Drama 101.3 How to Read Drama

An introductory course in the reading and analysis, of playscripts. The course will offer a brief survey of script analysis techniques (used by directors, actors and other theatre personnel) as applied to major plays from major genres.

Instructor

Moira Day Rm 187, John Mitchell 966-5193 (Off.) 653-4729 (Home) moira.day@usask.ca http://www.ualberta.ca/~normang/Pika.html Office Hours Tues Wed 10:00 - noon

Booklist Barranger, Milly S. Understanding Plays. 3rd edition. Toronto: Allyn and Bacon, 2004. Chekhov, Anton. Four Plays. (Trans. Carol Rocamona). Portland: Smith and Kraus, 1996. Theatre History Notes Package. Bookstore Wilder, Thornton, The Long Christmas Dinner. The Collected Short Plays of Thornton Wilder. The Collected Short Plays of Thornton Wilder, vol. 1, Theatre Communications Group, New York, NY, 1997. Wilder, Thornton. The Long Christmas Dinner [electronic resource]. Alexandria, VA: Alexander Street Press, 2004. E-book available by link through the University of Saskatchewan Library.

Grades

Creative Project 10% Review 15% Script project

Part One 10% Part Two 20% Quizzes and Critiques 5% Participation 10% Final Exam 30% ---- 100%

Class Participation Class participation requires regular attendance. A student who misses for more than three unexcused absences a term will be docked 50% of the participation grade for that term. If you miss more than 1/3 of the classes in any term for any reason other than certifiable illness you will, at minimum, lose the 10% participation grade for that term. (Please review the Attendance Requirement in All Drama Courses.) Class participation requires regular attendance. Please phone or e-mail if you are unable to attend, preferably in advance of the absence. Important Deadlines

If you decide to drop the course, please come and notify me so I can take your name off my record book. (Sept 19 - Last day to withdraw without financial penalty or add and drop classes: Sept 26 - Last day to drop T1 classes with 75% tuition credit; Oct 3 - Last day to drop T1 classes with 50% tuition credit Nov 15 - Last day to withdraw without academic penalty). If you find yourself in difficulties and are considering dropping the course late in the term, please come and talk to me first. Preview of Three Sisters Oct 5th Creative project proposal Oct 12th Closing of Three Sisters Oct 15th

First Review Oct 19th

Nevermore opens at Persephone. Oct 19th Field trips to Nevermore Oct 23&30 Nevermore closes at Persephone Nov 2nd

Vimy runs at Live Five Nov 3-6, 10-13 First part of the script project ready for review Nov 7th Preview of Amadeus Nov 16th

Script project due Nov 21st Closing of Amadeus Nov 26th Creative project due Nov 28 to Dec. 2th

2nd review due Nov 30th

The Long Christmas Dinner Dec 1&2 Be aware that instructors are NOT permitted to reschedule final exams at their own discretion. Please take heed of the final exam dates (Dec 5-22) and do not schedule other activities at that time. Assignments Students are expected to be punctual and to submit all class work on time. I will ordinarily return major assignments within TWO WEEKS after receiving them. Assignments and quizzes not picked up at that class time can be picked up during office hours.

Any requests for an extension must be submitted at least one week in advance of the formal deadline. Unexcused late assignments, except in the case of certifiable illness or death in the family, will be heavily penalized (10% per day deducted). NO CLASS WORK WILL BE ACCEPTED BEYOND THE FINAL EXAM EXCEPT IN THE CASE OF AN OFFICIAL INCOMPLETE GRANTED BECAUSE OF ILLNESS OR DEATH IN THE FAMILY.

Quizzes Reading quizzes will be given at the asterixed dates on the schedule. Missed quizzes or rewrites of failed quizzes must be scheduled individually with the instructor within a week of the writing date. I will also return quizzes within TWO class periods after giving them, and return. Oedipus Rex Sept. 19 The Three Sisters Oct. 5 The Long Christmas Dinner Oct 24 Footfalls Nov 16 Creative Projects See Creative Project guidelines Script Projects See Script Project guidelines Reviews

See Review guidelines Students are strongly urged to attend all department productions, and as much live theatre in

Saskatoon as they can manage. While students are only required to review one of the two mainstage Department of Drama (Greystone Theatre) productions this term, up to 50% of their review grade relies on their confirmed attendance at both plays. (Retain and submit your program and ticket stubs for verification.) In short, to get the full review mark you need to see TWO Greystone productions, and write on ONE. If you get 80% on your written review but do NOT attend the second production, your final quiz mark will be 40%. If your written review is 80% and you attend both productions, your final quiz mark will be 80%. If a student is dissatisfied with the grade on the written review he/she has the option of writing the second review and requesting that the stronger mark be entered in place of the weaker. If your first review is 65% and your second is 80%, your final review grade will be 80%. Substitutions for a missed Greystone production need to be individually negotiated with the instructor.

In addition to the official review mark, a 1% bonus will be added to your final term mark for each confirmed attendance and short review of a full-length play or its equivalent (ie: a bill of one-acts, or a one-act preceded/followed by discussion) outside of the department mainstage season over the term. Shorter work (less than 60 minutes) can be credited for half a percent. Plays that CANNOT be credited towards the bonus point include (1) the five plays viewed as part of Creative Project B (2) the second Greystone production. While a student can review BOTH Greystone productions to raise a review grade – the stronger mark will be entered and the weaker discarded – he/she again cannot count the second production towards the bonus point and (3) A non-Greystone production attended and reviewed, with the instructor’s permission, to make up for a missed Greystone production to complete the review grade.

Fees Students should be aware that there is a $5.00 photocopy fee per term to be paid to the instructor by

the end of the September.

Accessibility Outside Class If there is a time conflict with my office hours, then feel free to make an appointment or leave me a message on my voice mail. I am also very accessible by e-mail. (See above) I can't give you heavy-duty, on-going counselling, but I'd be delighted to help you with any immediate problem I feel is within my power to handle, and if I feel it isn't, I'll try to refer you to people or places that can help you with it.

Welcome on board!

