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- Reading responses must be AT LEAST 350 words.
- Include your full name at the end of your comments. Unnamed comments will be deleted.
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- Reading responses are due by 10pm on the day PRIOR to our discussion of the required reading.
The most wonderful thing about drama, at least to me, is the history of it. As Starkey says, drama has a rich history dating back to the Greeks. Then you have Shakespeare that revolutionized the whole business. But now we are supposed to write a play that can be performed in only ten minutes meaning that we must bring up a conflict early on and quickly resolve it. The drama has to be a one-two punch to the audience that leaves them speechless and wondering about what they saw. Then, for the next week, they can speak about it to their friends.
ReplyDeleteThe three ten-minute example plays we read were good but reading them doesn’t seem to give us, the reader, the whole shebang. Rather, it would be nice to see these plays performed to get a better feeling of their power. The bell that keeps going off in Sure Thing begs to be heard, the Anglo actor speaking about Asian injustice in Trying to Find Chinatown needs to be seen, and the conflict in The Divine Fallacy could be better felt when the actors are on the stage sparing dialogue.
So it requires a special kind of reader, and maybe a more special kind of writer, that is able to imagine more fully the finished product of their dramatic piece merely from prose. David Ives has written a number of well-received one act comedies. David Henry Hwang is a commercially successful playwright having written M. Butterfly. And Tina Howe is also a playwright having already received numerous awards. Yet, for me, something I rarely approach, and something I’ve never dabbled in the construction thereof.
The advice that Starkey gives then will surely come in handy. We need solid, believable characters since everything that is to be related to the audience must come from them. We also need to have dialog that sounds like real, normal dialog, the type you might hear if you overheard a couple arguing in their own apartment. Finally, we need a good theme which is in essence the point of the play. If we are able to get these three things down we’ll probably end up with a good play.
Elizabeth Barham
Writing a play seems both exciting and daunting. I fear I will insert content that is not necessary out of fear that my play won’t be ten minutes or removing content so that it won’t go over ten minutes. I admit that I am not a big fan of plays, at least not as much as I am of novels or short stories. I will most likely look up performances of the sample plays as plays are unique in that they can be experienced beyond simply being read and performances of them are completely different in that everything comes alive in a three dimensional way.
ReplyDeleteI have watched Emile Zola’s La Bête Humaine and I enjoyed just how human all the characters appeared. In short, it revolved around a woman who used seduction to get what she wanted. It is interesting in that there are people who are swayed and manipulated by the opposite sex and those who do the manipulating. I would likely base my play on something realistic like Zola’s play however we are going to be reading some of Jean Paul Sartre’s work in my French class so hopefully I can take a look at some of his ideas as well.
I have also read Samuel Beckett’s “End Game” but I could not begin to describe what it was about as I did not understand any of it. Perhaps I am not clever or sophisticated enough to dabble in absurdist plays but it is definitely something I am not ready to tackle yet. I could not understand it either written or performed and the explanations I found when researching it felt, well, absurd. Maybe that is what Beckett sought to do but I cannot help but feel that either it is not what he intended or that if that is what absurdist plays seek to achieve that they are a waste of time. I always try to find the reason why some works merit the fame and respect they do but this is definitely one instance where I failed to do so. That being said, I am interested in how I am going to tackle my first attempt at writing a play as I never even considered undertaking such a task before.
Jessica Rodriguez
A play is a different concept to take in and to lay out in order to read out as it should. Without any experience in this type of writing it is said that it’s not needed because today’s world is so submerged in dialogue. That is what carries a whole play a conversation between multiple people that carries a plot to it or subplot. The whole point of a play is the verisimilitude to portray the characters and environment in a realistic manner. When it comes to the character the more characters there are the more subplots the play can take. The less characters the more emphasizes the play takes on alternating between the protagonist and antagonist. This can be seen in the first two plays of a Sure Thing and Trying to find Chinatown. The characters go back and forth changing roles since the dialogue can change the way the matters of the play are being told making each one take alternating roles. There is early controversy in these types of plays as Starkey mentions the guidelines for a complication to happen and take various roles and turns so that they audience can attach to it and so that the characters have a chance to develop further. In the case of the Divine Fallacy there is a clear protagonist and antagonist that develop over one main complication and that leads to develop the characters in that scene alone. The main plots are the complications of the characters chasing after a situation that they desperately need in order to come to terms. That complication of events needs a conclusion and that requires for an ending to the play with the characters coming to realize that either what they were chasing couldn’t be possible or finally achieving. With the structure of a ten-minute play there has to be a cut off of events that either leaves the protagonist as a happy ending or a tragic ending. Not all endings can be happy with the structure of these plays. This is one of the elements that is going to be a challenge to come to terms because you can start writing it one way and end up with something different you didn’t expect.
