Learning Lines - Tips!
1)Read your lines out loud every day. This way your mouth will learn the lines as well as your mind.
2)Ask
a friend or parent to run lines with you. They hold the script and
read the other characters' lines while you say yours. If you need
help, simply stop and say "line" and your friend should say the line to
get you started. If you are calling for line a lot, go back to reading
your lines aloud on your own a bit longer.
3) Write your lines. Writing engages another part of your brain so writing your lines helps get them into your memory.
4) Work on your lines a little bit every day - weekends too!
Format guide - also available in the Drama Folder in class.
The purpose of play format is to make your script easy for actors to read. When a play is easy to read, the story comes alive. Use correct format to protect your play. There are several play formats. Here is the one we will use.
Title - Scene 1
by, Your Name
Characters: List the Main Character first. Include a brief description. Only list the characters we see in this scene
Setting: Time
Place
At rise: Describe what is happening when the curtain rises or the lights come up.
CHARACTER'S NAME
(how the line is said)
Each line of dialogue starts at the left margin and goes to the right margin. You may add short stage directions that describe the action on stage in the middle of the line. For example, (BOB sits on the bench, sighs.)
SECOND CHARACTER'S NAME
Continue dialogue. Write in the way the characters speak - not neccessarily in complete sentences. You may add (pause) pauses by using a stage direction.
(Longer stage directions that tell what is happening on stage should
be written like this. This spacing helps actors see what they are doing
also they know this is not what they say. You may describe what
happens before ,during or after a scene but remember to REVEAL
that information in what the characters do and say. Audiences will
never hear what you write in stage directions.)
For each new scene include the set-up below -
Title - Scene #,
by, Your Name
Characters:
Setting:
At Rise:
REVISION - PLAYWRITING IS REWRITING!
When revising your play, concentrate on CONTENT and PRESENTATION. Make sure each choice you make is clear and effective! Your audience will assume everything they see on stage means something! Protect your ideas with great attention to details!
Look to revise your play in 2 major categories: CONTENT and PRESENTATION
CONTENT
Look over your play with these categories in mind:
1. Does your play use dialogue and action to show the story?
2. Does your play have conflict?
3. Do your characters have depth, dimension, personal traits and an individual voice?
4. Does you play use only the characters and settings that are necessary?
5. Are the specific choice in your play clear for aaactors and audience?
Then, for each line ask – DOES THIS LINE FURTHER THE PLOT?
DOES THIS LINE REVEAL THE CHARACTERS
IS THIS THE BEST POSSIBLE LINE?
Do you include stage directions that show what is happening? Check that the stage directions are placed exactly where you want them in the script.
If you include your monologue or soliloquy, place it in the final draft where it happens.
Next, ask some friends or family to read your script OUT LOUD. Have a copy where you can make notes as you hear changes you may want to make. Ask for their feedback. Where does the play really work? Where does it need changes? Does the play make sense? And what do they see in the play that they think you should know?
PRESENTATION
Your final draft must be typed.
Number your pages from the beginning of the play to the end.
Check for spelling errors. This means read the play – don’t rely on spell check!
Check for punctuation, underlining and capitalization to help show how your lines sound.
Check your format. Double check format. Compare to the format guide.
Please bring as many copies as you have characters, plus one.
2 Characters in your play = 3 copies
4 Characters in your play = 5 copies
8 Characters in your play = 5 copie
NEXT STEP?
After you complete your play, consider submitting to the Californa Young Playwrights Contest. All information is on the Playwrights Project website – www.playwrightsproject.org
Final Score Guide Name___________________________________
Playwriting Project Period______
_____ Scenes reveal required information. Scene 1 establishes the MAIN CHARACTER,
their WANT, Who they want FROM, and the OBSTACLE. Scene 2 shows the Main
Character takes ACTION and works hard to get what they want. The Final Scene gives
an END TO THE PLAY, shows if the Main Character got what they wanted, and how
they have changed.
______ Story is revealed by DIALOGUE and ACTION. No narrator is used
______ Each scene takes place in ONE SETTING
______ The playwright used 4 OR FEWER CHARACTERS per scene
______ CORRECT PLAYWRITING FORMAT was used.
______ REVISION was evident from the first draft to the final draft
______ Scenes are 3-5 pages in LENGTH
______ MONOLOGUE/SOLILOQUY is included in the folder.
______ Script is NEAT, with attention to spelling, punctuation, and capitalization
______ The play has LOGIC. Main character is PASSIONATE and works hard to get what s/he
wants.