Sept 7 Introduction --------

12 Major principles and definitions 14 History of Theatre – The Classical Tradition (Greek, Roman, Elizabethan, French, Restoration, 18th

Century) ---------- The Classical Play 19 *Oedipus Rex .The Classical Play – Theme 21 Plot (Handout- Play of Plot) The Classical Play – Plot (B.15-17, 227-30) ---------- 26 The Classical Play – Character (B. 196-97, 274-76, 230) 28 The Classical Play - Language)(B. 147-54, 185-89) Scenography ( Spectacle) (435-44 ) ---- Oct 3 History of Theatre - 19th Century – Present Day The Realistic/Naturalistic Play 5 *The Three Sisters – Theme (B.155-56, 185-89, 367-70, 419-24) Three Sisters previews U of S Oct 5th ---------- 10 ***** Thanksgiving***** 12 The Three Sisters – plot and character (B.!52-53) Creative project proposal due Three Sisters closes U of S Sat. Oct 15th ---------- 17 The Three Sisters – language and scenography (B.148-152, 153-154) 19 The Three Sisters - conclusion 1streview Three Sisters ---------- The Symbolist/Expressionistic Play 24 *The Long Christmas Dinner - Introduction 26 The Long Christmas Dinner - I Initial scene breakdown Absurdist Play ------- 31 The Long Christmas Dinner – I Schematic diagram The Absurdist Play - Scenography - Nov 2 The Long Christmas Dinner – II The Technical elements -------

7 The Long Christmas Dinner – II (Read Play of Plot) Plot Part I of script project should be complete 9 The Long Christmas Dinner – II (Read Play of Character) Character

--------- 14 The Long Christmas Dinner - II (Read Play of Theme) Theme

The Absurdist Play 16 *Footfalls The Absurdist Play - Plot, character, language – (.B. 518-20, 523-26) Amadeus previews U of S -----

21 Footfalls The Absurdist Play – scenography (B.515-17, 707) Script assignment due The Social Action Play

23 Bertolt Brecht and the epic play (B. 472-73, 474-78) Amadeus closes U of S Sat. Nov 26 -------- Nov 28 Peter Shaffer and play of Ideas 30 Conclusion 2nd review due

Drama 101.3 - Script Project – Part One The assignment will be based on The Long Christmas Dinner, Thornton Wilder’s innovative one-act play covering about 90 years in the life of the Bayard family, as glimpsed through a series of Christmas dinners held in the family home between the mid-19th century and the opening decades of 20th century. The purpose of this assignment is to do important initial groundwork in transforming the literary text of the play into a basic production “score” or “blueprint” that gives the designer, director or actor a structural overview of what the play will look like as a staged physical construction moving forward in time and space. The first half of the assignment should consist of TWO parts: I. An initial breakdown of the script in chart form 60%

This should record:

• The complete cast of characters (all of the characters represented physically onstage, usually by actors, as part of the action of the play)

• Act and scene divisions within the play (usually clearly designated within the script) • Sub-units of action within the formally designated scenes (Usually french scenes as defined

by the entrances and exits of the characters. Every time the number of people onstage changes there is a new scene. Remember to check the stage instructions for characters who may be physically active or present in the scene even if they are not active in the dialogue)

• The short descriptive title and number of each french scene (as set by the student) and a brief description of the action in each sub-unit.

II A detailed schematic diagram based on the above, 40%

This should visually document:

• The proportion of time each character is physically on stage, and where and when each is present in the overall action of the play. Distinctions should be made between characters who are 1. Visually present and active in the scene: ie: speaking or physically engaged with other characters and active in advancing the action of the scene and 2. Characters who may be visually present but either silent throughout the scene or physically disengaged from the other actors or action in the scene (ie: bystanders, corpses, guards, hidden characters)

• The proportion of time each Act, scene and french scene actually occupies on stage • The further breakdown of longer sub-units, like long french scenes, into smaller units that

define a specific development or movement in the play’s action. (While french scenes usually function in and of themselves as sub-units within a larger Act or formally designated scene, long french scenes with no change in the number of characters physically on stage may nonetheless have large, distinct shifts in plot or character action that may need to be noted and recorded as smaller sub-units with titles of their own). In creating smaller sub-units, be on the lookout for:

- major revelations, changes of subject or shifts in the direction of the dialogue that signal the ending of one discussion or movement and the start of a new one

- major changes in the positioning of the characters onstage: ie: inactive characters becoming active and taking focus, or active characters either opening up or narrowing the focus of their action or even retreating to become inactive

- major technical changes in lighting, sound, props, costuming or set design that signal a major shift in time, place, mood, focus, or plot

• Major movements and turning points in the play's overall thematic, character or plot development based on the scene and character breakdown. In looking for major movements and turning points in the structure of the play be on the lookout for:

- long french scenes containing several sub-units of theme, character or plot development

- runs of smaller scenes, including french scenes that can either be combined into a single unit or grouped together into a series of related units as linked by a common throughline in plot, theme or character development - places where a character introduced or a plot complication started in an earlier section of the play is returned to and developed further, sometimes after a break, change or absence from the action

- major rearrangements in the patterns of characters on stage. Entrances and exits of major characters or groups of related characters. Places where the stage suddenly fills up with characters or empties of people - major technical rearrangements in patterns of lighting, sound, props, costuming or set design that signal a major shift in time, place, mood, focus or plot in the play - reoccurring patterns of lighting, sound, props, costume or set design that help establish leit-motifs in theme, action and character. Should be completed and ready for inspection by instructor by Monday, November 7, 2011

Drama 101.3 - Script Project – Part Two

The second half of the script assignment will consist of TWO parts based on the work done in the first half of the assignment: III. A detailed analysis of the play 90%

This should feature:

(1.) a detailed structural breakdown of the script into smaller sub-units or sections 10% a. This should build very closely on the charts you have already done in Part One of the

assignment. Be careful to work in pencil, since, as you fill the entire graph in for each scene, you will discover that your notes for some scenes will be lengthier than others.