ReplyDelete-Victor Vasquez
After reading Starkey’s Writing the Ten-Minute Play I still don’t feel as confident in writing a play, and Starkey pretty much says it all that a play is not a conservation, rant, or essay. I mean writing an essay is already a challenge for me. I don’t feel entirely ready to take on this new genre of writing. The biggest problem that I might have going through this for writing a play would be structuring it because I have never written one in my life. So this is completely new to me. Hopefully in class once when we begin to write out our plays maybe I get an idea or what to look forward to in this type of genre. Writing a play might be a huge challenge for me, Starkey points out that not all of us can write a play right off the bat, it’s a process when it comes to creative writing. Starkey also talks about “good dialogue adds to character development”, which I agree with because once you get your characters developed in the play might flow smoothly. One of the subjects that I disagree with is trying to make the audience laugh unless your sense of humor is spectacular. On the other hand, the first play was pretty boring, I didn’t feel like it went anywhere. I wasn’t all that impressed with “Trying to Find Chinatown” mainly because of Ronnie’s attitude from the beginning of the story. I found the last play to be pretty interesting, it didn’t bore me. It was dramatic but it didn’t stay consistent which kind of threw me off as a reader. I really don’t read plays so this may be a bit hard to grasp. All in all, in a play you have to throw it out there, you have to include emotion, fear, action, comedy, etc. Something to intrigue your reader or even excite them. That’s one of my goals for this type of writing, I want draw in my audience, but after reading Starkey’s takes on plays I hope to write a play one day. Dialogue plays a huge part when it comes to 10 minute play and that’s what make the story come alive.
ReplyDeleteAndrea Espericueta
This reading section was very interesting, especially the first part. I did not know very much about plays outside of the degree requisite Shakespeare, ancient plays, and a few modern plays I had read. I would be included in the students that had never written a play or were familiar with them that Starkey talks about, which I think is typical aside from theatre majors. I had not realized that there was such a divide in the theatre world between playwrights of "realism" and those with anti-realism sentiments. Realism existing and being written as commonly as it is now, instead of being the creation of a few, where it is high praise to say that one has created a realistic portrayl seems to be a feature of modern theatre. This divide seems to be a problem between this modern "realism" and old theater styles following in the traditions of the ancient tragedies and the great plays derived from this lineage. These playwrights of "realism" are more concerned with "try[ing] to show people as they truly are, not as the playwrights wish them to be (Starkey, 236)" whereas plays following in the ancient traditions may feature characters more like the embodiment of human vices and happinesses than actual people. They are archetypes first - the parasite, the fool, the tragic hero - before they are people.
ReplyDeleteAs for the plays included in the reading, I thought they were interesting, but I liked "Sure Thing" by David Ives best. It is very simple: there are two characters on stage with a table and two chairs only and, aside from the man sitting down, they do not move from their positions the whole play. Because this play is so simple, the focus is all on the dialogue - which is great, because the conversation is very interesting or rather, what is interesting is the possible turns and ends that this one conversation, common and possible, may take. They are the turns and ends that any conversation spoken in real life may have. The wrong word, the wrong phrase may close a dialogue forever; but the right one, just one, has the possibility of opening up the future.
It is not that I disliked any of the other plays, but I thought that "Sure Thing" would be the play I would most like to see onstage.
-Doris Tolar
When we think of plays, It is mentioned how Shakespeare may come to mind of most, but the thought could contradict itself because, Starkey says that he never wrote a 10 minute play (pg 235). But the 19th century playwriter, is seen as a historical figure in playwriting because of the verisimiltude his plays portray.
ReplyDeleteStarkey also shows readers origins and differences between the terms "drama" and "theatre". Although called drama, plays do not have to have the genre drama. There are all types of plays, but most consist of, as Gary Garrison says "sympathetic characters with recognizable needs within a dramatic conflict" (Starkey, pg 239).
As a student minoring in film, reading on plays the differences was noticeable. When reading about screenplays, it is learned how films are seen as a phenomenon due to its own artistic expression. The difference in the way captures reality. We can see how the two can be compared, but they have their differences that distinguish the two as seperate arts. There are no second chances in plays when performing the written lines, and Starkey mentions how plays, "emphasis on the characters verbal exchanges" (pg 237). Whereas film focus on the montage.
