chapter 2,3,4

Experiencirg Thecrtre

Anne Fletche, Southern I lli nois U niversity

Scott R. Irelort Weste rn M i chi g o n U n iversity

At' 5fo c ul fli"ii3ll'i,?{,,shing company, r.c.\-'l lrrdirnrpolis Cambrirlgc'

EXPLORATION TWO

cepts, met- s or design.

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2. Add"AND":

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Ploywriling & Types of Ploys I generally stort with a line of dialogue. Someone says something

ond they're tolking ta sameane else. I don't all the time know who's tolking or who they ore tolking to, but you toke the line of

dialogue ond it starts from there.

-August Witson, "August Witson on Ptaywriting: An lnterview," Africon Americon Review,93.

IMMERSION #2 \

Playwriting

Instructions: Individually, using the model below, start with a simple sentence, and begin to write a scene.

1. Write a sentence with a subiect and a verb, somebody doing something:

Anne teaches THEA 101.

Anne teaches THEA 101 AND she has to set up the projector.

Anne teaches THEA 101 AND she has to set up the projector BUT she is technologlcally challenged.

4. Add..BECAUSE: Anne teaches IHEA 101 AND she has to set up the projecior

BUT she is technologica[[y cha[lenged BECAUSE she is old.

5. Add a little more detail to your character.'rA/hat does'Anne" look like? How does she move? How is she dressed?

6. Add OBJECTIVE. What does your character want? Anne wants to show aYouTube clip for her class.

7. Add a problem, something that gets in the way of your character achieving his,&er objective, an OBSTACLE.

Anne pLugs in the projector and is thrown across the room-electric shockl

Share with someone what you have written so far. (Swap)

8. Working in pairs and using your two characters, agree upon a location and create DIAIOGLJE (lines for them to speak) and ACTION (things for them to do). Begin writing a scene. Remember information from Chapter One as you work together to craft your piece. You might want to be clear as to who is your lead character, who is the antagonist, etc.

i S. f,Vf,e" your scene is completed, put it in proper play script format (see Fig. 2-5). I i You have written a short play! i

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Exploration Two focuses on language-ways in which playwrights and/or members of an ensemble working together to devise pieces use words to create scripts or at least outlines that will serve as the blue- print for a larger live theatrical event.

The playwright is central to the watching process in theatre be- cause without some sort of blueprint for the world on stage there is no event for reviewers or for spectators to attend. There is a lot we can never understand about the inspiration for writing a script, so there can be no single "right way" to do it. Writers use daily experiences, ob- servations, research, and subconscious impulses when writing scripts. Playwriting is drastically different from writing a novel or short story or even drafting a poem, in part because a script is an inspiration for something more to come-it is in the seeing of a play that the written text reaches its fullest potential. Preparing such a document takes a special person (or group) with a special drive.

A key to how special lies in the spelling of the word "p1aywright." The Oxford English Dictionary tells us that the suffix "wright" refers to an artisan or craftsperson. |ust as a wheelwright is someone dedicated to the craft of making wheels and the wainwright shapes lumber to make wagons, the playwright is someone dedicated to crafting words and shaping incidents to make plays. As the verb "write" indicates, the process of crafting and shaping these words and incidents is known as playwriting. The functions of the writer in theatre are varied. In Shakespeare's time, the writer led a troupe and not only came up with characters and storylines but also coached performers. Over the course of the last three hundred years, however, the role of the single play- wright has become much more isolated from the overall production process. This is probably due to printing and duplicating technologies making the dissemination of scripts much easier. Today it is possible to send electronic files across the globe in little more than a second. Some playwrights, though, still work locally, even directing the premiere production of scripts they write for a speciflc company of performers. No matter what process sAe follows, anyone who self-identifies as a playwright is inspired by what is around them.

