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An Examination of the actor's approach to playwriting: Are playwrights able to write about what is unfamiliar to them?
Title
An Examination of the actor's approach to playwriting: Are playwrights able to write about what is unfamiliar to them?.
Creator
Zaniboni, Kayla, Perry, Charles, Ingram, Katherine, McDonald, Holly, University of Central Florida
Abstract / Description
Playwrights write about what is familiar to them. Their inspiration comes from their childhood, past relationships, and their personal view of the world. But could a playwright write about something to which they have no personal connection?Using the book Triggered: A Memoir of Obsessive-Compulsive Disorder, I will write a one act play about mental illness. I have no personal experience or personal connection to mental illness, but I will approach the process the same way as an actor does a...
Show morePlaywrights write about what is familiar to them. Their inspiration comes from their childhood, past relationships, and their personal view of the world. But could a playwright write about something to which they have no personal connection?Using the book Triggered: A Memoir of Obsessive-Compulsive Disorder, I will write a one act play about mental illness. I have no personal experience or personal connection to mental illness, but I will approach the process the same way as an actor does a character. I will go into the writing process as an actor, completing character analyses for the characters and using the information found within the book.I will direct a reading of my play with the goals of educating the audience about mental illness, evoking empathy for the characters within the piece, and proving that a playwright can write about something that is foreign to them, much like an actor can portray a character that is remarkably different from themselves.
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Date Issued
2013
Identifier
CFE0004776, ucf:49787
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFE0004776
TEN-MINUTE PLAYWRITING: A STUDY OF DESIGN, METHOD, AND STRUCTURE
Title
TEN-MINUTE PLAYWRITING: A STUDY OF DESIGN, METHOD, AND STRUCTURE.
Creator
Peacock, Jeffrey, Weaver, Earl, University of Central Florida
Abstract / Description
The purpose of my research was to discover the most effective ways to write ten-minute plays. I adapted various "suggestions" proposed in the many playwriting books I gathered to find the way that worked best for me as an artist. The majority of the books I read suggest writing ten-minute works before attempting a one-act or even a full-length play. My resources yielded a plethora of information on how to actually write a play. Three of my sources that proved to be enlightening were The Art &...
Show moreThe purpose of my research was to discover the most effective ways to write ten-minute plays. I adapted various "suggestions" proposed in the many playwriting books I gathered to find the way that worked best for me as an artist. The majority of the books I read suggest writing ten-minute works before attempting a one-act or even a full-length play. My resources yielded a plethora of information on how to actually write a play. Three of my sources that proved to be enlightening were The Art & Craft of Playwriting by Jeffrey Hatcher, Playwriting for Dummies by Angelo Parra, and Naked Playwriting: The Art, the Craft, and the Life Laid Bare by William Missouri Downs and Robin U. Russin. I also attended a master class with playwright Tim Bauer, and he gave me insight on approaching writing ten-minute plays. Through my research, it became evident that the real problem with writing is not so much the structure or the way a person writes, but the actual writing itself. Each of my resources had valuable information that made my job as an artist easier, but none of them, even the tips Bauer gave me, worked one hundred percent of the time. Some plays were easier to write if I wrote them without stage directions first, as Bauer suggested, but others stalled if I didn't write my vision of the stage before actually writing dialogue. The research I have completed can aid a multitude of future creative artists. My Five Tips for Writing and Three Tips for a First Production are useful insights that would have been invaluable had I known them when I started writing.
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Date Issued
2014
Identifier
CFH0004600, ucf:45252
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFH0004600
THE ROLE OF OTHER:AN EXPLORATION OF A FACILITATOR'S ROLE IN PLAYBUILDING WITH ECONOMICALLY DISADVANTAGED ADOLESCENT WOMEN
Title
THE ROLE OF OTHER:AN EXPLORATION OF A FACILITATOR'S ROLE IN PLAYBUILDING WITH ECONOMICALLY DISADVANTAGED ADOLESCENT WOMEN.
Creator
Melnik, Laurie, Listengarten, Julia, University of Central Florida
Abstract / Description
During the Fall 2007 semester, I facilitated the devising of a new play with students from a school located in St. Louis, Missouri. As an employee of a mid-America prominent regional theatre company, the organization partnering with the school on this project, I was hired as the teaching artist who oversaw the students' playwriting. Both the school and the regional theatre company hoped my being there would assist the girls in writing a play that connected to their Top 20 Teens curriculum...