When reading Sure Thing, by David Ives,what struck the most was how the authors Hemingway and Faulkner were mentioned in the play. It must be because the authors have different writing styles One is seen as easier to understand while, Hemingway is known to have a dictionary close by in order to get his writing. When reading this play it is different from many plays because the conversation between the two, which is important in plays, it changes after the bell rings. The way the play can be interpreted is the way people want to make an impression or to have something in common with another individual.
We can see how in the second play. Trying to Find Chinatown by David Huang is not only cultural, but can be compared to A Shakespeare play because of the long dialogue.
In the last 10 minute play was written to give the audience drama and thriller because it deals with a murdering and the conscious of the killer. By conscious that the viewers would get the pint across by Victors lines.
All plays are different in their own ways, like the plays that will have to be written all will be different from one another, but what was common in the examples was the all consisted of only two characters.
Sandra Melaine villarreal
As I was reading the next writing structure, and understood it was to be playwriting I got very nervous. I have never even dabbled with playwriting. The way that Starkey tackles “the ten-minute play” the more I was overwhelmed with its required layout. When he talks about the elements and the structure, believable characters, convincing dialogue, theme, and elements of production he is giving great insight to a complete outsider of playwriting. It helped in my understanding more that a play consists of dialogue and developed characters and the audience also relies on their body language, facial expression, and certain traits that embody the characters you have depicted on paper to make a successful play. Comprehending that a play is not a rant, without shouting but with discussions and conversation. Making the play believable is very important. With conversation as well as the interaction between the characters. Without these two the play can lose the audience’s focus and their ability to engage with the characters from their seat. Good dialogue is also crucial to making the play believable. If the dialogue doesn’t represent normality in some way the audience can also lose their ability to relate and focus on the characters and enjoy the piece. With the theme backing up the play you can have a successful pieces. “What it all adds up to” the moral of the story, the point of the play, what the audience should take away from it, is all important when composing the theme. When constructing a successful play it is also important to keep in mind the elements used in production. The stage layout and the point of exits and entering on of the characters should also come into the composition of the play. Then there is sets, and props and so much more. The more I read Starkey’s the more I was overcome with anxiety. I am entering into unknown territory and am unsure how to proceed with this type of writing. But, I am excited and eager to learn about how to enter in on the unknown. As I learn more about how to successfully put together a ten-minute play.
ReplyDeleteClaria Buddle
Writing a ten-minute play requires work and strategy. When reading the introduction it was obvious that the reading was for students. I felt like I was getting tips from my professor on how to effectively write a short play. I am currently a Junior in college and I was familiar with most of the tips because they have become common sense to me. For example like writing a play with purpose, creating realism in your stories, and having a beginning middle and end. I have only written one short play when I was attending South Texas College, and I enjoyed creating the dialog. Creating a setting in the beginning is important in order to have your readers understand the characters situation, especially in plays. My short play I wrote was only seven pages long, but I am sure it is not as great as these three plays I just read.
ReplyDeleteWhen reading “Sure Thing” by David Ives, I thought it was creative that he had a bell included throughout the dialog. The bell shows the audience that there is a redo in the conversations between the two characters. When reading the critique of this play, I would have never thought that the characters were meant to be together. It makes sense to have that much repetition in order to make a point across. When writing my first play I had a clear message across, but I would have enjoyed adding more creativity to my piece.
“Trying to Find Chinatown” David Henry Hwang writes about racism in an interesting realistic way. He makes this situation believable because the characters just ran into each other on the street. These two characters are both conflicting with one another, which is good to include in your essays to keep the audience engaged. I liked how Hwang had the characters interrupt each other because it made the conversation more believable.
Tina Howe wrote “The Divine Fallacy” I did not understand the title at first, but I looked it up and it is something that you do not understand so god must have created it. The girl does not believe she is beautiful but towards the end she is glowing with inner beauty. I enjoyed how Howe made the characters have two different conversations. I would have never thought to add dialog side by side one another as if they we talking at the same moment.
Bianca Salinas
I think I’ll enjoy writing a drama piece than any type of previous pieces. While reading Starkey’s interpretation of a ten minute play I feel like the type of drama ideas will come to me more freely than any other kind of essays. I learned that there should be structure through out the piece of the play. To be able to have a good play the characters should be known as believable, and the dialogue should be convincing as well.