__________ TOTAL POINTS (100 possible)
______ *Extra Credit –The Final Draft of your play appears on your D.P. Email Ms Libby for this credit. llibby@hightechhigh.org
{title of show}
PRODUCTION CHECK LIST
As you complete the following documents, keep them in your folder.
Pre Production Planner
_____ Answers – thorough, detailed ideas, legibly written
Set Drawings
_____ Floor plan - Drawn to scale ½” = 1 foot
_____ Rendering – Draft - Audience view
_____ Rendering – Final - Audience view in color with greater detail
Costume Design
_____ Basic costume - draft
_____ Final Design in color.
Use basic with added pieces for designated scene
Poster
_____ Draft
_____ Poster – Final draft in color with greater detail
Program
____ Biography
{title of show}
Set Drawings
_____Floor plan - Drawn to scale (1/4” = 1 foot)
The bird’s eye view of the floor plan. Plan this as if you were arranging furniture in your room. Accurate measurements of the stage floor, the height difference of platforms, the size of a chair or other set piece must be drawn “to scale.” “To scale” is a ratio of the size in the drawing to the actual size. This drawing would be used to tape out a rehearsal space that would be the exact measurements of the final stage. The Floor Plan shows doorways/entrances, and off-stage space as well. Remember- actors AND set pieces must have some place to go when they exit! Consider all the problems the set MUST solve to make the play work. Remember our limited budget!
Make sure your name, period number, and the date of your drawing is clearly marked on your work.
_____Rendering – Draft - Audience view
The Rendering draft is a pencil drawing that shows what the set looks like from the audience. Create interesting spaces where we can create beautiful stage pictures. Different levels and surprises are advantages of a great set. You may make more than one draft – in fact – several drafts is a great idea. Get feedback and make improvements. Make sure your name, period number, and the date of your drawing is clearly marked on your work.
_____Rendering – Final Audience view in color w/detail
The Final Rendering is a beautiful color version of the first draft. Remember how the final rendering of the sample looked exactly like the photograph of the actual show. Take your time with this drawing. Even if you are not great at drawing, find a way to make your vision clear with this final version. You may choose to find pictures of furniture you wish to use and attach them to your rendering if you feel they would help show your intent.
Make sure your name, period number, and the date of your drawing is clearly marked on your work
{title of show}
Costume Design
Use the layout shown in the handout. All drawings give a head to toe visual of what the character looks like in the costume. The Character’s name and the Scene number are clearly shown next to the figure. At the bottom right or left corner should be your name as the designer and the date on which you drew the design.
_____Basic costume – Draft
Each actor needs a basic costume that specific pieces can be added to. The specialized pieces can be added and removed easily and work well with the basic costume. We have a very limited budget so bear this in mind as you design. The basic costume will probably need to be something most people would have or could get easily. Consider actors’ ability to move along with the “look” you want to create.
_____Final Design - Detailed and in color.
A drawing of the basic costume with added pieces for all scenes. Provide pictures or detailed drawings of each specialized piece. Consider how fast the pieces must be put on and taken off of actors and how they might be rigged (fixed) to make them easy to deal with. Think about how the color of the costumes will work with colors on the set. Check with your set designer to make sure there are places for costume pieces to be preset, and changes to be made out of the audience’s view.
{title of show}
Marketing/Advertising
Poster
_____ Draft – Use pencil to plan your poster
_____ Poster – Final draft in color with greater detail
Because we do not always have computer access, our posters will be created by
hand. Just because they are hand-drawn, keep standards high. Use accurate spacing, stencils, and all possible methods to make the best quality poster. The poster is the audience’s first impression of the show.
Program
____ Biography
Each student must submit a 30-35 word biography for the program. To keep things consistent please be exact with the number of words. You may list other stage experience, tell about your interests, or dedicate your performance.
Challenges
Program – Gather & shape information for the program. Write your own “Director’s Notes” to give the audience a sense of the process leading to the final product they will see. Include insights, important challenges the class overcame, and create interest for the people who will experience your work.