Show moreDuring the Fall 2007 semester, I facilitated the devising of a new play with students from a school located in St. Louis, Missouri. As an employee of a mid-America prominent regional theatre company, the organization partnering with the school on this project, I was hired as the teaching artist who oversaw the students' playwriting. Both the school and the regional theatre company hoped my being there would assist the girls in writing a play that connected to their Top 20 Teens curriculum as well as demonstrate the high standards that are expected of them by their school's administration. This is the second year that the school and the regional theatre company partnered on this project, and they discovered last year that the play's use of language and character development suffered due to hands off directing. Neither organization wanted this to happen again and decided that a facilitator needed to work with the girls throughout the entire playwriting process rather than allow the students free reign in hopes that they were challenged to make different decisions from last year's play. The school's student population stems from communities deemed economically disadvantaged, and my role in this project proved challenging due to the fact that I am not from the same population as the students. As a white, middle class female working in an inner city environment, I seem to be endowed with a modicum of perceived power, whether or not I agree with it or want it. In my experience, I have noticed a dynamic permeated by uneasiness due to past, and current, tensions between whites and other races. As a Caucasian entering an inner city environment, I felt like the obvious minority. Resulting from these situations, I assume the role of "other" when entering populations that differ from my own. In the case of the school, I felt my role as "other" increased due to working in an all-female environment with participants drawn from economically disadvantaged backgrounds. My role as "other" sparked the following questions for me: How do I facilitate this project as an "other," and how does this crucial, racial and socio-economic role affect the construction of my sessions with the participants? I was interested in documenting how I perceived this role relative to my participants and the partnering organization during my facilitation and in my conclusions after the project was completed. During my facilitation, I kept a journal that served as a self-action study during all of my sessions with the girls. The "in the moment" writings allowed me to capture those times when my role as "other" directly affected my approach to the facilitating of the playbuilding and the choices I made during the project. Afterward, I developed a conclusion section that was written a few months after the project had ended. I wanted to determine how my perception of "other" shifted, if at all, while I facilitated the project and after I had the time to reflect on the project. I discovered that my perception of "other" did change as I went through this project. During the study, I found myself aware of this shift, but noticed my awareness of power and privilege increased when I had time to reflect on the project months after it had ended. I discovered that I can be "other" in some instances while this role may not be apparent to my participants. My thesis documents how being "other" guided my choices as a facilitator, as well as when it did not seem to be the basis of my decision-making. From this study, I concluded that my being different racially and socio-economically led me to place an unnecessary filter over my work with the playbuilding project which caused me to have many challenges as a white teaching artist working in an inner city setting.
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Date Issued
2008
Identifier
CFE0002119, ucf:47549
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFE0002119
STINGRAY: AN EXPLORATION INTO THE ART AND CRAFT OF PLAYWRITING
Title
STINGRAY: AN EXPLORATION INTO THE ART AND CRAFT OF PLAYWRITING.
Creator
Liguori, Samantha, Weaver, Earl, University of Central Florida
Abstract / Description
Through exploration and research, I plan on combining my two degree tracks, Theatre Studies and Creative Writing, in order to create an original one-act play for production, utilizing the techniques of both fields. My education has been lagging in playwriting, specifically. Neither Creative Writing nor Theatre Studies have any courses geared towards playwriting. Students appear to be taught everything but this aspect. I will, therefore, complete in-depth research in playwriting techniques...
