Script Swap

Today the Playwriting Workshop students swapped scripts with a partner. This was the first time in six days that the writers formally shared their scripts with another person. Before the swap, I had the playwrights create a question sheet that included the following:

1. Who is the main character and what are they doing?
2. What is the most interesting moment of the play?
3. What questions do you have about the play?

I also asked the playwrights to write any specific questions that had. These could be about characters, moments, or themes about which they were uncertain, or really felt were strong. After pairs were established, students read the questions first, then the script. The readers' answers were recorded on paper for the playwright to have as s/he continued to work later, but time was also given so that the pairs could talk with each other in more detail.

Playwriting students discussing each other's plays.

This is an exercise I frequently do when the group feels they are about
75% finished with a first draft. For some, that may be too soon to talk about their work, but I find that as long as the playwrights have a clear sense how the story will end, it does them a lot of good to get some early audience intervention through this format.

Looking forward to seeing how they progress from here and to the sharing of the works-in-progress on Friday.

The Focus on Process

Tomorrow morning we will host the culminating presentation for the Acting Workshop class as part of the Summer Theatre Camp at Playwrights Theatre of NJ. This event will mark the end of a two-week process in which six elementary school students created and developed two original short plays under my guidance. We've been meeting in the rehearsal/conference room at the PTNJ offices, which yesterday I transformed into a performance space. We don't often hold class and perform in the same space, but a last minute scheduling issue made it necessary. While skeptical at first, the students have enjoyed the quirkiness of the room, which I think has been an interesting challenge to which they needed to adapt. I also think this arrangement is appealing because it helps to downplay the traditional emphasis on performance and focus the students (and our audience of family and friends) on the work that has been done the previous nine sessions.

Our classroom spaced transformed for performance.

The spotlight on the development process (of scripts, of students, of imaginations...) is what is at the core of the educational work that we do at PTNJ. This is not to say that our programs don't value a product like a final presentation, but rather we see it as a part of the creative process that began on the first day of class. This idea is supported by the concept of a play as a tranche de vie ("slice of life") of the larger story of the character's lives. Part of our play development includes explorations of characters' lives before the script begins and after. Similarly, the performance itself is a slice of the actors' and audience members' lives: they come to the presentation with a certain understanding and expectation and leave with new thoughts and feelings based on what they have just experienced. It is fascinating to watch 7-10 year olds struggle with and understand this concept. I've also challenged them from the start to think of a play being a story that is communicated from one group of people to another; that all we need to do this is a story, some actors, and an audience. The rest is just extra fun. That's not something that is easy for a 7 year old to take, especially when their primary point of reference when developing a character is what props they need or the costume they will wear. We've struggled with that to the very end, but overall, I think they get it and that their work demonstrates this.

To further emphasize the development of the work, I've lined the walls of the room with the notes, ideas, lists, pictures, and other brainstorms that helped propel the students' original concepts into the works-in-progress that will be performed tomorrow. This modified lobby display is something that the other teaching artists and I have talked about for years, but only began to put into practice about two summers ago. The impact has been great as students and parents alike have noticed and commented on just how much work has been done and as a result, how much has truly been learned. And in the end, that revelation and reflection is what the whole thing is all about.

 

These papers outline the first ideas and drafts for each of the group's stories.

Settings and Senses

Performance by Activate Youth Theatre (Summer 2000)
Old Church Cemetery
Cobh, County Cork, Ireland

Since experiencing site-specific performances by the Activate Youth Theatre in Cork, Ireland, I've been interested in developing a similar work here at home. While I haven't yet engaged in this work, I have tried to excite the Summer Theatre Camp students at Playwrights Theatre about the idea of using environment of the school building where we've conducted our camp, but to no avail. However, last year, the old junior school did help to inspire a group a struggling group to eventually come up with a story idea that everyone liked.

This particular group was interested in the idea of a haunted, or otherwise creepy, house, but couldn't find a compelling set of characters or actions to propel the story. It also seemed that with such a specific, sensory experience as a haunted house, that the clear establishment of a setting would be useful. So, after a few days of failed starts, I set them up with a process drama in which they explored the old school as if it were an abandoned building. We went outside into the park-like front yard and as we approached the school, I told the students that if they were caught inside, the punishment would be severe... so severe it was beyond their understanding. Their tour began as light-hearted novelty, but quickly grew into a much more tense journey as the group created stories about the sights (gates in the hallways), noises (made by the custodial staff cleaning lockers around the corner), and smells (your typical 100-year-old building) that they experienced. Toward the end of the tour, a few students asked if they could head down the hall to our classroom to begin writing while the rest of the group explored one last hallway. Their sudden disappearance surprised the remaining students and sparked a new idea about the dangers of the haunted house. They quickly ran back to classroom to join the others and within minutes had an outline for the story that would eventually become their final presentation. While not a "true"site-specific performance (performed on stage as opposed to in the environment of the site), it demonstrated to me how a location can have an impact in the writing/development process.