(2.) a close examination of the literary elements of theme, character and plot as developed in each sub-unit and cumulatively throughout the play 60%

a. This should fill in and expand on work done in Part One of the assignment. Particularly read through your observations on key turning points in the play, and the division of long scenes into sub-units, or the grouping of shorter scenes into larger units or series of units based on throughlines in theme, character and plot into account.

b. You might want to start first with Plot since it is usually the simplest and most straightforward category to work with. Character and Theme are usually more complex and require more thought and analysis to do well. It is particularly recommended that you leave Theme until the last, since it is conceptually the most abstract, reflective and complex of the categories and tends to arise out of your comprehensive and in-depth understanding of the other elements

(3.) a close examination of the technical elements of the aural and visual as developed in each sub-unit and cumulatively throughout the play 20%

a. This should fill in and expand on work done in Part One of the assignment. Particularly read through your observations about places where the technical elements are involved in key turning points of the plays, or play an important role in the development of theme, character and plot.

b. In doing preliminary work on the chart, you might want to complete the sections on the play’s technical needs, as laid out in the play, before advancing to the sections on literary analysis. The technical information, while important, is usually laid out in a very straightforward and accessible fashion in the script. Once you have made note of the play’s technical requirements in this section, you can then analyze their impact on the literary aspects of the play in the appropriate theme, character and plot sections.

1. a detailed structural breakdown of the play into smaller sub-units or sections.

This will include:

• formal Acts and scenes as designated in the script • french scenes as given in Part One, I and II • smaller sub-units of french scenes (as given in Part One, II when appropriate) each with

its own title and letter (a.,b.,c.)

Each french scene or sub-unit should be:

• designated by its short title as given in Part A or B

Further broken down according to:

• length of scene (number of pages or parts of pages it occupies in the text.) See Part

One, II • characters who are physically present in each scene, with distinctions being made

between: - [active characters] those who are actively engaged in the action and dialogue of the scene - [inactive characters] those who are visually present but removed from the action of the scene either through silence or positioning

(See Part One, II)

2. a close examination of the literary elements of theme, character and plot as developed in each sub-unit and cumulatively throughout the play

• Theme (Also read the handout in the Play of Theme)

Theme usually deals with the main questions, criticisms, observations or concerns that a playwright wants the audience to consider about the nature of human beings and their relationships to each other, their society and cultural milieu, and the larger workings of life and the universe. It emerges out of the interaction of all the other elements of the play and perhaps should be considered last. Be aware that some dramas are more plays of ideas than others and some scenes advance the thematic aspects of the play more than others. Things to consider when reading scenes for theme: The short title you have chosen for the scene. What does it say about the

scene’s kernal of meaning as regards its ruling idea as you understand it? Language and dialogue. What do the characters themselves say about their

perceptions, experiences or understandings of larger conceptual or philosophical matters? How does this compare and contrast with what other characters say in the same scene either individually or in interaction with each other? Are there actual debates, discussions, arguments or fights that drive the development of ideas in the scene? What ideas are introduced, developed, elaborated on, dismissed or completed? Are they disputes that are finished and fully resolved within the scene? Or are they parts of a bigger issue or throughline(s) of thought the playwright will be returning to later or developing throughout the play? (Recheck Parts A and B for larger turning points and movements in the play)

The actions and interactions of characters in the scene especially if the characters represent social, political, philosophical or spiritual forces larger than themselves. What conflicts occur and why? What decisions or actions follow out of those conflicts and the character’s stand on these matters? Are there contradictions between what the character says he/she believes and how he/she acts? What does that say about the character’s difficulty in putting beliefs or ideals into concrete action? To what extent do the difficulties or conflict reflect a flaw in the character’s intellectual, personal or practical approach to the world? To what extent do the difficulties reflect flaws in the milieu or environment in which the character has to function and the way that that world or even the universe operates or does business?

The plot as developed in the course of the scene. How closely are the main plot turns, conflicts, complications, climaxes and denouements of the play tied in to the introduction, development and resolution of the play’s action of ideas? Is an idea introduced to a scene as a passing thought or as individual aspect of a character’s behavior? Or is it introduced as the exposition to a larger sequence of idea-driven events that will continue to be developed over other scenes. To what extent is the plot machinery of each scene or sequence of scenes driven by the play’s ideas as realized in action.? Will a certain concept of kingship as understood and acted on by the characters determine the fate of a state or kingdom? Will a certain understanding of social justice as implemented by some of the characters in opposition to others determine the outcome of a public meeting, uprising or revolution? Will a certain concept of justice or truth as pursued by some of the characters prevail over that of another group and affect the outcome of a trial or judgement?

The aural and visual elements of the scene. Are there ways in which the sound, music, lighting, costuming, make-up/mask, props or set design of the scene specifically develop or enhance the play’s action of ideas? (Are costumes emblematic or allegorical? Do uniforms define factions of people? Does the set “comment” on the world it portrays?

• Character (Read the handout on the Play of Character)

Character usually deals with the action of character development in the play. It not only explores the process by which the physical and psychological nature of the characters is revealed to the audience through the text as realized in performance and production, but the personal and social complexities of human relationships in action and the role that heredity, environment and cultural interpretations of the body can play in those personal and social relationships. Like theme, character emerges out of the interaction of all the other elements of the play but is most strongly centered in the characters themselves as represented by voices and movement of the actors. Be aware that some dramas are more plays of character than others and some scenes advance character development more than others. Things to consider when reading scenes for character: The short title you have chosen for the scene. What does it say about the

scene’s kernal of meaning as regards the revelation of character as you understand it?

Language and dialogue. Consider all the characters in the scene. What do the characters directly say in the scene about themselves, their personal history, their current situation and their hopes or plans for the future? What do they indirectly say that sheds light on their attitudes towards themselves, their history, their current situation and their expected future? Are we encouraged to view their statements as accurate and reliable? If not, why not? Are there discrepancies or inconsistencies between what the character directly says about themselves and their situation and what they indirectly say or do? Between what each character says about him or herself and what other characters say about him or her?

Is the playwright suggesting that the character is deliberately lying to or misleading others for his or her own reasons? Possibly lying to him or herself as a form of comfort or self-protection? Does the dialogue clearly indicate what the character’s reasons or motivations are for deceiving him/herself or others?

Or does it do more to hint, suggest, or imply reasons and motivations? Does the dialogue suggest that his/her behavior is fully deliberate, rational and conscious? Or does it suggest that it is impulsive and driven more by instinct, emotion or physical stimulus to an immediate, unfolding situation? Or does the language suggest that the character is actually mad, visionary or delusional and responding to a completely different realm of reality than the other characters?