Show moreThrough exploration and research, I plan on combining my two degree tracks, Theatre Studies and Creative Writing, in order to create an original one-act play for production, utilizing the techniques of both fields. My education has been lagging in playwriting, specifically. Neither Creative Writing nor Theatre Studies have any courses geared towards playwriting. Students appear to be taught everything but this aspect. I will, therefore, complete in-depth research in playwriting techniques through literature studies and one-on-one consultations with my professors in both departments. There are many different types of writing structures and play movements. Play scripts can be written in linear, non-linear, and episodic structures. Each structure is measured by the action of a script. The action of a script is developed with each action a character completes that moves the script further along towards a conclusion. Linear structuring of a play is when a majority or all the action of a play occurs in a chronological order. The play, therefore, always will be moving forward in time without any disruptions of said timeline. In a linear play, it does not necessarily mean all the action occurs in this chronological sequence. Comparable to Tennessee Williams' "The Glass Menagerie," the entire recollection of Tom Wingfield's story is told chronologically in linear structure, despite the fact that this story is from Tom's memory, about an event he is no longer part of at that time. Non-linear structure occurs when the chronological timeline of a play is broken. The play's action constantly moves backwards and forwards through time. This type of play is based on the ideology of the human thought process. As humans, we may not remember the exact order of how things are remembered; these images and events are distorted somehow by our subconscious in order to remember. Thus, a non-linear play erupts based on the infrequencies of a timeline. "Cloud Nine" by Carol Churchill is a good example of non-linear play structure. Episodic plays are part of an even more disjointed time structure. There are both many different locations and characters in an episodic play; it is similar to a film script for that matter. Onstage, this was a revolution; how can a person be in one city and then the next shortly after? This was the rule of continuity that episodic structure broke. Bertolt Brecht did this throughout his movement in epic theatre, and traces of this structure can also be found as early back as Medieval plays. Therein lays the problem. If there are so many different way to write a play, how is it possible to just pick one? How does one even decide? There are many texts on playwriting that all say something different. In the end, the way you format a play script is decided by the structure in which you are writing your script, whether it be linear, non-linear, and episodic structures. This is an exploration to research possible methods of playwriting in the English language, choose a format, and create a story, ultimately forming a universally acceptable play script for a one-act production. Through my process, I researched various elements about play structure. I researched various types of formatting options found throughout texts, and the formatting options found in different publications of plays. I also researched the options of different software programs I could use to format my play. In regards to the show's content itself, I researched the personality disorders of my main character, John, in order to ensure I am staying accurate to the realistic expectations of the disorder. The possible disorders that might influence John included Bi-Polar disorder, Autism, Alzheimer's, or Narcissistic Personality Disorder. These disorders fit the characteristics of John and further research led me to finally adopt Autism as the end result. I researched the historical significance of the car, an all-original, 1969 Stingray Corvette Convertible, in order to allow my characters to speak accurately about their knowledge of the car. I also researched how previous playwrights have accomplished their transitions between the world of the play and a character's alternate reality. This was done in order to provide both a believable and a sly transition so the audience is left unaware until the reveal. In the final stages of this process, I polished the script for inclusion in the Theatre UCF Spring 2012 One-Act Festival (OAF). As stated above, the process of writing a play can be taken down many different avenues; however, the format of a play script is something that remains constant throughout. Knowing the history from where plays derive and which movements created such is just as essential. W. B. Worthen's "The Wadsworth Anthology of Drama" and "Living Theatre" by Edwin Wilson and Alvin Goldfarb provide an adequate brevity into the history of theatre. The books "Playwriting: Brief and Brilliant" by Julie Jensen, "Playwriting: A practical guide" by Noel Greig, "The Art and Craft of Playwriting" by Jeffrey Hatcher, and "The Elements of Playwriting" by Louis E. Catron all provide an introduction to the structured format of the play. These books also contain sections on theory explaining how to create a storyline for a play, how to accomplish believable dialogue, and how to defeat writer's block. Jensen, Catron, and Hatcher all go one step further and take their readers through the processes of publications, copyrights, and productions. Those sources help create the play, but during the editing phase, it is wise to acknowledge how others may study and analyze the work. David Ball's "Backwards and Forwards: A Technical Manual for Reading Plays," Rosemary Ingham's "From Page to Stage: How Theatre Designers Make Connections Between Scripts and Images," and Cal Printer and Scott E. Walter's "Introduction to Play Analysis" aided in ensuring the translation from the script to the stage works together fluidly. By understanding how the play will be analyzed, the potential flaws with the work can be identified before it is put in front of an audience, publisher, or director. A writer needs to know why they made certain choices with both script and character. When a writer can analyze how their script can be perceived, they can create a more solid structure. It also is useful to utilize available play scripts in order to understand the conventions through example. Works that were useful included: "Proof" by David Auburn, "The Glass Menagerie" by Tennessee Williams, "Equus" by Peter Shaffer, "The Cherry Orchard" by Anton Chekhov, "The Vagina Monologues" by Eve Ensler, "Doubt" by John Patrick Shanley, and "Death of a Salesman" by Arthur Miller. "The Vagina Monologues" follows the format of episodic structure because of its inconsistencies to time and the multiple characters included in its script. "Equus," "Proof," and "Death of a Salesman" are examples of non-linear play structure because of the non-specific timeline the characters follow between past and present. "The Glass Menagerie," "The Cherry Orchard," and "Doubt" are all examples of linear structure because a majority of their play's content was written within a specified chronological order.
