How To Write a Play
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Transcript of How To Write a Play
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The One-Act Seminar
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DRAMA: Greek origin meaning “to do” or “to act”
All DRAMA springs from life:People - Problems - Particular Time & Place
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Writing a Play is an Art as well as a Craft
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1.Theme: The ability to say what the circumstances allow and what is appropriate to them
(the central idea that emerges from the dramatic action of the play)
THEME IS NEVER A MESSAGE OR A STATEMENT IMPOSED UPON THE ACTION BY THE PLAYWRIGHT
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2.Plot: The arrangement (structure) of the incidents in a story
WHO IS DOING WHAT TO WHOM WHERE, WHEN AND WHY?
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ELEMENTS OF PLOTA. Point of Attack: The point of time in the play
when the dramatic action begins
B. Exposition: Incidents or events from the past or happenings outside of the play of which the
audience must be aware of in order to comprehend characters and plot
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ELEMENTS OF PLOTC. Preparation: The earlier “planting” of certain
information, so that a particular character or scene will be believable
D. Conflict: An internal struggle within one person or between two or more characters; THE HEART
OF THE PLOT
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ELEMENTS OF PLOTE. Complications: The introduction of a fact or
character already in the play that grows out of the conflict and delays the climax
F. Crisis: The protagonist has to make a major decision that is also a key turning point in the
dramatic action.
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ELEMENTS OF PLOTG. Dramatic Question or Problem: The suspense
question related to the fate of the central character’s major goal.
H. Climax: The highest emotional peak in a play.
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ELEMENTS OF PLOTI. Resolution: The point after the climax, during
which any remaining questions are answered
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3. Characters: The agents of the incidentsA. Central Characters: These are characters around whom the dramatic action revolves or who have the dominant objective in the playB. Opposing Characters: These are characters who provide the basic obstacles by blocking the central character’s objectiveC. Contributing Characters: These are characters who line up with other characters
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4. Music: Any music that may appear in the play
5. Dialogue: The diction of the play. Simply, it is what the character says and how he or she says it, be it street language, poetry or slang
6. Spectacle: The embellishments of a play. All the visual elements: scenery, costumes, lighting, movement, gestures, and other elements.
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Aristotle’s Two Major Production StylesSTAGE AS A PICTURE
These are attempts to create a realistic picture or illusion of life as though you were peeking through
a fourth wall
STAGE AS A PLATFORMPresents life on stage rather than represents a
picture. State is a stage, no pretense of realism
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A. Tragedy: Themes are serious in depth and worthiness; the central character (hero) struggles to overcome overpowering obstacles but instead is overcome by them, resulting in death
B. Drama: Themes are serious in nature; but unlike tragedy, the central character in overcoming obstacles does not die at the end of the play
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C. Melodrama: Themes are exaggerated in their seriousness; the central characters overcome villains in sensational plots usually crowded with action and conflict
D. Comedy: A humorous play with light or serious themes whose central characters succeed in overcoming all obstacles (High Comedy, Serious Comedy, Satire, Farce, Situation Comedy & Low Comedy)
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E. Fantasy: A serious or humorous play in which “unreal” characters with human traits overcome obstacles in a land of make-believe
F. Allegory: A play serious or humorous, often written in a poetic or fairy-tale style feature abstract characters
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DON’T GET TRAPPED BY DEFINITIONS OR TERMS - WRITE YOUR PLAY AND LET OTHERS TELL YOU
WHAT THEY THINK IT IS.
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G. One-Act: One Sitting - One Setting - One Sighting
• Should impress upon its audience one basic idea or theme explored as fully as possible within a short time span
• Should have only ONE single dramatic action• Should have only a FEW characters• Should NOT contain long “talky” speeches• Should use only ONE set
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SHOW VS. TELLThe essential difference is that a story TELLS what took place, while a play SHOWS what is actually taking place (The stage shows what we see in our minds on the page)DRAMATIC CLOCKOn the stage there is a built in urgency, a “dramatic clock” of sorts, which helps to coalesce elements of conflict, crisis, and suspense to heighten the emotional response of the audience
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PAST VS. PRESENT TENSEThe action of the play takes place in a “perpetual present time.” On the stage it is always “now.”
UNITY OF ACTION, TIME AND PLACEThe incidents of the play occur in a unifying way that will make sense to an audience member
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1. GET AN IDEA: Ideas come in two forms - Personal Experience & Imagined Experience
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1. DON’T OVERLOAD THE INCIDENTS IN A PLOT2. DON’T USE A NARRATOR OR CENTRAL
CHARACTER TO TELL EVENTS - WHEN THE EVENTS CAN BE DRAMATIZED
3. DO NOT CRAM AN IDEA DOWN THE AUDIENCE’S THROAT - YOU DON’T NEED TO BE A PHILOSOPHER OR SAINT YOUR ONLY REQUIREMENT IS ART
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1. KEEP A JOURNAL FOR IDEAS & NOTES2. WRITE A BUNCH AT ONE TIME 3. NOTHING IS TRULY ORIGINAL – DON’T STRESS
ABOUT COPYING OR FOLLOWING ANOTHER PLOT
4. PLOT OUT FIRST – THEN WRITE DIALOGUE5. VOICE IT FOR PARTICULAR PEOPLE