Scene writing

1. Scene writing The Art and Science of writing Dialogue.

2. How do I structure a scene? If a scene is a war between two characters what would represent the “battles”? We must include the following… • Exposition • Inciting Incident (Sparks Major Question) • Rising Action • Climax • Resolution Consider each character’s objective, identifying who will eventually win. Then build “battles” into the scene. What might be problematic about knowing who wins in the end?

3. What do we already know? . How is reading a play similar/ different than reading a book? How are the following similar/different? • Dialogue • Visualization • Inner monologue • Perspective (Point of view) • Room for Interpretation

4. Scene Writing – Meaningful Dialogue What makes for effective dialogue? ▪ Don’t be OBVIOUS – don’t iron out the “wrinkles” ▪ Weave exposition (who, what, when, where) into the dialogue, don’t waste time with “backstory” ▪ Make sure each character’s voice is specific, revealing the nuances of their relationships. ▪ Keep it active! Even if they are “explaining” something, consider their objective and the tactics

5. Agree or Disagree? ▪ Playwrights shouldn’t worry about character “backstory” and leave that for the actors ▪ The who, what when and where must be established before the major conflict begins ▪ Relationships, tactics and objectives should be overtly stated in the dialogue ▪ When half-way through the scene, audiences should be able to determine who will “win” by the end of the scene

6. Applying what we know… Read “Best Daddy” with a partner and underline examples of the following… • Where is the inciting incident? • What is the major question? • Where is it answered (climax)? • Draw a line dividing the scene into a series of “battles” within the “war” and identify who wins each battle.

7. Deconstructing Dialogue… Read “Rabbit Hole” with a partner and underline examples of the following… • Relationship – what lines indirectly suggest nuances about their relationship and history? • Character voice – what does their syntax or actions reveal about them? • Weaving backstory or exposition into the dialogue – what tactic are they using?

8. http://www.youtube.com/watch?feature=player_detailpage&v=TjNwtxdHioYhttp://www.youtube.com/watch?feature=player_detailpage&v=TjNwtxdHioY The Laramie Project Explores the perspectives of individuals who survived the brutal murder of Matthew Shepard in 1999 – sparking awareness for gay rights and helping to expand hate-crime protection for the LGBTQ community.

9. Columbinus ColumbinusExplores the perspectives surrounding the Columbine High School shootings in Littleton, Co.

10. VIEWPOINTS – Choosing a topic. Exploring social issues that are relevant and pressing in our community. Each group would develop a topic proposal. Possible topics may include: • Drug / Alchohol Abuse • Cyber bullying • Immigration

11. VIEWPOINTS – Field Research. Each group would be responsible for conducting interviews and gathering primary source material. Cyberbullying example:Consult a variety of viewpoints surrounding the issue: experts, victims, instigators, family members, teachers, friends, etc. All material will serve as a springboard for the creation of dramatic monologues / scenes.

12. VIEWPOINTS – Developing an original text. Designers would be included in the development of these original texts. Students would develop original monologues / scenes / videos in the same small groups. Each group would produce 3 works based on the research they collected.

13. VIEWPOINTS – Rehearsal / Build Putting it together Each student would direct their partners in one piece they’ve created. During this time designers will begin conceptualizing their ideas and organizing for Tech Bootcamp

14. VIEWPOINTS – Production / Outreach Inspiring Change. Ultimately, we will produce this show in in the thrust. Perhaps there will be opportunities to tour the show, allowing our efforts to further Inspire change.