Resources for Teaching DramaUnit Overview

The theme for this unit is "Conflicts." This unit will explore many of the common conflicts found in literature, history, and the lives of students.

The genre focus of this unit is the drama. Students will be immersed in the genre form by exploring shorter dramatic works, a guided reading of The Tragedy of Romeo and Juliet, and a literature circle that has students

Driving QuestionsListed below is a compilation of the driving questions employed throughout the unit. Use these suggested questions to help students focus their learning:

Standards

3.1 Reading

D. Fluency1. Read developmentally appropriate materials (at an independent level) with accuracy and

speed. 2. Use appropriate rhythm, flow, meter, and pronunciation when reading. 3. Read a variety of genres and types of text with fluency and comprehension.

E. Reading Strategies (before, during, and after reading)1. Identify, assess, and apply personal reading strategies that were most effective in

previous learning from a variety of texts. 2. Judge the most effective graphic organizers to use with various text types for memory

retention and monitoring comprehension. F. Vocabulary and Concept Development

1. Use knowledge of word origins and word relationships, as well as historical and literary context clues, to determine the meanings of specialized vocabulary.

G. Comprehension Skills and Response to Text 1. Identify, describe, evaluate, and synthesize the central ideas in informational texts. 2. Understand the study of literature and theories of literary criticism. 3. Understand that our literary heritage is marked by distinct literary movements and is part

of a global literary tradition. 4. Compare and evaluate the relationship between past literary traditions and contemporary

writing. 5. Differentiate between fact and opinion by using complete and accurate information,

coherent arguments, and points of view. 6. Analyze how an author’s use of words creates tone and mood, and how choice of words

advances the theme or purpose of the work.

7. Read, comprehend, and be able to follow information gained from technical and instructional manuals.

3.2 WritingA. Writing as a Process (prewriting, drafting, revising, editing, postwriting)

1. Engage in the full writing process by writing daily and for sustained amounts of time. 2. Use strategies such as graphic organizers and outlines to plan and write drafts according

to the intended message, audience, and purpose for writing. 3. Analyze and revise writing to improve style, focus and organization, coherence, clarity of

thought, sophisticated word choice and sentence variety, and subtlety of meaning. 4. Review and edit work for spelling, usage, clarity, and fluency. 5. Use the computer and word-processing software to compose, revise, edit, and publish a

piece. 6. Use a scoring rubric to evaluate and improve own writing and the writing of others. 7. Reflect on own writing and establish goals for growth and improvement.

B. Writing as a Product (resulting in a formal product or publication)1. Draft a thesis statement and support/defend it through highly developed ideas and

content, organization, and paragraph development. 2. Write multi-paragraph, complex pieces across the curriculum using a variety of strategies

to develop a central idea (e.g., cause-effect, problem/solution, hypothesis/results, rhetorical questions, parallelism).

3. Write a range of essays and expository pieces across the curriculum, such as persuasive, analytic, critique, or position paper, etc.

4. Provide compelling openings and strong closure to written pieces. 5. Use the responses of others to review content, organization, and usage for publication. 6. Select pieces of writing from a literacy folder for a presentation portfolio that reflects

performance in a variety of genres. C. Mechanics, Spelling, and Handwriting

1. Use Standard English conventions in all writing (sentence structure, grammar and usage, punctuation, capitalization, spelling).

2. Demonstrate a well-developed knowledge of English syntax to express ideas in a lively and effective personal style.

3. Use subordination, coordination, apposition, and other devices effectively to indicate relationships between ideas.

4. Use transition words to reinforce a logical progression of ideas. 5. Exclude extraneous details, repetitious ideas, and inconsistencies to improve writing. 6. Use knowledge of Standard English conventions to edit own writing and the writing of

others for correctness. 7. Use a variety of reference materials, such as a dictionary, grammar reference, and/or

internet/software resources to edit written work. 8. Write legibly in manuscript or cursive to meet district standards.