Alternatively, are the characters’ understandings and expectations of the situation unrealistic because of information hidden from the character but not from us or other characters? How does the character verbally respond when this hidden information comes to light in a way that changes his or her understanding of the self, the people around the character or his or her personal or social situation? How does the character verbally respond when his or her initial understanding of a situation and the people in it, as well as the plans or expectations coming out of that understanding are challenged, complicated or thwarted by new developments, events or revelations? Are there monologues or speeches particularly devoted to explaining the characters’ history, current situation, motivations for action and expectations for the future? Are these individual cameos that are of interest only for that one speech or scene? Or are they parts of bigger throughlines of character development that the playwright will be returning to later or developing throughout the play? (Recheck PartOne, I and II for larger turning points as well as blocks of action dominated by a given character onstage)

The actions and interactions of characters in the scene. Characters usually have both immediate and long-term objectives they want to accomplish over the course of a scene. Often character development is strongly driven by shifting relationships, interreactions, tensions and conflicts between the characters as the pursuit of their respective objectives leads them into alliances, conflicts, evasions, truces, compromises, romances and wars with each other. An individual scene may (1) advance and expand on a relationship between characters started in earlier scenes with the expectation that the story will continue beyond the scene (2) mark the permanent ending or resolution of a previously established relationship with the expectation that it will play no further role or significant role in the play’s action (3) mark a significant pause or interruption in a previously established relationship that may need to be continued or resolved later in the action (4) mark the introduction of a significant change or complication in a relationship that may be resolved within the scene itself or (5) mark the introduction of a significant change or complication in a relationship that will continue beyond the conclusion of the scene and need to be resolved or finished later in the play. Do the dialogue and stage instructions give any indications about physical actions, reactions, stage movement, and blocking on the part of the characters that reveal character? Do these actions reinforce the messages about character given by the dialogue? Contradict the verbal text? Reveal additional meanings beneath the text that lead it to be read ambiguously or ambivalently? Is a new character to the play introduced in this scene? What do we discover about his or her immediate and long-term objectives? How does the introduction of the new character affect the playing out of the other characters’ goals, objectives and related strategies in the scene? Does a continuing or previously introduced character re-enter the action in the scene? Has his or her objectives or strategies for achieving them changed since we last saw the character? How does the re-introduction of the older character affect the playing

out of the other characters’ goals, objectives and related strategies in the scene? What conflicts or complications arise, and how do the characters in the scene alter their objectives or strategies to deal with it? What character or characters leave the stage at the end of the scene and what motivates their departure? Is the departure a permanent or temporary one? Is it voluntary or forced? What is the attitude of the other characters towards the departure of the character and how does the exit of the character affect the goals, objectives and strategies of the remaining characters?

The plot as developed in the course of the scene. Often, the main plot turns, conflicts, complications, climaxes and denouements of the play as a whole are closely tied in to the introduction, development and resolution of the particular drama(s) of the main character(s). However, each character usually has a sub-plot of his or her own within the play that has its own pattern of exposition, rising action, climax and denouement, and interweaves with that of the main character(s) to create the action of the play What parts of the larger drama of character are being developed within the scene? Does the scene contain significant elements of exposition? Does it initiate, finish or contain important conflicts, complications, turning points, climaxes and denouements important to completing the drama of the main character(s)? How much of the scene is devoted to developing the exposition, rising action and denouement of the particular drama of a minor or secondary character, regardless of how key that sub-plot may be to the resolution of the main plot? Does the scene introduce or remove a character from the action? How does the development of the sub-plots within each scene reinforce the larger plot turns in the main character’s drama and that of the play?

The aural and visual elements of the scene. How do the sound, music, lighting, costuming, props or set design of the scene as revealed through the stage instructions specifically reveal or develop character? What do lighting, music or sound reveal about the psychology or sociology of the character in the scene? Do these elements remain unchanged throughout the play? Or do they change over the durance of the scene to reflect a change in the character’s mood? Does a shift in music, lighting or sound help reveal a shift in the action from a realistic to a more psychic or expressionistic representation of the character’s mind or memory? Alternatively, do these shifts in technical elements mark a shift from memory or innerscapes back to reality? What do the script’s instructions about costume, props and set design reveal about the psychology and sociology of the characters? Do these remain unchanged throughout the play? Or are there changes in costumes, props, make-up/mask, and set design during the scene that are meant to aid the revelation or development of character?

• Plot (Read the handout in the Play of Plot)

Plot usually deals with the unfolding of the basic narrative or story of the drama and the sequence of actions and events through which that story is revealed to the audience. At its most basic, the plot introduces the audience to the Who? What? Where? When? Why? and How? of the play and drives the play’s action by answering “What happens next?” until there is nothing further to untangle or reveal and the play ends. Plot is often the most straightforward of the categories to consider, and it may be easiest to consider first. Be aware that some dramas are more plays of plot than others and some scenes

advance the plot of the play more than others. Things to consider when reading scenes for plot: The short title you have chosen for the scene. What does it say about the

scene’s kernal of plot or action as you understand it? Language and dialogue. Are there places in the dialogue where characters

talk directly about plots, schemes or plans of action they have completed (or failed to complete) in the past, are in the process of initiating or trying to implement in the present, or hoping to initiate or implement in the future?

Are there places in the dialogue where characters talk directly about plots, schemes or plans of action they have completed (or failed to complete) in the past. Does the character consider these actions over and done, or is he or she in the process of revisiting them as unfinished business? Do plans discussed or realized in this scene mark the further development or even culmination of plans discussed earlier in the play?

Are there places in the dialogue where it is clear that characters are in the process of initiating or trying to implement new plots, schemes or plans of action in the present? Hoping or planning to do so in the future?

Are these schemes actually put into action or completed over the course of the scene? If successfully completed, is the action completely finished within the scene, or does it serve as a launching pad for further plans and actions later in the play? If the action is unsuccessful or uncompleted, is the plan permanently abandoned at this point, or are there suggestions it will be attempted again, possibly with improvements or variations, later in the play? Are plans only discussed in this scene intended to serve as the basis for action in later scenes?

Are there abrupt changes of subject or interruptions signaling a change in the action of the scene? Are there places where the rhythms and pacing of the dialogue change indicating a build of tension or conflict that might lead to an action or decision that will affect the plot of the scene? Will the action or decision affect only the action of the scene? Or is it part of a bigger throughline of action the playwright will be returning to later or developing throughout the play? (Recheck Part One, II for larger turning points and movements in the play)

The actions and interactions of characters in the scene. Be aware of surprises, revelations, new information or sudden events being introduced to the scene that will force characters into new alliances, conflicts, directions and tensions that will, in turn, result in changes of decision and action that affect plot. Do these changes just affect the plot of the scene itself? Or do they play a significant role in advancing the plot machinery of the whole play regardless of their immediate importance to the scene? Are there oddities, tensions or discrepancies in the relationships between the characters and in their perceptions of each other, life and the world that may develop into significant conflicts or plot turns in later scenes?