Press Release – Research what a press release says and how it is presented on the page. Write a press release for our show. Find out where to send your release. Check with Ms. Libby before sending out your release. Keep an on-going list of where press releases are going posted on the callboard to prevent sending twice. Always include a cover letter or personal note to whomever is receiving the release.
Production Meeting Pre-Planner
Come into class with detailed written answers about ALL of these questions. Any choice we make will affect EVERY other choice. ALL choices must work together!!
DIRECTOR IDEAS
1) What is the real message of the show? Be brief and thorough.
2) What feeling should the audience leave with at the end of the performance?
3) What colors, textures, images & sounds represent this message best? Why?
PRODUCTION IDEAS
1) What requirements must the SET fulfill?
2) What requirements must the COSTUMES fulfill?
3) What requirements must the LIGHTS fulfill?
4) What requirements must the SOUND fulfill?
5) How can design elements express our message?
6) Do we want to include projections? Where? What images would be used?
7) Animated segments? When in the script? What would they be?
8) What other effects might be used? Where? How?
MARKETING/ADVERTISING
1) What IMAGE could represent our show?
2) How will we get people to come to our show?
Radio Plays!
Long before television,
people got their entertainment from radio shows. They’d gather to
listen to “The Shadow,” or “Abbott & Costello,” “Gunsmoke,” or
“Superman”. Today’s radio shows like “A Prairie Home Companion” still
use the basic format of the early radio shows.
SFX (or Sound
Effects) are used in these shows to create characters, setting, and
genre. The SFX are performed by a Foley Artist who specializes in
creating these sounds. Foley Artists got their name after Jack Foley
who was a pioneer of sound effects in the first films with sound. The
same process is used for films when SFX are dubbed-in in
post-production.
What do we do?
In
groups you will create short pieces for radio. You’ll need to use
correct radio format, dialogue, SFX, and music to make your story come
alive. The draft of your piece is due December 10 and we’ll hear these
scenes in class on December 11 and 12. After Winter break, we will
revise, rehearse, and perform these pieces for a live audience.
Remember that as you create your piece that it must be performed LIVE.
Who does what?
While everyone in the group must contribute to the creation and performance, one will take the lead in each of theses areas:
DIRECTOR Takes the lead in directing the scene.
HEAD WRITER Takes the lead in the writing of the piece.
FOLEY ARTIST Performs mostly SFX. Organizes all SFX making sure everything is in place for the live performance.
HEAD OF MUSIC Takes the lead in finding and bringing in music for the piece. Music may be performed live or recorded,
but must be rehearsed into the performance with attention to cues and sound levels.
Timeline
Nov 30-Dec 4 Intro, samples, sound stories, radio script format
Dec 7-11 Writing
Dec 10-11 Complete scenes 12/10 read in class12/10 & 12/11
Dec 15-17 POLS, ½ day 12/18
Jan 4-6 Review/Revision
Jan 7,8, 11 & 12 Rehearse
Jan 13, 14, 15 Performances
RADIO PLAY RUBRIC
The
score for the writing of your Radio Play will be the same for the
group. Individual grades will be assessed for the performance and the
combined scores will make the final grade. Each category will be
scored out of 10 possible points.
Conflict - One central conflict drives the story. The characters work hard to
overcome the problem and the story ends once the conflict is resolved.
Character - Character names are used early in the piece to establish which voice belongs to which character.
There is one main character who is the center of the story.
The role of each character is clear
Each character has a clear objective and is necessary to the story.
Language is distinct to individual characters. We
hear them and know immediately which character they are.
Personal details are included that reveal different personalities
Genre - Uses character voices, SFX & music to establish the style.
Setting - Use dialogue and SFX to clearly establish time & place.
Action - Uses dialogue and SFX to indicate what is happening physically.
Dialogue - Moves the story forward and sounds realistic.
Plot - The story progresses with LOGIC. Scenes build to a climax as the Main Character tries to overcome the conflict.
Format - Correct format is used. See handout.
Presentation - Spelling, punctuation, emphasis and stage directions are accurate.
Revision - Suggestions for strengthening the play are included or otherwise addressed.
Intersession 2010
Introductory Letter:
Hello Parents!
I
am very excited about our Intersession this year!! We are going to
study and perform a comedy in the style of Commedia del Arte – an early
form of comedy originated by young people on the streets of Italy.
Commedia characters & lazzi are at the very root of contemporary
comedy, surfacing today in shows like “The Simpsons”.