ReplyDeleteFirst off, I think my favorite short play was “Sure Thing” by David Ives. I feel like through out the play I felt a bit confused but that was what made me want to continue in reading the piece. From reading the piece I came to the conclusion that the male “Bill” had some type of short-term memory lose. I feel like he was looking for love and was absolute about it despite that he forgot the previous questions he would ask Betty. Another interpretation was that he was just trying hard to catch her attention and my favorite part was how they eventually fell for each other within that setting. I feel like through out the whole piece they never left anywhere, they found out a lot about each other in a precise amount of time. Also with the title I understand it as a Sure thing… but through out the piece I realized that it wasn’t a sure thing… there was indecisiveness of feelings from betty but in the end she responded to going out with Bill and saying ‘Sure Thing”.
“Trying to Find Chinatown” by David Henry Hwang, I feel like this short piece didn’t intrigue me very much. The only idea that I understood with this short story was the two males contemplating their beliefs with one another’s. Both of them were trying to get a point across and both were somehow stubborn. I didn’t understand the end at all either. I feel like rather than Benjamin looking for something he found something else and as for Ronnie he learned something from Ben.
Lastly, “The divine Fallacy” by Tina Howe was an interesting story I came to the understanding that Dorothy was very insecure and Victor was the character in the story that made her feel beautiful. I liked this story because of the characters that were demonstrated and they way they brought out the best in each other. The characters In this story was my favorite, even though I wasn’t sure what was going on between them if it was something personal or business I feel like they were made comfortable with each other.
Aliza Longoria
This chapter has forever changed they way I look at the craft of creating a play. While the chapter focuses on the creation of a ten minute play I cannot fathom the brain work required to do something longer. What I really enjoyed most of this chapter was the ideas of how to even begin writing a ten minute play and what it would need to consist of. As with any form of writing knowing your characters is essential and here it is even more vital. A play is live and the audience is seeing those characters as living and breathing people right in front of them. Giving those characters life through words is everything. Out of the three plays in the chapter I found “Trying to Find ChinaTown,” by David Hwang to give me the most connection. I’ve attended a few plays and could really feel the opposition between the two characters of Ronnie and Benjamin. The way the playwright took both characters and (as stated later in the chapter) made them both the protagonist and the antagonist in such a short believable way was interesting. This day in age with all the issues of racism and conflict within our country this play hit close to home. I struggled through “Sure Thing,” by David Ives, because of the way the structure. Since the dialogue was written as a conversation it moved very quickly because of their short responses. For some reason the language through me off a bit. “Sure thing” in my world seems to be a phase used in the 50’s and in brought to mind that they were in a diner. I was halfway expecting it to be a musical. The “Diving Fallacy,” by Tina Howe was also very interesting as it really fleshed out the characters and even gave them somewhat of a mystical background. I really liked the character of Dorothy Kiss. She was different than what you would have expected. She started out so meek and it seemed damaged but inside of her is where her true beauty is. This was a very insightful chapter into the construction of writing a play. Things to think about such as setting, relationships to characters and how to build conflict and keep the play moving at a good pace. The one part that especially eased my nerves was the structure of a play and how about a hundred words per page and ten pages is a guide of what it would take to complete. There are many interesting and helpful guides in this chapter to writing a ten minute play.
ReplyDelete-Diana Zepeda
A one act play, or ten minute play, is dialogue driven. Character development takes to the cliché saying of “characters subservient to plot.” However, Starkey shows the complications the previous statements entitle as “your characters will call the shots, and if you don’t place their desires at the center of everything they say, you may find that they begin talking in ways you never anticipated (279).” A character is the driving engine through which the theme and dramatic question are revealed to the audience. Their interactions create plot, but ultimately it will be the theme and dramatic question that will unconsciously guide the conversations and actions of the characters and subsequently, that of the author. It should be noted that each character will also have his/her own interests that add complications to the plot.
ReplyDeleteIn “Sure Thing”, by David Ives, the goal of the interaction between Bill and Betty are to court, but both Bill and Betty play devil’s advocate to each other (Most of the time it was Betty). One character will play the courter while the other plays the courted, with each scenario having its own individual complication. Whether it is Betty not interested in The Sound and Fury, or her having personal issues with a guy who had sex with her and confess having a girlfriend named Stephanie, or Bill coming off too strong asking why a pretty girl like Betty is alone, each complication develops a story in its own. Each story is transitioned through the sound of a bell that could be compared to an objective correlative. However, the plot must flow to a climax and exposition, in which case is found in “Sure Thing”. As the story progresses, the interactions between Betty and Bill facilitate a common ground as both like Woody Allen films, Entenmann’s crumb cake, and are disgusted by Brussel sprouts.