The plot as developed in the course of the scene. Some scenes have minimal elements of plot; they may just deal with exposition, or contain a single revelation or complication or be used as transitional bridges between movements in the action. Others may have plot structures as complex and well-developed as the play itself. In plays with a strong linear structure, there are often very strong interconnections between the “plot” of the scene and the plot of the play. In plays with a more episodic structure, the “plot” of the

scenes may be far more loosely connected to the overall plot of the play, with the meaning of the whole rising cumulatively out of the mosaic or montage of relatively independent and well-developed scenes.

In assessing the scene consider its overall structure. Does it have a clearly defined beginning, middle and end? Does it have a single strong action line with a clearly marked exposition, point of attack, rising action, climax and denouement? Alternatively, is the scene trying to advance several lines of action at once? If so, is it doing so sequentially (one after another) or simultaneously? Alternatively again, is the structure of the scene relatively simple? Is it devoted just to developing a fragment of exposition or a single revelation?

Also assess the interrelationship of the scene to the larger plot of the play. (Remember it is not unusual for a playwright to initiate, advance or conclude several action lines at once over the course of a scene. The exposition of the scene may serve as the denouement for a line of action started earlier in the play. The climax of the scene may introduce a significant new complication that won’t be concluded until much later in the play. A minor complication in the scene may eventually drive the climactic turning point of the whole play). Does the exposition of the scene plant the seeds for new action lines that may need to be resolved at later points in the play? Are there signs that action lines started earlier in the play are being driven to a climax or resolution by the actions presented in this scene? Are there signs that action lines started in earlier scenes are accelerating or intensifying because of events or revelations unfolded over the course of this scene? Are there recurring patterns of action or behavior established in earlier scenes that repeat themselves in this scene, and to what effect? Does the climax of the scene correspond with the climax of the play?

The aural and visual elements of the scene. Are there ways in which the sound, music, lighting, costuming, props or set design of the scene specifically develop or advance the plot of the play? Are there important sound or music cues (ie: gun shots, a radio announcement) that trigger important plot changes? Are there important lighting cues (a sudden blackout, a revealing spotlight) that are a necessary part of an important plot turn or revelation? Are there dramatic unmaskings or revelations of identity involving rapid changes in masks or clothing. Does an important revelation hinge on the finding, loss or correct recognition of a prop (ie: a ring or necklace) Are there “trick” or spectacular elements to the props or set crucial to developments in the plot? (ie: trapdoors, revolves, hidden entrances)

3. a close examination of the technical elements of the aural and visual as developed in each

sub-unit and cumulatively throughout the play

A. Aural (sound, music)

Obviously, in musical theatre, or even spoken drama with large amounts of song, music and dance incorporated into the action, the sound or music score is a very important and complex part of the production in its own right with a separate director and set of performers to interpret and realize it. In traditional spoken theatre, the aural elements cover all the technical demands of the play - outside of dialogue, song, music or sounds generated live onstage by actors as part of their characterization. - related to the performance and production of sound in the play. This information will be critical for

your sound designer or technician to know in planning and executing a sound scheme for the play. Things to be watching for: Kinds of sounds. Recorded voices playing over or under the action (announcements

over loudspeakers, phone recording messages, internal or mysterious voices that only one character hears) Off-stage noises and sound effects (bird song, gunshots, thunder claps, telephone rings, doorbells). Music effects ( pre-set music, musical bridges between scenes, or to mark the start and conclusion of the play, musical leit-motifs associated with recurring themes, moods, or characterization, instruments that actors mime playing).

Locations of sound or music cues. Read the stage instructions and technical notes at the front and back of the script very carefully since they usually contain the majority of a play’s sound and musical requirements. (Sometimes the music is left to the discretion of the director; other times it is written right into the script). Also read the script very carefully for references to sound or music contained in the dialogue. What the characters say may give you important information about when sound cues are needed, about the kind required, and whether all the characters or only one hears a sound)

Timing and sound specifications of the cue. Be alert to when sounds are cued to come in to the action of the scene, and when they are cued to leave the action again. (Some like gunshots, will be instantaneous. Some, like leit-motifs, may be recurring, and appear in scenes before and after the scene under study. Others, like water or party noise, may be continuous background noise that runs throughout the scene and continues on through a number of others before fading or cutting out) Record every place that a sound or music cue comes in and leaves again. Also be aware of and record if there are specific needs or changes in tempo or volume required (How loud or soft are individual sound cues required to be? Are recurring sounds supposed to increase or decrease in volume, speed, quality or durance with each repetition? Are there places where ongoing background noise fades out or cuts out completely? Places where it fades in, gradually builds or suddenly explodes in volume? Places where the tempo speeds up or slows down?) Are there places where several music or sound cues happen at the same time? Do they all come in and exit at once or do they overlap? Any time, there is a change in the soundscape of the play, be careful to note it in the chart.

B. Visual (props, set design, costume, make-up, lighting)

Obviously, there are forms of theatre, like mime, in which the scenographic score, sometimes working in conjunction with the musical score, can dominate or even completely replace the written text. In traditional spoken theatre, the visual elements cover all the technical demands of the play - outside of those generated live onstage by the presence and movement of the actors as part of their characterization - related to the production of visual effects in the play. This information will be critical to your set, props, costume, make-up or lighting designer in planning and executing the visual elements of the play. Things to be watching for: Kinds of visual elements