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Date Issued
2012
Identifier
CFH0004134, ucf:44874
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFH0004134
DRAMA + MATH = DRAMATH
Title
DRAMA + MATH = DRAMATH.
Creator
Bryson, Lucy, Weaver, Earl, University of Central Florida
Abstract / Description
Arts-Across-the-Curriculum is gaining popularity in the field of education as arts programs are being cut from schools and teachers look for ways to incorporate art in their classroom. Most of these teachers have minimal formal arts training, but recognize the importance of introducing their students to various fine arts disciplines. These educators seek opportunities to learn new ways to bring arts to their students and may bring teaching artists into their classrooms to teach students or...
Show moreArts-Across-the-Curriculum is gaining popularity in the field of education as arts programs are being cut from schools and teachers look for ways to incorporate art in their classroom. Most of these teachers have minimal formal arts training, but recognize the importance of introducing their students to various fine arts disciplines. These educators seek opportunities to learn new ways to bring arts to their students and may bring teaching artists into their classrooms to teach students or teachers. The clear connection between drama and the core subjects of history and literature allow teaching artists to easily create units utilizing both curriculum areas. Mathematics does not present clear connections to drama and the prevalence of mathematics anxiety, especially in the arts, prevents connections from being made. As an educator, theatre artist and lover of mathematics, Arts-Across-the-Curriculum provides me a opportunity to meld these together as a way to help young people find excitement in their education. Partnering with a fourth grade teacher, I developed a unit of lesson plans using playwriting as a way to understand word problems that was user-friendly for a teacher with no arts training. The Dramath Unit was integrated into the class as part of regular curriculum taught by the participating classroom teacher. Based on feedback from the participating teacher, I revised the unit for future use.
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Date Issued
2011
Identifier
CFE0003618, ucf:48871
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFE0003618
When Coquis Sing: Introducing Young Audiences to Death and Bereavement Through An Original Play
Title
When Coquis Sing: Introducing Young Audiences to Death and Bereavement Through An Original Play.
Creator
LoRicco, Michelle, Thomas, Aaron, Boyd, Belinda, Freeman, Emily, University of Central Florida
Abstract / Description
This thesis documents the play development process of When Coquis Sing, an original play for young people that introduces the death of a parent on stage. Through the analysis of research from leading child psychologists and practical instruction from the Dougy Center, the National Center for grieving children and their families, this research defines important terms and demystifies language surrounding death to aid caregivers in having clear and concise conversations with children about death...
Show moreThis thesis documents the play development process of When Coquis Sing, an original play for young people that introduces the death of a parent on stage. Through the analysis of research from leading child psychologists and practical instruction from the Dougy Center, the National Center for grieving children and their families, this research defines important terms and demystifies language surrounding death to aid caregivers in having clear and concise conversations with children about death.The purpose of this document is to counter the American cultural perception of death as a taboo topic for children. Hosting open conversations about death leads to healthier child development, which can help children cope with the loss that everyone will inevitably face in life. Theatre has been proven to work as a catalyst for conversations and create empathy for young audiences. Themes of death can be seen in all forms of storytelling for children , but this study implores the use of theatre to not only reflect experiences of grieving children on stage, but also create preemptive dialogue on the topic, so when tragedy strikes, children can have a tangible example to point back to.The arguments in this document thwart misconceptions of using Piaget's stages of cognitive development and K(&)#252;bler-Ross's five stages of grief as measurements of how all human beings should grieve. Instead of placing grieving children in stages and age groups that exclude important variables, this study focuses on the individual stories that are shared through reflective journals on the investigator's experiences and conversations as a grief facilitator, tutor, and artist in the field of Theatre for Young Audiences. The original play, When Coquis Sing, has been designed to induce conversations on death through the telling of a young protagonist's story of loss, grief, and victory.
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Date Issued
2018
Identifier
CFE0007041, ucf:52008
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFE0007041