The other stories do have smaller complications leading up to the larger complication or plot. In “Trying to Find Chinatown,” before the main issue of Benjamin trying to get to his father’s house and reconnect with his roots is not solved or addressed till him and Ronnie hash out other issues such as race and culture. In “The Divine Fallacy” though, the concept of internal beauty is mentioned early on and maintained.
-Alejandro Sanchez
Playwriting is something that many people only associate with plays and movies, even though that is called screenwriting. Playwriting doesn’t just have to with plays and actors; it is something that takes time to create, takes time to develop a plot, characters, setting, and also plot devices and many different ideas to move the story along. Playwriting is actually similar to writing a novel, except the person doesn’t have to read the story to get the entertainment, the whole point is to bring whatever was written on paper and bring it to life. However, it’s not only bringing whatever was written to life, it is also takes structure, something that the playwright has to actually think about. The playwright has to think about certain conflicts and different situations the characters must go through in order for the audience to not catch on about what is going to happen. Also the characters must be believable in order for the audience to connect with them and feel the distress or any emotion the characters are going through.
ReplyDeleteViewing the different plays also help future playwrights see what can come of their plays such as get input to what can happen. Those that want to create plays and be able to see what ideas and what structure the playwrights took in order to make their work published and also noted by the audience.
While reading the chapter, I was able to see what things that I, myself, could apply if I ever wanted to create a playwright. There is some advice that I read that I didn’t even know that could apply for playwriting. For example, the dialogue that takes place in the play, it does help with giving the main idea of or conflict of the plot. Usually I believed it was the actions that the characters had done, such as the movements and also setting as well. I always thought dialogue only moved the plot along but now reading this chapter, it shows that it can help give audience something to think about when the idea is given by voicing it. The dialogue does give the idea of what can happen between two characters when it is being discussed by them.
- Andrea Serrano
Without a doubt, playwriting is the most daunting form of writing that I can think of. This isn’t necessarily true for everyone, of course, but Starkey makes an interesting point that most young writers have little to no experience in actually writing a play, as it is uncommon for a student to be requested to write one. This is true for myself, as I know I’ve never written one and, had this not been a topic, would not be able to foresee myself writing one. Even now, I feel I have a lot to learn as to the concepts of playwriting, but thankfully I can see their emphasis as things I have written before such as strong characters and dialogue. I think the hardest challenge for me, personally, will be in the structuring, but nervously look forward to undertaking in the creation of one.
ReplyDeleteI am slightly for comfortable with screenplays, so seeing the differences between the two and having Starkey explain why they differ helps me have a better understanding of how to separate one from the other, as they are more separate and different than what I first imagined. As Starkey explained, screenplays have post-production and scenes they can continue to shoot until they fit the director’s taste, while plays happen live and lean on the team to deliver the best performance possible as there are no retakes and audiences notice mistakes. Props are important to keep in mind as well, both are incredibly important to create a setting for the screenplay/ play.
The plays that were given were interesting reads, but “Sure Thing” by David Ives appealed the most to me as it is minimalist in its props and drama, but the drama created by the dialogue is presented strongly thanks to it being well-written. It’s simplicity, in turn, strengthens the dialogue as it removes anything unnecessary which can distract audience members, letting them home in into what is being said. This is a play I feel I will re-visit in the instance of being assigned to write my own play, at least in terms of how characters should talk to each other.
-Pedro Conchas
For me, writing a play, even a short one is something that seems incredibly daunting. The thing that most intimidates me is having to write actual dialogue instead of just thoughts. while this may sound strange, my style of writing usually consists of little to no dialogue.The thing that is so interesting about the art of play writing is the fact that the playwright has to include subtle body movements and even non verbal cues in order to make the character appear exactly as they need to in order to get the message across to the audience. Setting plays a huge role in this. The way that the scene is set up on stage makes a huge impact as to how the audience perceives what is happening. for example if the lighting is a bit more dim, it might give the audience more of an eerie or unsettled feeling than if they were watching a fully lit scene in a living room. Another important thing that goes into the writing of a play is the order in which the playwright gives information. In order for the big moments of the play to have the impact that the playwright wants it to, there has to be a certain element of surprise to the audience. By strategically giving the audience only what they need to know when they need to know it, it keeps them engaged without being completely predictable. The thing that will probably give me the most trouble in writing a play is the fine line between establishing a good relationship between characters through dialogue, and not dragging on conversations throughout the play. I will definitely have to read more plays and get a better background knowledge before attempting to write my own but I am extremely excited for the challenge.