So, where do play,arrights come from exactly? The simplest answer is, from anywhere. Some writers are people "of the theatre" who have studied playwriting in college or have worked with theatre companies their whole lives. Others come to playwriting from different fields of interest,like the visual arts or poetry. So what does this indicate? Per- haps it tells us that all of us have the potential to be playwrights. We engage in dialogue. We have conflict. We flnd resolutions. We naturally want to tell our stories to others. We might even use outlets such as Facebook or Linkedln to create a character, or at least a set of given circumstances, about who we are and how we want to be seen. What

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crd "playwright." 'rvright" refers to meone dedicated hapes lumber to to crafting words le" indicates, the :idents is known re are varied. In rly came up with . Over the course the single play- erall production ng technologies ,,it is possible to r a second. Some Lg the premiere

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;implest answer latre" who have atre companies :ferent fields of s indicate? Per- rlayr,rrrights. We Ls. We naturally :utlets such as a set of given be seen. lVhat

separates those who craft scripts for the stage from many of us is their ability to stay disciplined over time as a piece moves (often slowly) from an idea to a structured pattern of dialogue and physical action(s).

Thinking Theatrica[[v

The journey from idea to page to stage can be a long one, and es- pecially difficult if the writer is not well equipped to think theatrically. Thinking theatrically involves a consistent return to review elements of craft in order to make sure that the piece is truly written for theatre and not for fllm or television, each of which have their own conven- tions (a set ofrules or techniques recognized, understood, and accepted by watchers). Playwriting means thinking not only about what is said but also about who says it and how. The playwriting process demands imagining a complete world with its own rules and regulations, sounds and sights, smells and tastes, and requires that an individual figure out how to have those elements happen in real time in front of specta- tors as performers and technicians work their magic. Playwrights have many forms from which to choose across a wide spectrum ranging from Realism to Non-Realism, tragedy to comedy. In the following section we will explore some of the challenges playvwights face as they con- template their work.

Writing a flrst draft-even flguring out where to begin-may be terrifying for the nascent playwright and sometimes still daunting for those with a great deal of experience. Brainstorming ideas, though, is

Exercise #15 Brainstorming Ideas for a Play

There are many ways a playwright might generate an idea for a new play-probably as many ideas as there are playwrights. Pretend you are a playwright and try some of the follow i ng triggers for ins pi r atio n.

> Search online for an "inspirational image". This may be a photograph of people, or a painting, or a nature scene. Think of a story that the picture might tell.

> Read a newspaper or magazine. Find a story or headline that might serve as the beginning of a play.

> Recall and replay a piece of music you love. > Think of issues that concern you. These can be personal or societal, like global

warming.

> Think of a "great" line you have heard someone say. Now, try to write a sentence that expresses what your play will be about. This

sentence can be about plot, character, idea, or all three.

23

always a starting point for beginning to write a play. Oftentimes an idea takes many twists and turns before it emerges as a blueprint ready for public review.

Since a brainstormed idea is often shaped into a specific length, genre (type or kind), and tone as part of certain storytelling goals, it is important for us to remember that plays are categorized not only by form (realistic/non-realistic; tragedy/comedy) but also by length or duration. Playwrights craft pieces that are full-length plays, one-acts, ten-minutes, or even shorter. A scene based on the Immersion that be- gan this chapter was in a short form. If a writer were to follow through and revise, polish, and expand that same scene, then they might be able to produce a piece of greater length and specific genre. A profes- sional playwright might initially write a one-act play to get the idea out on paper and then later revise it into a full-length piece given the complexities at hand.

Playwriting classes offer a variety of exercises as do the many play- writing textbooks available so we will only scratch the surface here. Exercise 16 focuses on crafting the monologue, a speech delivered by a single character (as opposed to conversation or dialogue).

Monologues (and short plays written as monologues) serve a par- ticular purpose with regard to the character speaking, and are about both crafting the incidents or events of a particular story to be told and the act of telling the story itself (the character narrating and his/ her given circumstances). So, analyzing a monologue (or monologue

Exercise #16 Writing the Monologue

This exercise is meant for groups of six or more. If you are working alone, then generate at least three ideas/sayings to keep it interesting.

1. On one slip of paper write a common saying like, "The grass is greener on the other side."

On another slip of paper write a direct observation like, "The car is pea green."

Place the "saying slips" together and the "observation slips" together.

Reach into your bag or pocket, pull out an object, and place it in front ofyou.

Draw one "saying slip" and one "observation slip." The saying is your f,rst line. The observation is your last line. The object must be revealed somewhere in the middle.