Lighting At its most basic, lighting is anything that illuminates the stage and the actors for the durance of the performance. While some lighting can be directly controlled by the actors (flashlights, reading lights) most is handled off-stage by technicians. It can be used simply to focus attention on the actors or create different playing areas of action onstage; used naturalistically to suggest specific places or times of day; used more abstractly to create mood

and tone, expressionistically to suggest differing personal or psychic realities onstage, or spectacularly to achieve startling or impressive special effects. Set. At its most basic, the set refers to the formal playing area established to contain the play’s action, and the physical structures, set pieces, draperies or scenery used to construct the world of the play. As with lighting, some sets are very simple and utilitarian and serve largely to focus attention on the actors; others create very naturalistic representations of a specific time, place and location; others suggest more abstract, symbolic or expressionistic realms of action; while still others are very spectacular and designed to accommodate a variety of startling or impressive special effects. Props. This term covers the range of objects used onstage to facilitate the action of the play. Some are used naturalistically to finish dressing the set and to evoke a specific time, place or period; some help establish aspects of the characters’ physical, social or psychic reality; others are used by the actors to directly advance the plot or action of the play; others may be used in more abstract, symbolic or expressionistic ways. Large props, like furniture, are often pre-set and remain onstage for the durance of the whole scene or play. Smaller or more personal props (ie: swords, cigarettes, serving trays) may be carried on or off the stage as needed by the actors. Costume. Costuming refers to the range of outfits, including garments, garment pieces, accessories, wigs and hairstyles, worn by the actor to help create the particular world of the play. Some costuming is very simple and utilitarian and used just to focus attention on the figure of the performer; some is used naturalistically to evoke the people of a specific time, place or period; some is used specifically to establish aspects of the characters’ physical, social or psychic reality; some costuming suggests more abstract, symbolic or expressionistic aspects of character. Costuming, and costume changes in particular, may also be used in spectacular or dramatic ways to directly advance the plot or action of the play. Other costumes are worn by the actor throughout the whole scene or play, with few or no changes. Smaller or more personal accessories (ie: gloves, glasses, jewellery, walking sticks) may be carried on or off the stage as needed by the actors. Make-up and mask. Make-up refers to the application of coloured substances, including powder and greasepaint, to the skin of the actor, and his or her face in particular, to help create a specific character or imaginative world. Mask refers to the application of a facial covering, usually of cloth, plaster, plastic or leather construction, designed to hide, alter or create identity onstage. Make-up and mask can be used in very simple, utilitarian ways to focus attention on the figure of the actor; naturalistically, to evoke the people of a specific time, place or period; or in very abstract, symbolic or expressionistic ways to suggest non-realistic characters or worlds. Make-up and mask, and especially changes in make-up and mask, may also be used in spectacular or dramatic ways to directly advance the plot or action of the play. Mask and make-up may also be change little or not at all over the course of the scene or play.

Locations of visual cues. Read the stage instructions and technical notes at the front and back of the script very carefully since they usually contain the majority of a play’s basic technical requirements. Also read the script very closely for references to clothing, make-up, props, and set contained in the dialogue. What the characters say or do may give you important information about what costumes, make-up and props are essential to the actors as the action unfolds,

the physical requirements and demands that the set needs to accommodate, and the lighting cues that are needed.

Timing and visual specifications of the cue. Be alert to when specific lighting cues, and changes in props, costumes, make-up or set are cued to come in to the action of the scene, and when they are cued to leave the action again. (Some like lightning flashes, or the arrival and removal of a plate of cookies for a tea party may occupy a relatively short period of time on stage and be easily contained within the scene. Others, like lighting cues signaling the progression of a day, or props changes indicating the action alternating between two or more locales, or one set altering over a period of time days, weeks, months or years may be either progressive or recurring, and may need to be considered in reference to changes in scenes before and after the scene under study. Others, like large set pieces or furniture may be established at the top of the play and may remain largely or completely unchanged for the whole play. Record every place that a lighting cue comes in and goes off again. Also be aware of and record if there are specific needs or changes in lighting colour or intensity required (How dim or bright are individual lighting cues required to be? Are recurring or progressive cues supposed to increase or decrease in brightness, speed or durance? Are there places where the general background lighting fades out or cuts out completely? Places where lighting fades in and gradually builds or diminishes? Places where it comes up suddenly or goes to instant blackout? How long does it take for a lighting cue to finish its sequence? Are there places where several lighting cues (ie: specials or spotlights) happen at the same time? In sequence? Do they all come in and exit at once or do they overlap? Any time there is a change in the lighting scheme of the play, be careful to note it in the chart. Record every time the set changes either during the scene or between scenes. Sets that remain unchanged throughout the play need only be recorded once at their first appearance in the play. Record every time a prop is taken on or off-stage, and any changes that are made to it either on the stage or between scenes. Large props that remain onstage throughout the play with no changes made to them need only be recorded once at their first appearance in the play. Record every time a costume or costume piece changes either on the stage or between scenes. Costumes that remain unchanged throughout the play need only be recorded once at the first entrance of the given character. Record every time masks or make-up change either on the stage or between scenes. Masks or make-up that remain unchanged throughout the play need only be recorded once at the first entrance of the given character..

IV An overall analysis of the structure of the play, justifying or explaining choices made on other

parts of the assignment. (2-3 pages) 10%

This should include a brief explanation of your overall vision of play and explanation of choices, made for both practical and aesthetic reasons, on parts of the assignment where several alternatives or possibilities of interpretation were possible. Remember that your choices must, as far as possible, be consistent with your overall artistic or aesthetic interpretation of the play, adequately address the physical requirements of the play’s performance or production needs, and be applied logically and consistently throughout the play.