D. Writing Forms, Audiences, and Purposes (exploring a variety of forms)1. Employ the most effective writing formats and strategies for the purpose and audience. 2. Demonstrate command of a variety of writing genres, such as:

· Persuasive essay· Personal narrative· Research report

· Literary research paper· Descriptive essay· Critique· Response to literature· Parody of a particular narrative style (fable, myth, short story, etc.)· Poetry

3. Evaluate the impact of an author’s decisions regarding tone, word choice, style, content, point of view, literary elements, and literary merit, and produce an interpretation of overall effectiveness.

4. Apply all copyright laws to information used in written work. 5. When writing, employ structures to support the reader, such as transition words,

chronology, hierarchy or sequence, and forms, such as headings and subtitles. 6. Select pieces of writing from a literacy folder for a presentation portfolio that reflects

performance in a variety of genres. 3.3 SpeakingB. Questioning (Inquiry) and Contributing

1. Select and discuss literary passages that reveal character, develop theme, and illustrate literary elements.

D. Oral Presentation1. Speak for a variety of purposes (e.g., persuasion, information, entertainment, literary

interpretation, dramatization, personal expression).

3.4 ListeningB. Listening Comprehension

1. Listen to summarize, make judgments, and evaluate.

3.5 Viewing and Media LiteracyC. Living with Media

1. Recognize that creators of media and performances use a number of forms, techniques, and technologies to convey their messages.

Resources and References

Me & Shakespeare: Adventures with the Bard by Herman GollobLots of interesting information on life, times, politics of Shakespeare and his birthplace.

Shakespeare Set Free: Teaching A Midsummer Night's Dream, Romeo and Juliet, and Macbeth . Teaching Shakespeare Institute. <www.folger.edu>.

Lesson plans and pacing charts for the aforementioned plays.

Drama Unit OrganizationWeek One

Genre Focus:o Drama: Introduce students to the genre focus for the unit by asking the unit Eseential

Questions (via journal/discussion prompts, diagnostic assessments, and focus lessons).

Introduce Unit Performance Tasko Establish collaborative groupso Review scoring criteriao Establish approximate due dates

Distribute/discuss drama diagnostic assessment Have students select Independent Reading selection (see list of dramas)

o Schedule first meeting date/due date for Literature Circle or Independent Reading assignment(s)

Read/Discuss/Present background information on reading drama. Read/Discuss sample and/or short drama selections (i.e., one-act play and/or scenes from

larger works. Thematic Focus

o Conflict: Introduce students the theme by having students read selected short fiction, non-fiction, and poetry based on the unit theme.

Writing Genre/Strategieso Whole Class – Focus Lesson: Writing a One-Act Playo Collaborative Learning Groups – Guided Instruction & Writing Workshopo Independent Study (Independent reading and writing)

Weeks Two and Three The Tragedy of Romeo and Juliet :

o Combine guided reading, small-group discussions, and independent reading sessions.o Utilize available resources to provide a variety of learning experiences when covering

R&J. Anticipation Guide Focus Lessons Mini-Performances/Role Playing Formative assessments: entrance/exit slips, reading logs,

vocabulary/concept/character maps, short quizzes, and student question generation

Writing Genre/Strategieso Whole Class – Focus Lesson: Conventionso Collaborative Learning Groups – Guided Instruction & Writing Workshopo Independent Study (Independent reading and writing)

Week Four The final week offers time for project presentations, assessment, and any additional

activities that the teacher deems necessary for student mastery of the selected outcomes.

4

5

Backward Design TemplateGenre Unit: Drama

Step One: Identify Desired ResultsWhat overarching understandings are desired? What are the overarching "essential" questions Drama portrays common social, political, and

interpersonal conflicts that appeal to people's understandings of themselves.

Make connections between events in a drama and own lives

What insight into human behavior can be gained through a study of drama?

What constitutes a great drama? How does drama reflect the lives of people in the

past and the present? How can tragedy teach us about events in our

lives, society, and culture?

What will students understand as a result of this unit?

What "essential" and "unit" questions will focus this unit?

Students will appreciate the author’s use of literary devices and techniques.

Critical analysis of character, plot, theme and technical aspect of the play are integral to the dramatic concept.

Understand that actors in dramatic presentations represent characters with various traits, problems, and experiences.