Set a timer for seven minutes. Begin writing. If you get stumped, then write "What I mean to say is . . ." to get back on track. Do not stop writing, whatever you do.

Once the timer goes off, read what you have out loud. Pay close attention to exposition and given circumstances as you read. This is the start of the revision process.

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play) requires that we keep the character's backstory in mind as those events "add life" to the piece while also realizing that monologues have a purpose for the character in voicing hisAer thoughts, which prompts them to openly express objectives/wants/desires to another (flctively or not) when they are speaking. Therefore, in the end, monologues ex- press details that need to be expressed. Put another way, they reflect objectives, wants, or desires that the character has to express to a lis- tener, for whatever reason.

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Exercise #17 Analyzing the Monologue

The following worksheet returns to Aristotle's six elements as a starting point when revising a monologue you have written. It can also be useful when analyzing another author's monologue you encounter as a reader.

Story Being Told in Monologue

Speaker (Teller of Story)

Given Circumstances

Role of Speaker to Audience?

PLOT (Sequence of events: Linear? Episodic? Other?)

CHARACTER(S)

IDEA/THEME (Message sent?)

LANGUAGE (How does the style of speech help define the speaker?)

MUSIC (What is the soundscape-i.e., what do we hear?)

SPECTACLE

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A Basic Mode[ for the Writing Process

What we suggest next is a four-step approach to thinking theatri- cally in the context of writing a single-author play. The steps include: getting started, revising, hearing the play aloud, and revising based on that hearing. Like any process, the amount of time spent on each step and the variety of ways in which the steps spiral back and forth, over- lap, or repeat will vary depending on the writing process. Later, we will also explore alternative playwriting models in which groups of peo- ple-ensembles-work together to devise blueprints for production. We present the writing process here in a linear fashion because there is really no other way to express it on the printed page. Remember, the writing process continues in a variety of ways and often spirals around and around with several twists and turns.

Stortinq

We should note that the writing process itself is something to be studied in ways that we cannot here. The sheer number of playwrit- ing books available indicates the craft inherent to the writing process. Regardless of training and study, getting started can be quite tough. The blank page stares back at you as if taunting, "I dare you to put something down." You respond, "l would like to but I have only half an idea." There are strategies, though, that can be useful in moving from a half-idea to a seed for a play and from a seed for a play to a complete text. First, consider choosing a narrow subiect to explore. For example, a writer hears a story about an alcohol-fueled party culture at a local university and how social networking sites are being used to spread illicit videos of party-goers. The more the writer thinks about the story, the more s/he is intrigued by the interrelatedness of tech- nology, popularity, and body image. Of the three, body image is the primary element of focus so the writer will do the same in the play, emphasizing the ramifications of using technology to influence public perceptions of "hot" and "not." As the idea continues to take shape, the writer establishes a one-sentence "purpose statement" that will serve as a guide. It reads, "In this play I intend to explore both a cultural dependence on technology in making'reality' and the risk of cultural seduction that comes with this dependence." With both a focus and an emphasis clearly stated, the writer thinks about what type of plot structure might be best for the tale. At this point s/he is concerned with issues of Realism, Non-Realism, or the use of both in a hybrid play that combines aspects of each form. The writer decides that, since the idea is based on a contemporary event, the play should start out as a piece of Realism. There are six women in the original story so the flrst draft will start with the same, one of whom is only seen in a YouTube

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A Basic Model for the Writing Process Start

1. Choose a subiect and then narrow your focus.

2. Develop a purpose statement as a guide for the first draft. 5. Think about both form and style as each has conventions to be followed. 4. Once started it may take weeks, months, or even years for your initial draft to be

done.

Revise 1. Review setting descriptions to see if they paint a clear picture.

2. Review situations to see if they are revealing information while moving the text forward.

5. Review speaking patterns of characters as well as given attributes to see if they fit type.

4. Review other selections made in areas such as form and genre.

Hear 1. Set up some sort of public reading to get the play out ofyour head.

(First Reading, Cold Reading, Staged Reading)

2. Actively listen to your play as it is and make notes on what is working and what is not working.

Finish 1. Stop writing and revising long enough to put the play in front of watchers for

response. A workshop production in college/university environments is a good first step.

