3430 Day 7

Lajos Egri--a play uses opposition

--Handout (on-line): Lee's Lectures/Reactions to NP ch. 1

 

Day 5 Lecture Notes?

 

 

??Finish ?? Monologue—author should shut up because it takes time from hearing reader comments

More on Theater of the absurd—Godot and Rhinoceros

Structure I

 

 

 

Lee's Lecture Notes:

ex. 3 Ultimate Playwriting Exercise ex. 5 in class...Ex. 9 part 2 The Ultimate Playwriting Exercise "Draft" (or at least a few pages; realist or absurdist): After you've uploaded some random characters to Canvas, Lee will assign you two of these characters to start your exercise. In Canvas Discussions UPE Draft you will see a list of random settings and random props (i.e. setting: Eifel Tower, small town pastry shop; props: comb, harmonica, high powered rifle). You will also see a word/topic (i.e. divorce, smog check). Choose one of each, then start writing dialogue that melds everything together using realism techniques, or an absurdist distrust of language and meaning. This can be a play or a screenplay (character based, please).

Characters from Angels in America: on the nose dialogue, little details, high points and on-the-nose dialogue--Louis's selfish desire to define real love and subtext vs. on-the-nose dialogue; change and overt premises; HBO vs. the cheap theater where Parker is cleaning the floor with a toothbrush;

Character Sketches for your Interview Subject (NP p. 6, and ch. 5, and App. B); for the person you interviewed, think about their darker or shadow self, or their core issues, phobias, defense mechanism and other Psychoanalytic Concepts--what keeps coming up from the unconscious to make their lives more difficult?

Psychoanalytic Theory as the basis for much of Realist Theater...

Or ask some of the dissection questions from NP p. 113-114, EVEN IF YOU HAVE TO MAKE UP THE ANSWERS:

Iphegenia in Orem from Youtube: fat father; the father leading slowly and elliptically to his ultimate confession by often getting side tracked with trivia (the high point of the play)

Today we discussed little things you can have a character do (rather than say) that can help you show their character--like when the wife in Angels in America scrubs and scrubs the floor with a toothbrush.  We also talked about A Doll's House third act climax when Torvald has a monologue scolding and even yelling at Nora for being a criminal (a metaphorical whore instead of the little bird/madonna he desires).

 

Inciting incident in 6 Degrees (Paul coming into their lives/livingroom--being found with a hustler)

 

1. Structure--3 act restorative from Alternative Scriptwriting (NP p. ?); a screenplay structure; traditional Freytag's Triangle; more specific traditional Freytag's Triangle;

1. High Concept vs. Low Concept works
2.   The personal is political (Carol Hanisch, 1969)
8. Barthes: the third term and the idea of a continuum of bliss...p. 55--laughter and subtle subversion (a little bit of representation)

7. Absurdist Works—God is dead; there is no such thing as tragedy…the ideal (Ideal) is a lie (vs. traditional comedy/tragedy plot lines)

Theater of the Absurd (from Theater Database)--no answers to basic existential questions; and Texts of Bliss from Roland Barthes

Strindberg's A Dream Play (or one inspired by it), and notions of structure that don't seem like structure (NP p. 56); another A Dream Play ad

 

A different Freytag's triangle (and monologues...what will be the central premise or theme? What will be the central conflict, or the highest point of tension in a short monologue?

 

If you need to see a monologue first, try August Strindberg's The Stronger

Characters and rapid conflict exercises from Lerych...(do character ex. first like 50 questions in Metro)

Other Facebook traditional exercises...