Understand how to use appropriate reading strategies, such as paraphrasing, to read difficult passages.

Understand that characters talk to each other in different ways in dramatic presentations.

Understand the differences between tragedy and comedy.

Become acquainted with the language of drama in discussions about the drama work

Explore the use of story maps to develop understanding of actions and consequences in dramatic presentations

Begin to examine how plays are made. Script writing is based on personal experience,

prior knowledge, literature and imagination and helps to understand play structure.

How is drama different from other forms of literature?

How do the elements of plot contribute to the development of a drama?

Why is it important to be familiar with all aspects of a play?

How does checking your comprehension help you to better understand challenging literary passages?

Why is it important to understand a character’s motive?

How could you portray a character to show the author’s intent?

How do your personal experiences affect your script writing?

Step Two: Determine Acceptable Evidence

6

What evidence will show that students understand…Performance Tasks, ProjectsProject: A Drama in One Act Students, working in groups, will write and perform a short, one-act play, based on a current event or

social issue.o The play can be either a comedy or tragedy. o See " Performance Task: A Drama in One Act" for a detailed description of project.

Quizzes, Tasks, Academic Prompts

Drama Diagnostic Assessment Selection Tests: Literary Response/Literary Focus/Constructed Response Summative Assessment

Other Evidence (e.g. observations, work samples, dialogues)

Student Self-Assessment

Vocabulary exercises and word maps Literary skill worksheets and/or assignments Responding to Literature essays Student-Teacher writing process interviews

Exit/Entrance Slips K-W-L Charts Self-assess Playbill, dramatic performance,

project components.

7

Step Three: Plan Learning Experiences and InstructionGiven the targeted understandings, other unit goals, and the assessment evidence identified, what knowledge and skills are needed?Students will need to know… Students will need to be able to…Academic Vocabulary: Play Tragedy Tragic hero Tragic flaw Comedy Comic Relief Dialogue Monologue Soliloquy Aside Plot Character Types (Round, Flat, Static, Dynamic) Figures of Speech

o Metaphoro Simileo Personificationo Hyperboleo Understatement

Ironyo Sarcasmo Verbalo Dramatico Situational

Puns Foils Stage directions Props.

Unit Objectives: How to identify and analyze elements of drama,

including monologue, soliloquy, dialogue, stage directions, types of irony, scene design, conflict, and suspense.

How to visualize text, read aloud, paraphrase, and analyze cause-and-effect relationships.

How to analyze both primary and secondary sources.

How to write a one-act drama. How to speak for a variety of purposes. How to write an informative essay.

Literary Skills Understand elements of drama, including

dramatic structure, dialogue, and stage directions. Understand asides, soliloquy and monologue. Understand the function of scene design in

drama. Understand the characteristics of tragedy,

including complication, dramatic irony, turning point, suspense and climax.

Understand character and character foils. Understand characteristics of comedy and farce.

Reading Skills Use visualization as a strategy for

comprehension. Make inferences. Analyze cause-and-effect relationships. Read aloud and paraphrase.

Vocabulary Skills Use references aides to clarify meanings and

usage. Identify synonyms and antonyms. Identify and understand word derivations. Use context clues in words, sentences, and

paragraphs to decode new vocabulary. Use academic vocabulary appropriately. Understand archaic words and meanings. Identify and understand etymology/word

origins/roots. Identify patterns of word changes that indicate

different meanings or functions. Use specialized vocabulary appropriately. Recognize and understand puns.

Writing Skills Write an expository essay. Write a one-act drama.

Listening and Speaking Skills Perform a dramatic presentation.

8

Step Three: Plan Learning Experiences and Instruction Deliver informative presentations. Adapt oral messages to speaking purpose: to

inform. Match elements of oral communication to

audience. Use critical listening skills.