2. Collect comments from watchers, evaluate the status of the manuscript, and take time to enjoy the fact that you have a flnished play, no matter what the length.

Fig. 2-1-The Writing Process

video. Finally, the writer establishes distinct points of view for the six characters. Ultimately, they will have differing ideas about the same statement: "People present themselves online in ways that are not true in person." The writer is ready and eager to begin a flrst draft.

Revisinq

There is something to be said for the adage about a writer's work never really being done. Playwrights spend years honing their craft, letting scripts they have worked on lie dormant for periods of time, re- turning to them, or, alternatively, revising rapidly before or right after staged readings.

With the flrst draft of the play now done, the writer returns to the texf and begins to reflne the world that has been created. One easy place to start revising is with the setting descriptions. Are they detailed

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Traditional Tragedy I Modern Tragedy Derived from Athenian Drama I Derived from "Tragedy and the Common Man"

Hero is a person of stature I Hero is a common man or woman No way out for hero as dictated by fate I Uero is ready to die for Hero takes responsibility for actions I dignity of family or self

Hero has the chance to come out on top right up until the end,

Misses the mark with decisions I fate has aictatea nothing lHamartia) I -.^ .^.^, ^-.^r--^!:^-^ ^r ^-The total evaluation of selfis Elevated language is used I what makes the hero "tragic", this

is how they "miss the mark"

Vernacular is used

Comedy Questions what culture should be by examining humanity and society

Begins with a flawed society that ends up balanced in some way

Natural law and logic are often suspended

Has a strong comic premise: accepted notions are turned upside down, usually leading to exaggeration, incongruity, and juxtaposition

Does not have to prompt laughter per se, but does have to end with a party or some sort of pairing off

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The extent to which these elements are mixed and how they come together is often dictated by the period in which the play is written.

Fig. 2-2-Genres and Their Characteristics

enough? Do they paint a full picture of place, space, and time? Are there descriptive elements that are not necessary to the narrative (to telling the story) but that do offer a deeper understanding of this world? An- other important aspect to explore is situation(s). Do the happenings make sense in context? How do characters get into and out of each sit- uation? Is it clear how each situation presented works inside the plot as part of the larger story? Part of this, then, is also consideration of tone. Is it serious? Humorous? A little bit of both of these? Figuring this out provides a sense of what type or kind of play (genre) is being written. Since each genre has its own rules, making sure the script is working inside of those parameters is an important part of revising any draft.

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Exercise #18 Exploring Genre

Once again, we tLtrn to one of the stories we used in previous exercises-"Three Little Pigs," "Cinderella," "Little Red Riding Hood," or anotlter familiar tale of your choice. This time, we will use the story to explore genre.

1. Review Fig. 2-2. Now, create a version of the story that meets criteria for TRAGEDY. See howyou can turn the protagonist into a tragic hero (someone of high stature, like a prince, and who makes a mistake). Make sure in this version of the story that the protagonist DOES NOT get what s/he desires, try as s,/he might. You may alter the story to change which character is the protagonist, even give a twist to the plot.

Next, take the same story and see how you can rework it to be a COMEDY, complete with a union or even a marriage at the end. Make sure the protagonist goes through a series of trials and tribulations, but this time allow himAer to "come out on top."

Discuss how this exercise made the two major genres-TRAGEDY and COMEDY- understandable.

See what might happen if you create a mixed genre-maybe have your protagonist go through a series of complications that seem to indicate s,he will win out in the end and then end with a twist. Review the earlier section on Realism versus Non-Realism and try experimenting to create, for example, a non-realistic tragedy or a realistic comedy,

Tightening the plot is an important aspect of revision. Is the plot revealing story? Is forward motion intended, or is the playwright work- ing to establish stasis or even boredom? Is there an identifiable mo- ment of revelation from which a character or characters can never re- turn? Another key to unlocking revision areas is to look at characters. Are they different enough from one another to create conflict? Do they come off as truthful? Do they contribute to the story? Repeat this ques- tioning and reflning process as needed.