This past weekend I was reminded of this story while reading an interview transcript from my dissertation research. In it a former NJ Young Playwright described revising a play that took place in an art studio filled with paintings, sculptures, and the like. After a conversation with the director about the practicality of such a lavish setting during a staged reading prompted the playwright to conduct a series of script tweaks that incorporated the removed visuals into the dialogue. Upon reading this I realized that I don't typically talk about setting in a playwriting workshop like this and that it would likely be an important lesson to my students. So on Monday, we talked about the settings within each of their plays and then I brought the group outside to take a walk around our office building. I asked the students to make note of the things that they sensed all around them and choose one location that made the biggest impact on them. When we returned to the classroom, I had the playwrights take one scene of their play and rewrite it as if it took place in the location they remembered from outside. They immediately noticed how the location changed what each character did and said and then returned to their original writing to make revisions based on the settings of the play. The result has been more realistic character interactions and each day since Monday, at least one playwright has mentioned using something from outside in the writing. I'm looking forward to making that a regular component of my playwriting curriculum.

A Picture Paints a Thousand Words

Yesterday we welcomed our first group of playwrights to Summer Theatre Camp at Playwrights Theatre. Among the many things we've done in the first two sessions was a writing exercise in which the group began a story using this painting by American painter Norman Rockwell.

April Fool's 1948 by Norman Rockwell
from The Saturday Evening Post

According to The Saturday Evening Post website, Rockwell painted a series of April Fool's Day paintings for the magazine's cover page as a reprieve from his famous Four Freedoms work. The first picture was published in 1943; another in 1945; the last in 1948, which is the one with which the class worked today. First, the class discussed what they saw in the painting and then were asked questions about the characters and the setting:

Who are these people?
What is the relationship between these people?
Who is the main character in the picture?
Where are they?
What is going on?

As you can imagine, the group developed a whole host of ideas and quickly noticed the "errors" in the painting: a series of oddities and mix-ups that Rockwell included for Post readers to find. The class was asked to consider this painting as a moment in the story of the main character (they choose the girl with the doll for this purpose) and began to develop a story idea.

The group named the girl Nancy Jane (a combination of the two more popular suggestions) and decided that she was a proper, stubborn, and taciturn (great word!) girl of about 11 years old who is living with her grandfather while Mom and Dad are on a world tour for the summer. Somehow she has discovered these oddities in her grandfather's attic and in this moment he is explaining to her how they are artifacts to a mystical world for which he serves as some kind of gatekeeper.

This is just one scenario that came up in the group discussion. With so many objects in the frame, there is a wealth of possibility as far as what the story is about and how it proceeds forward from the moment captured in the picture. We also discussed what Nancy Jane's journey might be, the obstacles she would face, and eventually how she would find her way home. They were having such a great time with this story that it was disappointing to have to stop, but time is short in our 10 day workshop and they had their own story ideas that needed attention. However, I look forward to using this picture in writing workshops yet to come!

An update from our current Playwriting Workshop for grades 6-12

The following was originally published on the personal blog of Jim DeVivo, PTNJ's Director of Education. It is reprinted here with his permission. You can follow Jim's blog here.
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After teaching young playwrights for twelve years, I knew it was high time to evaluate my curriculum and consider some fresh ways to get my playwriting students started this summer. I have changed things consistently throughout those years, but the time felt ripe for something completely new. I browsed through my old plans and revisited my young playwrights bibliography and decided to try a few new things during Full Day Theatre Camp. In the process of that program last week, I discovered a tendency to model different steps in the process using examples that were independent of the others.