What teaching and learning experiences will equip students to demonstrate the targeted understandings?Suggested Teaching Activities1. Begin with an entry question (Does drama reflect social problems?) to hook students into considering the

effects of drama on their lives. H2. Introduce the Essential Questions and discuss the culminating unit performance tasks (A Drama in One

Act). W3. Note: Key vocabulary terms are introduced as needed by the various learning activities and performance

tasks. Students read and discuss relevant selections from the course textbook to support the learning activities and tasks. As an ongoing activity, students keep a notebook of terms for later review and evaluation. Suggested Text: "What Elements Create Drama?" by Carol Jago (Holt, p. 752-755) and/or "What is Drama" (PowerNotes Presentation). E

4. Present concept attainment lesson on comedy and tragedy. Then have students practice identifying concepts of comedy by reading a selection from the text and/or an outside resource. E Suggested Text(s): "The Frog Prince" by David Mamet, Cyrano de Bergerac by Edmond Rostand

5. Use an example of a one-act play to provide students with an example to follow for creating their own drama. E

6. Introduce background information about William Shakespeare, the Globe Theater, the politics of the period, and other social/cultural elements that influenced the writing of Romeo and Juliet. E-2

Note: Consider using "Shakespeare and His Theatre" presentation (PowerNotes) to guide students through a review of these elements.

7. Introduce the play The Tragedy of Romeo and Juliet by having students complete an "Anticipation Guide" of questions about the major themes introduced in the play. H

Note: Consider using "Romeo and Juliet Act I" presentation (PowerNotes) to provide students with useful background information on the play's setting, characters, and other elements needed to help students read and comprehend Shakespeare's play.

8. Read aloud Romeo & Juliet prologue and parts of Act I and/or show a video excerpt. For each read aloud, model a different strategy: visualization, prediction, using text aids, etc. H

9. Give periodic quizzes on the Acts and Scenes fro Romeo and Juliet. E10. Review and discuss the elements of drama throughout the reading of the play. Discussion question: What

connections to the characters can you make based on experiences in your own life? R Note: Consider using "Romeo and Juliet Act II" presentation (PowerNotes) to guide students through a review of Act I and elements of plot through Act V.

11. Working in cooperative groups, students brainstorm ideas for a one-act play based on a current event and/or social problem. Teacher observes and coaches students as they work. E-2

12. Have groups develop, revise, and present components of the "A Drama in One Act." E, E-2 (Note: Teacher collects and reviews the drafts of items to look for misunderstandings needing instructional attention.)

13. Students exchange project components with members of their group for a peer assessment based on a

9

Step Three: Plan Learning Experiences and Instructioncriteria list. Allow students to make revisions based on feedback. R, E-2

14. Students respond to written prompt: Respond to Literature prompt (either teacher generated or from textbook resources. (These are collected and graded by teacher.) E-2

15. Teacher models, with student volunteers, how to read and perform a dramatic scene. Then have students practice using selected scenes from Romeo and Juliet. Note: see Shakespeare Set Free (Folgers Shakespeare Library) for options for student scene performance. E

16. Students work independently to develop components of project for which they are responsible. Evaluate and give feedback on the project components. Students self- and peer-assess their projects using rubrics. E-2, T

17. At the conclusion of the unit, students review their project performance components and summative/formative assessments and self-assess their progress as learners. Have they noticed changes? Improvements? E-2

18. Students develop a personal “writing/reading action plan” for productive learning. These are saved and presented at upcoming student-involved parent conferences. E-2, T

19. Conclude the unit with student self-evaluation regarding hoe drama as a literary form connects to events from their lives and their surroundings. E-2, T

20. Additional Suggestions: Locate and consider activities from Shakespeare Set Free (Folgers Shakespeare Library,

http://folger.edu/). See a performance of Romeo & Juliet. Use the online site No Fear Shakespeare to read Romeo & Juliet side by side with a modern translation. Have students fold a paper into fourths. Have them draw what is happening as you read an excerpt. Research – Have student groups refer to the reference books and websites. Have student groups record 10

items relevant to the setting (time period and location) of Romeo & Juliet. o pictorial reference books on the Elizabethan era. Give student groups internet links. o pictures of Elizabethan England, map of Verona, Italy, pictures of clothing, etc.o virtual tour of Verona http://www.virtourist.com/europe/verona/index.htmlo No Fear Shakespeare – side by side text of Romeo and Juliet (one side original text, the other side

modern language) – http://nfs.sparknotes.com/romeojuliet/ Guided Instruction – Review Comprehension Monitoring. Facilitate small group readings/re-enactments.