Due: Monday, November 21st, 2011

The Review

The review provides a concise (3-5 pages), lively and informed analysis of a live theatre production to a general audience. It fulfills a number of functions depending on the mandate and expertise of the particular critic: 1. To entertain the general reader or listener Like the editorial or feature column, the review functions as a short personal essay that seeks to entertain and instruct by presenting an informed opinion on issues of immediate concern to both the writer and his readership. It structurally differs from most academic writing in (1) promoting the personal over the objective voice. Most popular or successful critics have a distinct public "voice" or "persona" that the reader readily knows and recognizes and (2) reversing the classical rule of saving the strongest argument for the last. Instead, the review starts out with the most exciting and significant material and finishes with the least important details. When the review is usually presented as only one part of a whole smorgasbord of news stories, pictures, columns and features, the reviewer has to "hook" his/her reader quickly with a catchy "header" (title) or opening sentence and make sure he/she gets the main points of the review across quickly before the reader (or editor's) attention or interest wanders. 2. To inform the potential audience member of what is currently on the market On a fundamental level, the review serves as a consumer guide telling the reader the name of the play or event, the name of the company, individual or theatre producing it, the dates and times the event is running, and the building or theatre space where it is being produced. It also gives the reader a general idea of what kind of entertainment it is: i.e.: musical, opera, tragedy, comedy, première of a new work, revival of an older work. Finally, it tells the consumer whether the reviewer thinks the production is worth catching and which audience (if any) is likely to enjoy it. 3. To preserve, promote and advance high artistic standards in the community one serves Most critics feel a strong responsibility to both educate audience members about, and hold creative artists accountable to high aesthetic standards as the critic understands them. This understanding is ideally based on a comprehensive understanding and knowledge of the theatre, both past and present, local and internationally. A. Literary or dramaturgical criticism The reviewer tries to give the reader some idea of what criteria should be used to determine the quality of a good dramatic script. If the production features the revival, adaptation or translation of an older work, the critic may talk about its production history and of notable past interpretations of the play, its main critical features, its strengths and weaknesses as a staged work and the reasons for reviving or adapting the play at this time and in this place. If it is a new work, the critic may in fact devote a substantial part of the column to discussing the literary and dramatic merits of the work especially if the play is by a new writer who is being heard on stage for the first time. Alternatively, if it is a new work by a playwright who has been produced before, the reviewer may also discuss the play in terms of what the writer has done up to this point and what new developments or directions (if any) this work suggests he/she may be moving in.

B. Performance criticism The reviewer tries to give the reader some idea of what criteria should be used to determine the quality of a good theatrical performance. In fact, if there is no script, or the play is either extremely slight in nature or very familiar to the audience (i.e.: It's performed frequently or regularly as part of a special occasion) this may occupy the bulk of the review. Quite aside from the quality of the script the reviewer will also comment on the validity of this particular interpretation of it and the ability of the interpreters to effectively realize that vision in concrete production terms (1) the effectiveness of the director's interpretation of the script and his/her ability to realize that vision utilizing all the elements of the production's performance (2) the effectiveness of the actors to interpret their roles both individually and in ensemble with the other actors using the concrete modes of voice, body and movement (3) the effectiveness of the costume and set designer to interpret and realize the script in visual terms(4) the effectiveness of sound, music and lighting in the production to create mood and atmosphere and enhance performance and (5) the effectiveness or appropriateness of the theatre space to the work being performed in it. 4. To argue for the continuing survival, expansion and transformation of the theatre as an important part of the larger psychological, cultural and political life of a people The most powerful and influential critics - both currently and historically - have tended to justify the importance of the theatre within the context of the larger cultural, political, socio-economic, psychic and intellectual development of a given people or civilization, and to argue for the theatre's continuing existence, development and transformation on those terms. While their writing is also usually concerned with issues of entertaining, informing, educating and promoting high aesthetic standards in both script and performance, their definition of what constitutes high standards can be strongly influenced (or at least tempered in application) by their broader philosophical and cultural vision. It is also true that while critics of this kind can talk very astutely about a particular performance or script, their writing is often equally concerned with questions about how the particular event or play sheds light on the larger issues of what theatre is, could and should be.

Reviewing A Play

(with thanks to Margaret Kyle for permission to use her handout)

Reviews should be between three and five (3 to 5) type-written pages in length. Use the ‘elements of production sheet’ as a guide and be sure you give some mention to each of the areas listed. You may find that you want to weight your review in one or more areas depending of the production. This fine, but do not totally ignore the other areas. Take minimal notes during the actual performance. Try and immerse yourself in the play. Make some notes during intermission if you desire, and try to write at least a rough draft of your review the same day you see the play. Do not be over-critical, condescending or rude: remember no matter how ‘bad’ a production may seem, a lot of time and effort went into it so try and be constructive in your criticism. Naturally one might have higher expectations from a professional production than one done by educational or community groups. Support your opinions, positive or negative with concrete, specific examples. Be in touch with your own ideas and be don’t be influenced by others’ opinions of the play. The time for in-depth discussions of what you have seen is after you have written your review. Here are some ideas about what to consider as you deal with each of the elements: THE THEATRE/PERFORMANCE SPACE • How does the inside of the theatre look and feel? • Is there a display in the lobby? If so, comment on the effect. • Are the seats comfortable? • Can you see properly? • Can you hear properly? • Is the program effective and informative? THE PLAYSCRIPT • If possible, read the script before seeing the play • What was the playwright trying to communicate and how well does he/she succeed? • Is the dialogue appropriate for the characters who speak it and the ideas being expressed? • Is there enough variety and contrast in the script to hold your attention? THE DIRECTION • Remember the director has final say on all aspects of production. • Do you think the director understood the script properly and gave it a valid interpretation? • Were you aware of the director’s concept or style? • Did the director deviate from the text? If so, comment on the effectiveness and appropriateness

of the changes

• Did all the elements of production seem unified? • Was the pace of the show suitable? • Was the blocking effective? THE ACTING • Were the characters convincing and true to the spirit of the play? • Was there a uniform acting style in the production? • Did the actors project their voices adequately? • Were their voices suitable for the characters? • Were gestures, movement, and business clear and suitable? THE ACTORS’ FACADE (costume, make-up, mask) • Were the costumes effective in expressing character and did they fit in with the style of the

production? • Was the make-up effective? • If masks were used were they effective and used well? SETS/PROPS • Did the set provide a suitable background for the action? Did it enhance the mood and/or style

of the production? • Did the set provide the actors and director with the types and varieties of acting areas needed? • Were the props effective but not distracting? SOUND/MUSIC • What type of sound/music • Was it effective but not distracting? LIGHTING • Were the actors illuminated adequately? • Did the lights enhance the mood of the play? • Were they effective but not distracting?

When writing your review, you should not necessarily deal with each element in the order listed here. Construct your review around a central theme, whatever strikes you as the most prominent quality of the production and relate the use of elements to that theme. You are not expected, nor is it desirable to answer all the above questions in a literal way but simply to use them as the raw material. There may be other questions that you might ask yourself; there may be other aspects of the production you want to mention. General notes: • Do not confuse the actor with the character • Be sure to actually name specific actors and the roles they played, either directly (E.g.:

Calista Flockart was brilliant as the wacky, off-the-wall attorney, Ally McBeal) or indirectly

(e.g.:Ally McBeal (Calista Flockhart) is an upwardly-mobile lawyer desperately in search of love)

• Mention the director and designers by name as well • Early in the review you should provide the reader with a brief plot summary. While this is

more important with a new play than with a well-known classic, do not use the review to simply re-tell the story.