Although playwriting might be considered more "creative" than writing a paper, you can relate the revision process in writing a paper (when your instructor, for example, requires a rough draft and then comments on it) with that of revising a play. The playwright needs to reflect on organization (i.e. the coherence of the order of events) and must trim excess material or "tighten up" the same way we do when revising an academic paper.

The chart in Fig. 2-2 illustrates some broad genres and their char- acteristics. Read through the chart. If you have not yet read a variety of plays, then think about how the principles you are reading apply to films or television shows with which you are familiar. Understanding these four broad genres is crucial to both playwriting and play analysis.

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ACT ONE SCENE ONE

The scene description goes here. Since the left margin 1s set at 1.5 inches, this is roughly indented another 1.5 inches. This is where the writer provides the baslcs for the given scene, including Iocation, time of day, what technicaf e.Iements are needed at the top of the scene, and the like.

WR]TER

Notice how each character name.is indented, almost to center. It is also okay to center them. Just make sure to put the name in alf caps as a way to indicate who is speaking.

WRITER (Turning to READER)

That is fine too. See how the character action tied to your dialogue is just left of my name?

READER

I see that this is in Courier New font Roman though.

Yes. You should and why.

Interesting.

Afl of this so that reading. Nice .

I like to use Times New

RtrADER

fook at how the staging directions are communicated

(Staging directions are usuafly Iocated in this position and describe entrances, exits, major movements or fights, technical efements that change being chased by a giant cheese wedge. Just checking to see if you were reading.)

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For Aristotle, there were only two kinds of plays, tragedy and comedy. Today, though, there are many, many more.

A loose principle for differentiating between the two broad genres of tragedy and comedy is that most often the lead character (aka pro- tagonist) in a tragedy fails to obtain hisAer goal, whereas in comedy s/ he does. We took this pause to consider genre because the playwright must be aware of how genre influences form.

Heorinq

One of the best ways for a writer to get out of herAis head when writing a play is to have the text read aloud in some sort of public read- ing. This "hearing" part of script development can take multiple forms and happen in a variety of venues. Since plays are meant to be per- formed this is a natural part of the playwriting process. A first reading is the most informal public reading, with minimal preparation and no rehearsals, set perhaps in a classroom or in someone's living room. For a cold reading, performers are given scripts and sit at either music stands or at a table and read the play for an invited group of specta- tors "cold"-with little rehearsal. There is a clear delineation of per- former and spectator, and stage directions are often read aloud. Physi- cal movement is not a large part of this type of reading, although there may be some, along with eye contact. The primary goal of this type of reading is to clarify the overall arc ofthe plot, understand character re- lationships better, and identify irrelevant material that should be cut. A staged reading features performers with scripts in hand. Though lines are not necessarily memorized, the staged reading emulates a full staging by focusing on how the text might feed the efforts of a produc- tion team. Rehearsals may last for a few hours or for a week depending on the producing organization. Any of these reading styles will offer a writer deeper insight into the dialogue they have created. This is phe- nomenally important because it is the language of a play that creates meaning.

Finishino

No matter how much a writer works at thinking theatrically, if they never finish the play then no one will get a chance to respond to all the work they put into the process. As a writer continues to think theatri- cally over the course of a career, herAis ability to follow through on the overarching process described above does not necessarily get easier, but it does get reflned with practice. Writing every day and revisiting elements of craft are the best ways for a writer to continually produce material that makes it to the stage.

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Devised Theatre

Devised theatre is frequently done by an ensemble (a group of art- ists working together), rather than a lone writer. In this type of writing, idea (or at least theme) usually comes flrst, and form follows. This is because it is a topic of concern-like 'American Dream"-rather than a story that is important to explore. The maior question that a group must address before they create a devised piece remains the same ques- tion any producing organization must answer when choosing plays: \Mhy this piece, for these people at this time?

Once an idea exists, it is important to remember that there is no "right" way to begin devising. One way that is commonly used, though, is brainstorming through free association of words based on a given question (i.e. what does it mean to be post-racial?). Some groups be- gin with improvisation or with theatre games to physicalize the brain- storming. Some begin with free writing. Some begin with other forms of combined writing and movement. One brainstorming technique we have found useful in our own devising is the use of large pieces of paper (or a white/chalkboard) to list responses, literally surround- ing the ensemble with the brainstorming ideas. Often, devised theatre has at its core some pressing social issue. Many times a group devising will examine facts and flgures-data-as part of their work on a piece. Sometimes they will turn to real life subiects and, as in some devised plays, to pre-existing speeches or writings. Many groups combine solo writing with interviews and gathering data with physical movements or images as they begin the creative process.