(Set expectations so that students are comfortable reading aloud or have them re- read aloud.) Have students each take a role to read Act 1 in their lit. circles. Have the group write down antiquated

words and use the text guides to help determine meaning. Assign student groups different passages in which characters in Acts III and IV make important choices.

Have groups discuss, write about, and present what they would do if faced with the same choices. Groups should come to a consensus about what they would choose to do.

Assign student groups different passages and have them rewrite the passages using modern, appropriate vocabulary. Have the groups act out their modern adaptations. Be ready to help translate archaic language.

Assign groups selected passages. Have them discuss, write about, and then explain aloud why the passages are examples of dramatic irony

Have students brainstorm in groups about possible real-world examples of dramatic irony. Topics could come from current events, their own lives, or hypothetical situations.

Have student collaborative groups use the data on the class cause and effect graphic organizer to construct alternative scenarios for the outcome of ACT V. Have groups present them to the class. Give prizes after the class has voted on the winners of the following categories: Most realistic (likely to happen) and Most

10

Step Three: Plan Learning Experiences and InstructionCreative (unlikely to happen).

Have groups suggest a short retelling of Romeo & Juliet in a modern setting (Israel/Palestine; England/Ireland; etc.)

Have collaborative groups compare Elizabethan tragedy with a modern tragic dramatic presentation (film, television, novel). Have them reflect and discuss the similarities/differences between Elizabethan expectations of what is tragic and their own understandings. What literary (or filmic) devices are used in modern works?

Essay Options:Students should complete a persuasive essay. The essay could be student choice based on the previous activities or teacher selected. This essay should be placed in the student writing portfolio, and should provide a point of comparison for the original diagnostic writing assessments.

Project Options:To be done individually or in collaborative groups. Each student project should include an oral presentation/performance and a written piece. Presentations could be made during class time throughout unit, or at the end of unit. These projects may be used to supplement the unit culminating activity.

Masks – Elizabethan Era: Have the students create masks for the period party and then have them write and describe the elements of a party in the Elizabethan era.

Set Design – Elizabethan Era: Research and create a stage used in the Elizabethan times. Have students explain what the roles of the actors were in those times and compare with the present.

Instant Messaging – Romeo and Juliet: See: http://www.readwritethink.org/lessons/lesson_view.asp?id=857 Students create their own modern interpretation of specific events from the drama. The lesson provides a range of projects that students can complete, including writing headline news stories, rewriting dialogue or monologues to include one form of interactive technology, and creating digital artifacts for modern-day versions of the characters from the play (see earlier short in-class collaborative tasks).

Relationship Therapy – Romeo and Juliet: Pretend you are a modern-day therapist (such as a “Dr. Phil) who goes back in time to counsel Romeo and Juliet. What advice do you give them so that their love does not end with their tragic deaths? Role play the therapist, Romeo, Juliet, and any other family member/characters of your choice.

Note: Create class rubrics for each of the projects. There should also be a rubric for the presentation aspect of the project.

Differentiated Instruction:Work with students who need additional support for building schema and language. Offer those students more visuals, act summaries, audiotapes, etc. Have students who need a challenge record items from different perspectives, such as an artist (what do the locations, people, clothing, etc. look like?), a political scientist (what is the form of government and class structure; what are political issues of the day?), geographer (what are locations, topography, natural resources available, etc.?).

Note: WHERETO is an acronym for considering and self-assessing the key elements and logic of a learning plan:Where: ensuring that the student sees the big picture, has answers to the Why? questions, and knows the final performance demands as soon as possibleHook: getting the student interested immediately in the idea and issues of the unit, engaging the student in