• Programs are an excellent source of pertinent information such as director’s notes, and historical details

• If it is useful, comment on the audience’s response • Your review should try to balance between information on and evaluation of both the script

and the production • Spell all names and titles correctly. Play titles are usually either underlined or italicized

(Hamlet or Hamlet) • While a lively, entertaining “personal voice” is an asset to a review, all observations or

judgements need to (1) have their rationale or underlying critical assumptions clearly explained to the reader (2) be supported with specific evidence and examples drawn from the script, production or performance and (3) be presented in clear, readable prose with good grammar, punctuation, spelling and sentence structure

• While an audience member, as a consumer, generally has a right to pick and choose what (s)he wants to view, and avoid attending theatre (s)he may consider personally offensive, boring, or irrelevant to his/her interests, a reviewer has a professional obligation not just to see everything on the market, but to assess everything as fairly and accurately as possible on its own terms, regardless of his/her personal response to it. If you as an audience member have a very strong personal reaction – especially a negative one - to some of the material you are watching, it is usually best as a reviewer to deal with it by (1) taking personal responsibility for your feelings and frankly admitting to your discomfort in the review (2) being reflective and analytical about the reasons for your response and sharing these insights with the reader, and then (3) moving beyond the response and getting on with the job of assessing the production on its own terms. If you find that your personal reaction is so strong or overwhelming that you feel you cannot complete the assignment in a way that does credit to either you or the company, talk to me about reviewing an alternative production.

Style Checklist Reviews should: • be double-spaced and either typed or neatly done by hand • have a cover page with (1) your name, (2 )the title of the play, (3) the name of the

playwright (4) the name of the producing organization and the date you viewed the play (4) a headline that expresses the theme of the review

• have a copy of the program and ticket stub, with your name on both, securely attached to the review. Without these, you may not receive credit for the assignment.

Marking

When marking your reviews, I will use 50 as a perfect score. You will receive:

30% for analysis of the production elements 6 marks for the assessment of the script, 5 marks each for the elements of (1) acting, (2) directing, (3) actor’s façade (costuming/mask/make-up/personal props) (4) performance space (theatre space/set/large props 2 marks each for (1) lighting and (2) sound/music 14% for style (coherence, organization, use of evidence to support critical points, clarity of meaning, liveliness and precision of expression,) 6% for mechanics (spelling, punctuation, grammar, effective use of vocabulary and sentence structure)

Elements of Production

Name of Show____________________________ Location____________________ Playwright_____________________________ Date__________________________ Theatre/Performance Space I Playscript I I I I I I I I I I Direction I Acting I I I I I I I I I I Actors’ Façade (Costume, make-up, I Set/Props masks, personal props) I I I I I I I I

___________________________________I___________________________________________ Sound/Music I Lighting I I I I I

Review

ELEMENTS 30% Playscript 6 Performance Space 5 (theatre space/set/set props) Acting 5 Actors’ Façade 5 (costume/mask/make-up/personal props) Direction 5 Sound/Music 2 Lighting 2 STYLE 14%

(coherence, organization, use of evidence to support critical points, clarity of meaning, liveliness and precision of expression) Mechanics 6%

(spelling, punctuation, grammar, effective use of vocabulary and sentence structure) Total /50

Creative Projects

These are self-driven projects of your own choosing, carrying only the proviso that they allow you to explore an aspect of drama or theatre that personally excites or engages you. Some possible projects might include:

A. Reading five other plays from the collection and doing a brief one-page summary on each

B. Attending up to five live arts performances (outside of Greystone Theatre) of dance, theatre, mime, musical theatre or opera and submitting a programme, ticket and brief review of each.

C. Picking one of the main characters from the plays we are studying this term, and writing a dramatic monologue

focusing on his or her situation five years after the end of the play.

D. Memorizing and performing a scene from one of the plays we’re studying this term.

E. Designing and building a model set for one of the plays we’re studying this term.

F. Designing and/or building a mask for one of the characters in the plays we’re studying.

G. Designing and/or building a model costume for one of the characters in the plays we’re studying

H. Sketching, painting or drawing an important scene from one of the plays as you would see it happening.

I. Creating a scrapbook of dance, theatre, art and music reviews from the university and community press for the months of October and November.

J. Designing a music and soundscape for at least one act of one of the plays we are examining this term. K. Doing your own adaptation of a short story for stage. L. Working on the class production of The Long Christmas Dinner in a performance or production capacity

Other proposals are acceptable, but clear them with me first. Students should have a proposal in writing by Thanksgiving (October 12, 2011). Assignments can be submitted throughout the term but should be in no later than December 2nd, 2011.

Plays in Saskatoon

September to December, 2011 September Sept 14-28 **Dead Midnight (Geoffrey Ursell) Persephone RAC Mainstage October Oct 5-15 The Three Sisters (Chekhov) Greystone (U of S Drama Dept) South Studio Oct 19-Nov. 2 *Nevermore (Cristensen and Gerecke) Persephone RAC Mainstage Oct 21-23 The Princess and The Pea (Vacca) Newman Players (U of S) STM Oct 26-Nov.29 The God of Carnage (Yasmina Reza) Persephone Deep End RAC BackStage November Nov 3-6, Nov 10-13 *Vimy (Vern Thiessen) Live Five Refinery Nov 16-26 Amadeus (Shaffer) Greystone (U of S Drama Dept) South Studio Nov 17, 18 (English surtitles Nov 17) *Écume (Sea Foam) (White) Troupe du Jour Refinery Nov 23-Dec 7 A Christmas Story (Shepherd, Brown, Clark) Persephone RAC December Dec 1-3, (8 pm), 4 (2 pm) (English surtitles March1,3 &4) *Noël de force (Stickland.Gingras) Troupe du Jour Refinery (Translation of Eugene Stickland’s Some Assembly Required Dec 2-4 A Christmas Carol : the live radio play (Dickens) Newman Players (U of S) STM Dec? **A Rez Christmas Carol (company) SNTC ? Dec 15-22 **Alice in Wonderland (Carroll/Wide Open) Live Five Refinery * Canadian play

** New Saskatchewan play, translation or adaptation