Today we began the class with a neutral scene of four lines between unspecified characters that I borrowed from CenterStage’s Teaching Playwriting in Schools: Teacher’s Handbook and set up the students with a scene between characters A and B. Students copied the dialogue and then continued the scene for three minutes. The difference between their stories was vast and best exemplified by two: one that involved an evil Lord commanding one of his servants and the other a more informal argument between friends about breakfast foods. This sparked a discussion of how dialogue can change depending upon the characters who speak them, the conflict between characters, and the location in which the conversation occurs. Students wrote a bit about their own characters using this information and then we moved on to an activity for outlining a story using the main character’s wants, the actions that character would be comfortable (and uncomfortable) taking to get what they want, and the obstacles that might stand in their way. Typically I start this exercise by referring to a common story with which everyone in the class (myself included) is at least casually familiar. However, finding such a story has become more difficult in recent years. My original reference (Star Wars) had become complicated by time and prequels. After a brief attempt at Harry Potter – of which I haven’t read enough of the series to keep up with the students – I moved to Cinderella. This has worked well given the variety of versions found in different cultures and the resulting discussions we’ve had about point of view and theme. The problem is that Cinderella works well with elementary students and adults (I love discussing Disney princesses with adults), but teens tend to tune out when I mention her name. So, without a strong common story to use with this group I planned to launch into the old Cinderellaroutine when I realized that we had just discussed a handful of perfectly good story ideas that developed from the neutral scene. Why not choose one of them?

I choose the story of the evil Lord and his servant and the class was immediately energized by the prospect of creating a new story. Actually, I was surprised by how quickly they jumped into the process – none of the usual prodding questions and encouragements needed here! In fact, I think using an example from the students’ writing may have deepened their understanding of the Want-Action-Obstacle model as they were applying it to a new story much as they would when they set off to outline their individual plays. They’ve been so involved that I’ve been able to write this post as they continue to work well beyond when I told them I would first interrupt! Can’t wait to see where their stories take them next.

Summer playwriting classes at Playwrights Theatre of NJ

This summer, prepare your play for the 2015 NJ Young Playwrights Contest & Festival (NJYPF) by attending one of our Playwriting Workshops for students entering grades 6-12. Classes will be taught by our Director of Education, Jim DeVivo who has 20 years experience mentoring young artists including 12 years as the program director for the NJYPF. Details on our website!

Challenge yourself

Wow! Where did the last two weeks go? I can't believe it has been so long since the last post. We're busy, busy, bust creating new plays every day with the students at the Summer Theatre Camp at Playwrights Theatre. I had planned to write every 7-10 days, but must've gotten wrapped up in the fun. It can be easy to loose track of time like that, which is why it is helpful to put aside some time each day to spend on your writing. Even a few minutes can make a difference, which is why I'd like to share a writing challenge begun today by young adult lit author, Laurie Halse Anderson. I thought this might be a great way to stay inspired to write your play through these last few weeks of summer and even into the school year!

Ms. Anderson is the author of books for teens like Speak, Fever 1793, and Wintergirls, among others. On her website this morning, she launched her 5th annual Write 15 Minutes a Day Challenge. You can find more information here - http://madwomanintheforest.com/wfmad-day-1-welcome-to-the-write-fifteen-minutes-a-day-challenge/. As she says on the site, there will be a new post each day meant to inspire writing. You can follow along with her posts, or you can simply make the commitment to write for 15 minutes (or more... or less...) a day!

Please feel free to share your progress in the comments section for the blog posts here at NJ Young Playwrights. If you've already begun, it would be great to hear what you have been working on so far.

Happy writing!

Presentation of Summer Playwriting Workshop scenes

Our three summer playwrights worked on two individual projects during this past two-week session. First, a short scene for which each playwright collaborated with two or three students from the Acting Workshop class. The second project, is a longer piece which each playwright is writing independently.

The summer playwriting class reading and critique each other's plays.



The short scenes were presented by the acting class during a final presentation this morning. Pictures from the presentation are to the left.

The longer scenes are currently in progress, but the playwrights have been encouraged to continue writing throughout the summer with the end goal of submitting the scripts to the 2013 New Jersey Young Playwrights Festival.



 On the last day of camp, the playwrights read the current draft of each classmate's script and answered basic questions provided by the author. While this is a bit earlier in the writing process than I might have liked, the playwrights enjoyed hearing other people read and respond to their work. In fact, hearing the acting class read their work was the most impactful part of the session for them. Over the next few weeks, I will read each draft and provide my own feedback, but I also hope the playwrights will continue to send drafts to me throughout the summer. Each has done remarkable work and I cannot wait to see how the plays turn out down the road!

Summer playwriting

Today begins our Summer Theatre Camp at Playwrights Theatre. For this first session, we have seven acting students and three playwriting students. The classes are working separately throughout the morning, but will come together toward the end of the session to collaborate on short scenes that will be presented as part of the acting class' final presentation. This is the first time that we are trying this arrangement with the camp classes and look forward to sharing some of that work here.

What are your plans this summmer?