11

Step Three: Plan Learning Experiences and Instructionthought-provoking experiences/challenges/questions at the heart of the unitEquip & Experience: providing the student with the tools, resources, skill, and information needed to achieve the desired understanding; experiencing the big ideas as real, importantRethink: taking the unit deeper by shifting perspective, considering different theories, challenging prior assumptions, introducing new evidence and ideas, etc. Also: providing the impetus for and opportunity to revise prior work, to polish itEvaluate: ensuring that students get diagnostic and formative feedback, and opportunities to self-assess and self-adjustTailor: Personalize the learning through differentiated assignments and assessments, as appropriate, without sacrificing rigor/validityOrganize: Sequence the work to suit the understanding goals (thus, often questioning the flow provided by the textbook, which is typically organized around discrete topics)

12

Performance Task: A Drama in One ActGenre: DramaOverarching Understanding: Drama reflects the society and concerns of the time period in which it is written.What A drama in one act.Why To help students understand and practice the literary and dramatic elements of drama.How After researching a current event in a newspapers or magazines, as a group, students will

write and perform a short, one-act drama (either as a comedy or tragedy).Think of a scenario (your real world situation or a simulation)

Goal To have students synthesize their knowledge of drama to portray a dramatic presentation intended to demonstrate how drama portrays events important to the culture or society in which the story is written.

Role(s) Playwright(s), director, actors, set/prop designer, promoter, theater critic. Audience All patrons of theaterSituation Students, working in groups, as a theater company.Product/ Performance & Purpose

Students will prepare and perform a short, one-act drama to entertain and inform an audience about an important current event and/or social situation.

Project Tasks One-Act Play Components: Poster: Image--hand drawn, Photoshop, or other rendering of play on poster-sized (11” x

17”) page, that includes play title/header, image of actor(s) from a key scene—10% of final score

One-act play: A short, one-act play, either as a comedy or tragedy (creative writing) 2-3 pages—25% of final score

Playbill: Create a brochure detailing the following contributors:Play Synopsis (a brief summary of the play)Cast of Characters (a list of characters and their roles)Setting (a description of where the action takes place)Production crew (a list of group members and tasks completed)Acknowledgements (a list of references to articles and images used)Social Context (expository essay that discusses the current event/social issue)

3-4 pages brochure (see "Sample Playbill")—25% of final score Performance: Dramatic presentation of one-act play (public speaking experience)—15%

of final score Multimedia Presentation: Students are expected to prepare a PowerPoint slideshow or

some other presentation (video, poster board, audio clips, or some other visual/delivery aid) to assist in the discussion of the current event/social issue used to "inspire" the one-act play.—15% of final score

Play Review Students will write a review of the performances presented by the other groups (critical

analysis essay)—10% of final score.Note: It is expected that students will write and revise collaboratively before submitting final products.

13

Culminating Activity Description and Procedures

Project DescriptionIn this project students will be expected to complete a variety of tasks, working

cooperatively in small groups. The following guidelines may be useful for planning and pacing, including suggestions for when to introduce the project.

When to BeginThis project should be introduced at the beginning of the unit to allow for proper pacing

of activities.

Suggested Resources Sample Playbill (see attached) "How to Write a One-Act Play" by B. Danesco

<http://www.howtodothings.com/hobbies/a4248-how-to-write-a-one-act-play.html> (see attached)

Research and composition guidelines (Provide students with information and resources needed to help them locate articles on current events and/or social issues).

Plagiarism avoidance instruction and resources Rubrics for project components (these should be teacher generated based on student input).

TimelineAllow 3-4 weeks.

14

Production CrewProduction CrewList and describe the production crew members involved

behind the scenes.John Doe,.........................author, prop/costume design, actor

Jane Smith........................director, playbill design, actor

Joe Schmo........................researcher/presenter, poster design, actor

Jill Uphill.........................poster design, social critic, actor

Acknowledgments Acknowledgments Bibliography of sources you used in preparing this playbill.

Berlau, John. “Eco-Terrorism: When Violence Becomes an Environmentalist Tactic.” Human Events 63.12 (2 Apr. 2007): 18-20. MAS Ultra - School Edition. <http://search.ebscohost.com/login.aspx?direct=true&db=ulh&AN=24682360&site=src-live>.

“Ecoterrorists.” Ecoterrorists.org 2005: Image. 30 Sept. 2008 <http://www.ecoterrorists.org/Images/Image.jpg >.