ReplyDeleteErin Valdez
Have you ever stopped and wonder how on earth Shakespeare brought about Hamlet or Romeo and Juliet? I know for a fact that as a novice writer I have not mastered the art of playwriting. Nevertheless, this writing style has begun to challenge my perspective. After reading Starkey’s chapter on the quick drama, I learned that drama is similar to poetry in the sense that the word choice is crucial for the whole writing piece. Every sentence and every description is a detailed account that provides an ample setting and characterization. Moreover, playwrights make the most use of their lines in order to establish a conflict. Starkey presents clear definitions for the writing style of drama, and I actually did not know that a drama conveyed a deeper message than a simple screenplay. Perhaps, the most difficult aspect from drama is the fact that it is live, and the playwright has the peculiar task to paint a live-motion picture. That is, every detail matters, creating almost a mental movie when reading it. In Tina Howe’s “The Divine Fallacy,” I was able to see the importance of the parenthesis and how it unravels the plot so smoothly. When Howe juxtaposes Victor’s and Dorothy’s dialogue, it sounds just like a normal conversation. The ellipsis, and the italics all contribute to the drama’s plot, and I think Howe uses only two characters in a strategic manner. When Victor acknowledges Dorothy, the reader is able to understand the perfect picture. The silence in between lines and the sudden commotion builds the drama. The active verbs and the sudden change between lines and directions, reveal the complex thinking happening in the author’s mind. I think this is the most challenging part of drama, to be able to establish a setting and characters and write swiftly their actions and dialogue. The small motions the characters take allow their personalities to be revealed much quicker than an essay would. Moreover, the capitalization and exclamation marks engage the reader as the conflict develops. Truly, a playwright is given one of the most difficult tasks when creating a piece of drama.
ReplyDelete- Julio C. Manzano
I believe Starkey had his idea of laying out this chapter with an introduction. The material is very broad, therefore he started briefly with background concepts and ideas. He also introduces some history about the Greeks, and example readings. Also, he introduces basic elements such as structure, believable characters and convincing dialogue. One thing that I believe was clear and important to mention is the statements of what a play is, and what a play is “not”, for example: is not a screenplay, not a conversation, not an essay, not a rant, and it is live! After that he elaborates in depth about characters, layout, and other elements involved in play writing. I liked his idea of presenting this material in this direction, and will say why later.
ReplyDeleteIt is very clear and important to me there needs to be a structure. Also the development of the story, and the way it is told by the characters. The characters are another important aspect. They have to be alive, and elaborate properly. The list of elements, my list according to Starkey, goes on, and on. There are many elements involved in play writing, and in the end I have learned, that these elements do not have a necessary order, but one has to follow some path to make these combine well to form, illustrate, and generate a great performance. Stage setting is another element, and a very important one, at least to myself. Props and effects are an element that seem to be of my interest as a technician. It can enhance the play overall, and give the audience a the great experience. However, it does not require to be super elaborate to achieve a good play, it all depends on the story, and its other elements such as the theme or conflict within the play. I feel I need to be on the other side in this subject of play writing and I ask myself. What would I need to elaborate to catch my own attention as an audience? Since I am not a big fan of theater, and musical plays, I believe it helps me ask this to myself. I did not like theater, and I hate musicals, however I respect them. I did not have a base understanding of it, but now it has broaden my understanding, importance, and knowledge in English. I remember playing characters in elementary very briefly when I was little, and I did not like it. They would always put me as a monk or a priest.
-Francisco J. Aboytes
OMG! DramaDRAMADRAMA. Help. This chapter was both a blessing and a curse. Writing plays seems like a total nightmare. Just thinking about it is producing a mild anxiety attack. OMG. Help. I think it is beyond hard trying to juggle all of the things happening in a play. For one thing, it leaves no room (most times) for interpretation. With all kinds of directions that give meaning to everything, it’s limiting in forming different interpretations. I think it is better in theory than in practice. Or maybe I’m just too lazy? This chapter was wonderful in providing some of the history of drama. It was wonderful the author included the birthplace of drama since it is where most of the central ideas of drama arouse and are still prevalent. Overall, I’m excited and trying to have an open mind about what will happen in developing this chapter but fear I am not hopeful for my outcome. I know I will fail miserably.
ReplyDelete-Maria Fajardo