Exercise #19 Physical Ttreatre and Preparing to Devise

We return, yet again, to our well-known story or fairy tale. This time, though, although you will keep the story as it is, you will emphasize physical action.

1. Working in small groups, break the story down into a series of principle actions as you did before. Using the entire group, or dMding your group into pairs, assign major actions.

2. Create a tableau or frozen picture that embodies or captures the essence of each major action in the story. One person begins to read the story aloud. As s/he reaches each maior action in the story stop and have the smaller groups stage their tableau. Perhaps you can perform stories with tableaux for the rest of the class.

5. Discuss: How did the pictures help put the story across to the audience? How did creating or devising the pictures give you insight into the main actions of the piece? How was this experience different from the ones you had with the story earlier?

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Many times devised theatre is physical in nature, with emphasis on the performers' bodies, often as they work together to create images. Perhaps many of us played "statue Man" as children, or something like "Freeze Tag." These seemingly simple games can be a useful source of inspiration in the early stages of devising, and images created may even find their way into the flnal live performance. Some of you may have seen or even participated in improvisational theatre exercises. Techniques from these exercises are useful to devising as well. It is important to note that devised theatre is not the same as "improv" al- though it may utilize similar exercises in its inception. There are many from the realm of creative dramatics (imaginative and enacted works concerned with the experience of participants and not a f,nal product) that also become useful in the creation of devised theatre, depending on the ensemble.

Before creating any devised piece, collaborators must address the skill of transformation, a smooth physical transition from one idea, short scene, or tableau to the next. We consider this by breaking "Freeze Tag," a well-known theatre game, into its component parts. This training game is often played in improvisational theatre classes without notice of the important skills it can build. We foreground those important skills here as they pertain to devising a theatre piece.

We pause here to suggest ways to go about creating tableaux-still images or a frozen picture-as they relate to devising a theatre piece. The still image exercise "statue Man" can be played in a variety of ways, but the most common involves partners. One partner swings the other one around gently, releases, and the second partner (the one swung around) lands gently in a position and "freezes." The flrst player (and anyone else involved in the game) then identifles what the "statue" person might represent-a monkey in a cage, the Statue of Liberty, a wrestler, etc. This Frozen Picture exercise, then, can be expanded in a number of ways depending on what collaborators are interested in devising.

The end result of any or all of the writing processes we have dis- cussed in this chapter is the same: creation of blueprint for live per- formance. In their flnal forms (as written) and in their performance (as seen) we can look at each in terms of Aristotle's six elements and determine which of them takes priority. Plot, character, idea, language, music, and spectacle are present in every theatrical production we read and/or see-traditional plays (linear or episodic), monologue perfor- mances,language-based plays, devised pieces, and more.

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I Exercise #20

"Freeze Tag" and Transformation

1. Two people take the stage. They choose or are assigned a situation that they will physically embody (i.e. doing the dishes together, one person teaching the other a sport-golf swing, dance step, a particular exercise). This exercise is done in complete silence, with no dialogue, so you can focus on the physical transition as you move from one picture to another and various members of the group swap places and participate.

2. The two participants take their positions. They silently execute their activity, paying particular attention to its physicality. The instructor calls "Freeze!" and the partners remain frozen in the middle of the selected activity.

3. As a Broup, led by the instructor, the class discusses how the physical positioning of the participants makes the activity instantly recognizable.

4. Led by the instructor, the class discusses how some aspect(s) of the tableau hint at some other activity (i.e. the way one partner reaches up might recall another sport or another familiar motion involved with, for example, placing items on a tall shelf or getting ready to swing from the branch of a tree, or reach for support on a climbing wall). Discuss these possible similarities.

5. The instructor asks for a new volunteer and the new participant taps one of the players on the shoulder, takes his,trer place, and smoothly changes the actMty to the new one discussed in #4. That change in position from one participant to another is a transformation.

