence when
I also have this to say
How can we pray for you? (and we will pray!)
May the God of peace, who…brought back from the dead our Lord Jesus…equip you with everything good for doing his will, and may he work in us what is pleasing to him, through Jesus Christ. Hebrews 13:20,21
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