Note the spelling -- "wright" refers to a "maker" (similar to a "shipwright" or an iron worker who has "wrought" iron"). This suggests that it is something other than just literary.
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Oh, no! Another page?The Art & Craft of Playwriting The Elements of Playwriting For those interested in learning and honing the art and craft of creative playwriting! With an infectious enthusiasm for the theater, Catron presents the basic principles of playwriting, including plot, dialogue, and character development, as well as the more complex issues of creating multi-dimensional characters and writing stageworthy plays that will attract producers, directors, actors, and audiences. Throughout, he sprinkles examples from classical and modern plays, provides exercises for sharpening and developing skills, and offers practical guidelines on working with actors and directors, getting produced and published, and finding an agent. Favoring concrete advice over theory, The Elements of Playwriting is an invaluable resource for both beginning and advanced playwrights and for anyone involved in the art and craft of theater. Special features: 1) provides step-by-step techniques for improving a play; 2) includes information about copyright, agents, organizations, and references; and 3) offers end-of-chapter exercises for fine-tuning creative application of topics discussed.
Instruction for writing a monologue for THR215 Dramatic Literature and a scene for THR413 Playscript Analysis.
This is a new segment in my drama classes, but since all courses I teach have practical applications, why not to try the same approach in playscript? Writing your own scene and monologue is the last part of the class.
How to do it?
You saw the sample from the best, the master pieces; as you know by now all have common laws and principles of dramatic structure (we began with Aristotles' 6 Elements of Drama, The Poetics).
Composition: Beginning, Middle (Climax) and End. The changes during the monologue or scene: one state of mind in the begining (emotions) and different in the end (often opposite).
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LOPAKHIN: I did. I bought it. Wait a bit; don't hurry me; my head's in a whirl; I can't speak. . . . [Laughing.] When we got to the sale, Deriganof was there already. Leonid Andreyitch had only fifteen hundred pounds, and Deriganof bid three thousand more than the mortgage right away. When I saw how things stood, I went for him and bid four thousand. He said four thousand five hundred. I said five thousand five hundred. He went up by five hundreds, you see, and I went up by thousands. . . . Well, it was soon over. I bid nine thousand more than the mortgage, and got it; and now the cherry orchard is mine! Mine! [Laughing.] Heavens alive! Just think of it! The cherry orchard is mine! Tell me that I'm drunk; tell me that I'm off my head; tell me that it's all a dream! . . . [Stamping his feet.] Don't laugh at me! If only my father and my grandfather could rise from their graves and see the whole affair, how their Yermolai, their flogged and ignorant Yermolai, who used to run about barefooted in the winter, how this same Yermolai had bought a property that hasn't its equal for beauty anywhere in the whole world! I have bought the property where my father and grandfather were slaves, where they weren't even allowed into the kitchen. I'm asleep, it's only a vision, it isn't real. . . . 'T is the fruit of imagination, wrapped in the mists of ignorance. [Picking up Madame Ranevsky's keys and smiling affectionately.] She's thrown down her keys; she wants to show that she's no longer mistress here. . . . [Jingles them together.] Well, well, what's the odds? Hey, musicians play! I want to hear you. Come, every one, and see Yermolai Lopakhin lay his axe to the cherry orchard, come and see the trees fall down! We'll fill the place with villas; our grandsons and great-grandsons shall see a new life here. . . . Strike up, music! Here comes the new squire, the owner of the cherry orchard!
[ THE CHERRY ORCHARD A monologue from Act III by: Anton Chekhov
NOTE: Translated from the Russian by George Calderon, this version of The Cherry Orchard was published in 1915. It is now a public domain work and may be performed without royalties. ]Part One THE PREFACE: PRELIMINARY--ORIENTATION TO DRAMA I. Dramatic, theatric, and semantic elements in life 2. Drama in three dimensions 3. The ambiguity of "drama" 4. Literature, theater art, and drama 5. "A stageplay" and "a drama" defined II THE PLAYSCRIPT--CREATION BY THE PLAYWRIGHT I. The playwright and the script 2. Story elements in a drama 3. Characters and dramatic characterization 4. Action, plot, and dramatic construction 5. Dialogue and dramatic composition - Ii. the Playscript: Creation by the Playwright - Scene I - Scene II - Iii. the Stageplay: Production for Presentation - Iv. the Play: Re-Creation by Spectator or Reader - V. the Drama: History, Types, Styles, Criticism - H.M.S. Pinafore Or The Lass That Loved a Sailor - Part Two: The Plays - I. Antigone: A Classical Tragedy by Sophocles - Scene I - Scene II - Scene IV - Scene V - Ii. Othello: A Romantic Tragedy by William Shakespeare - Act One - Scene Iii. the Council Chamber. - Act Two - Scene Ii. a Street. - Act Three - Scene Ii. a Room in the Citadel. - Scene Iv. Before the Citadel. - Act Four - Scene Ii. a Room in the Citadel. - Scene Iii. State Bedroom in the Citadel. - Act Five - Iii. the Ridiculous PrЖcieuses: A Neoclassic Comedy by Moliиre - Scene I. La Grange, Du Croisy - Scene Iv. Madelon, Cathos, Gorgibus. - Scene V. Cathos, Madelon. - Scene Vii. Mascarille, Two Chairmen. - Scene Viii. Marotte, Mascarillie. - Scene X. Cathos, Madelon, Mascarille, Marotte. - Scene Xi. Cathos, Madelon, Jodelet, Mascarille, Marotte, Almanzor. - Scene Xii. Lucile, CЙlimИne, Cathos, Madelon, Mascarille, Jodelet, Marotte, Almanzor, and Fiddlers. - Scene Xiii. Du Croisy, La Grange, Cathos, Madelon, Lucile, CЙlimИne, Jodelet, Mascarille, Marotte, and Fiddlers. - Scene Xvi. Madelon, Cathos, Jodelet, Mascarille, and Fiddlers. - Scene. Xviii. Gorgibus, Madelon, Cathos, and Fiddlers. - Iv. Hedda Gabler: A Realistic Tragedy by Henrik Ibsen - Act Two - Act Three - Act Four - V. Candida: A Realistic Comedy by Bernard Shaw - Act I - Act II - Vi. Life with Father: A Period Comedy by Lindsay and Crouse - Act One - Scene II - Scene II - Act Three - Vii. the Glass Menagerie: A Memory Play by Tennessee Williams - Scene 1 - Scene 2 - Scene 3 - Scene 5 - Scene 6 - Scene 7 - Viii. the Crucible: An Historical Play by Arthur Miller - Act One: (an Overture) - Act Two - Act Four - Appendix
WRITE directoryPlaywriting: Writing Producing and Selling Your Play * ". . . it makes for compelling reading and, once begun, is difficult to put aside. Paradoxically, Catron's is also a book which the reader will also, we believe, quickly but temporarily set aside in order to capture immediately on paper some new idea or rediscovered technique inspired by Catron's amiable and often eloquent prose. In our opinion, this is a book that avoids the pitfalls and embraces the triumphs of every other work currently available on the subject of playwriting and should be held as essential reading in the eyes of dramatists of all levels of their careers."
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