6. Repeat, going slowly at first, allowing the second activity to resume, calling "Freezel" and having the class discuss what the next activity might be, then tagging one ofthe participants, etc.

7. Gradually speed up the process, but slow down if actions become sloppy or unclear because the focus here should be on making the activity instantly recognizable.

8. At full speed, once an activity becomes obvious and a student sees the possibility for a physical transition, s/he may call "Freeze!" and tag someone out.

'r,Vhile this exercise is fun and often elicits laughter, it is vital that the primary objective remain making clean transitions from one tableau to the next. This is why this version of"Freeze Tag" is executed without dialogue.

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Exercise #21 Devised Theatre (a longer proiect)

Created by Becca Worley

In groups, you will create a devised theatre piece which focuses upon an idea or theme of your choice. This can be a general theme (ove, magic, nature, fear, etc.) Use the ldeas/ Inspirations gaide below in your devising process. Your devised pieces must include:

> Tableau(x): Consider the whole environment of the piece: Costumes, Props, Set

> Text at the beginning and at the end of the piece: Words, Sentences: May come from music or poetry

> Transformation: a smooth move from one moment to another > Repetition in movement and/or text > A prop/item which is of significance to your theme > A symbolic gesture

Consider using:

> Puppetry/ShadowPuppets > Music, Poetry, Imagery > Non-traditional spaces for performance

Each scene should be no longer than three minutes in length when performed, but the devising time will be much longer.

Fig.2-4-SlU Theatre l0l Students Utitizing Physical Theatre as They Prepare to Devise

35

Exercise #22 Devised Theatre with a Social Conscience

In executing this exercise, your piece may focus on a political/social issue (the environ- ment, the economy, etc) or it can be inspired by a newspaper headline.

As a group, identify the PROBLEM you wish to address. Here is where you might turn to newspaper or magazine articles, a television or film documentary, or other sources for inspiration.

DISCUSS the issues you wish to address and share relevant STORIES. These may be from personal experience or from the kinds of sources mentioned above.

Determine a collective GOAL (i.e.: Decide the audience you need to reach and WHIII IMPACT you want to have on them).

5. BRAINSTORM ideas about how to reach that audience. Discuss which stories, examples, situations, characters, etc., to employ.

Discuss the tone of your piece: funny, dramatic, light-hearted, hard-hitting, etc.

Discuss what media to use: music, found obfects, images (media or images you create), poetry, etc.

4. RESEARCH > Draw from what's already out there, build on it. Do not reinvent the wheel. > Learn as much as possible about your issue: from psychological, historical, so-

ciological, political, literary and artistic (etc.) perspectives.

5. CREATE > Work individually and collectively. > Try group uriting exercises. Create tableaux.

Discuss, share stories, improvise/act out scenes, flctional or based on real life.

Work together on editing the performance text and making decisions about staging and other possible production elements, such as: music, sets, props, costumes, masks, puppets, video, etc.

> Your final live, devised performance may include a few short scenes. Remember to focus on making smooth transitions.

The product of your work needs to be looked at from many angles: Can it be mis- interpreted? Are you saying what you think you're saying? Are you respectful of your audience? Is it engaging?

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Closing Thoughts

Although we have only scratched the proverbial surface here, we hope that you have a clearer impression as to why playwrights are val- ued members of the larger community of collaborators. In Exploration Three we will begin to examine how the literature skills we have al- ready discussed help us to take the blueprint and move it off the page and move it on to the stage in full,live production.

For Fu rther Exploration

Tina Bicat and Chris Ba[dwin, eds. Devrsed o nd Colloborotive

Theatre: A ProcticolGuide (Witshire, UK: Crowood Press Ltd.,

2002/2010). Print.

Gary Garrison. A More PerfectTen: Writing ond Producing the Ten-

Minute Ploy (Newburyport, MA: Focus Publishing, 2008). Print.

Deirdre Heddon and Jane Mitting. Devising Performonce: A Critical

History (New York: Palgrave Macmillan, 2006). Print.

Alison Oddey. Devising Theotre: A Procticol ond TheoreticolHond-

book (London: Routledge, 1994). Print.

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