To help
us, I have invited Bernard Baldan to come in as a guest director. Mr.
Baldan is an accomplished actor, writer and director in film, TV and
theatre. He currently teaches at Canyon Crest Academy in Carmel Valley,
San Diego Junior Theatre, and for Young Audiences. Bernard is by far
the best-qualified teacher of comedy that I know and we are fortunate
to have him available to us.
Performance Schedule
Because our
theatre facilities at school are limited, I have secured space at a
modest theatre venue to give us an authentic theatre experience with a
stage, dressing area, lights and sound. We will rehearse and do our
evening performance at The Theatre Inc. at 9th & C Streets
downtown. Please mark your calendars for Thursday. March 25th at 6:30!
We will perform for school on Friday at the culmination of all the
Intersession, but we encourage you to attend our evening show.
Transportation
I
realize that by taking our class off-site that transportation may be
tricky. We will be at school for the first 2 days of Intersession 3/15
& 16, and for the final day on 3/26. I would love to have a parent
help organize the transportation, so to help us figure it out, please
fill in the information below:
_____I can drop off and pick up
my student at The Theatre Inc. at 9th & C Streets Downtown on the
following days. Please circle all that apply
Wed 3/17 Thu 3/18 Fri 3/19 Mon 3/22 Tue 3/23 Wed 3/24 Thu 3/25
______I
can pick up (how many?) ___________students from HTMMA and transport
them to The Theatre Inc. by 9am on the following mornings.
Please circle all that apply
Wed 3/17 Thu 3/18 Fri 3/19 Mon 3/22 Tue 3/23 Wed 3/24 Thu 3/25
______I
can pick up (how many?) ___________students from The Theatre and
transport them to HTMMA by 3:30 on the following days. Please circle
all that apply.
Wed 3/17 Thu 3/18 Fri 3/19 Mon 3/22 Tue 3/23 Wed 3/24 Thu 3/25
Lunches
Please
have your students pack a lunch, water, and nutritious snack for the
times we are off site. If your student is part of free or reduced
lunch, please mark here so that I can make arrangements in advance for
their lunches. Also, if your student has dietary restrictions, please
make a note below.
_____Yes, my student is on the free/reduced lunch plan. Please make arrangements for my student’s lunch when s/he is off-site.
_____My student has the following dietary restrictions: ________________________
Contribution
In
support of these special additions to our Intersession, I am asking for
each student to contribute $10 per day, totaling $80. My hope is that
by asking for this donation, we avoid fundraisers like bake sales and
car washes. I will set up a website with a Paypal account where family
and friends can easily contribute to our cause. I will send out an
email as soon as that website is up. If this contribution is a
hardship for your family, please let me know. Payments or partial
payments are great, and if you are able to contribute more, even
better! Checks should be made out to HTMMA; please write Drama 43030
in the memo line. All donations will be used toward our Intersession
production.
Contact Information
Please write your email and phone numbers below.
Student Name______________________________________________________
Parent Name_______________________________________________________
Parent Email ________________________________________________________
Parent Phone Day ________________________Eve ________________________
Parent Cell Phone___________________________________________________
Intersession Contract
Because we will be in a working theatre, I’d like for the students to sign the contract below to insure their safety.
While we are off campus, I agree to the following:
Unless
there is an emergency such as fire or earthquake, no one will exit the
Theatre building without the permission of Ms Libby. NO EXCEPTIONS.
I agree to follow school rules as set forth in the HTMMA Student Handbook.
Any
discipline issues that arise during Intersession will result in a phone
call home. The student will be picked up from the Theatre Inc. as soon
as possible and will not continue Intersession at the theatre. This
will result in a failing grade.
We are fortunate to have a
real, working theatre space. For student safety and out of respect to
the theatre, we will not touch any props, costumes or anything else
that does not belong to us. Any damages to the theatre or its contents
will be paid for in full by the student’s parents.
Student Date
Parent Date
If there is anything else you think I should know, please include a note for me here:
Thank
you so much for your support for this thrilling experience! I look
forward to an awesome show! Please make note of my email and cell
phone. Email is best before Intersession but if you need to contact
your student while we are off-campus, please call my cell. Like all
other school protocol, cell phones will not be used while we are
working at the theatre.
Sincerely,
Ms Linda Libby
llibby@highthechhigh.org