Erbe, Bonnie. "When Ecoterrorism Is Almost Justifiable. (attacks on

Hummer vehicle) (Brief article)." U.S. News & World Report (July 18, 2007): NA. General OneFile. Gale. New Jersey State Library. 4 May 2008 <http://find.galegroup.com/ips/start.do?prodId=IPS>.

"The philosophy of eco-terrorism.(Inside Track)." The New American 23.3 (Feb 5, 2007): 9(1). General OneFile. Gale. New Jersey State Library. 4 May 2008 <http://find.galegroup.com/ips/start.do?prodId=IPS>.

The Eco-WarriorsThe Eco-Warriors

Written by John DoeWritten by John Doe

Directed by Jane SmithDirected by Jane Smith

15

Play SynopsisPlay Synopsis

Write a summary of each act or scene.

Act 1, Scene 1

The action opens in the middle of a heated discussion between members of the EcoBombers, a terrorist organization fighting against the overdevelopment of Jersey City's waterfront. Abbey is worried that the detonation device they are planning to use to demolish a building will cause too much damage. Emma and the others argue why they feel they must use the device to "make a statement." Abbey, outnumbered and alone in his position, agrees to continue with the plan despite his reservations.

Act 1, Scene 2

Only Emma, Elie, and Marie enter the apartment. Where's Abbey? What went wrong? The three conspirators discuss what might have happened. Is that the sound of police sirens?

Cast of CharactersCast of CharactersWrite a description of each of the characters, including

descriptions of physical appearances as well as personalities.

Abbey Hoffman...............The Leader................................John Doe

Emma Goldman...............The Co-leader.........................Jane Smith

Elie Reclus.......................Co-Conspirator.......................Joe Schmo

Marie Louise Berneri.......Co-Conspirator.........................Jill Uphill

SettingSetting

Write a detailed description of the setting of each act or scene.

Time: Present day Jersey City

Scene 1 ..............The waterfront in downtown Jersey City

Description:

Scene 2........................................................Abbey’s room

Description:

16

About the CompanyAbout the CompanyWrite brief description of the acting company. Provide information on the participants and their contributions to the overall project.

Feel free to include any additional information about each member, such as awards, honors, or related experiences in writing and/or acting.

The History of The Room 106 Theater CompanyThe History of The Room 106 Theater Company

The Room 106 Theater Company was formed in the spring of 2008 as part of a class project. Though Bruce and Jane attended The Room 106 Theater Company was formed in the spring of 2008 as part of a class project. Though Bruce and Jane attended the same elementary school, Joe and Jill moved to Jersey City two years ago, and attended different schools…..the same elementary school, Joe and Jill moved to Jersey City two years ago, and attended different schools…..

17

The Social ContextThe Social ContextWrite a brief article discussing the current event and/or social issue used to inspire the play. Address the following topics:

What is the current event/social issue? Why is this event/issue important to you? How might this event/issue affect the lives of you and your peers? What was the author’s purpose or message? Would you recommend seeing this play to someone else? Explain.

18

How To Write a One Act PlayBy B. Danesco When people think of plays, many things come to mind. One of those things can occasionally be "Man, that was long!" While great plays sometimes make time fly, many full-length plays do in fact last for at least two hours. Some, like well-known plays by Shakespeare and Eugene O'Neil, are a lot longer - much longer. Some plays, however, come in under the hour mark and don't have any sort of intermission or mid-point curtain. These plays of half an hour to an hour in length are generally referred to as one-act plays. Writing a one-act play can offer challenges to first-time writers, playwrights used to the full-length play format and screenwriters used to considering stories in a three-act structure. On the other hand, writing a one-act play can be a great experience.Here are some ways to get started writing a one-act play. But keep in mind that writing a play, like most things, requires more than just following a process. Practice, experimentation, study, help from experts - and did I mention practice? - will be necessary, too.

1. Read and/or see some one-act plays. My first suggestion to anyone taking up a new writing skill is usually to get some examples to follow. There are many one-act play compilations available where you can read work by both famous playwrights and up-and-coming writers. Study these scripts for their construction - what happens when? How many settings and characters are used? What is the time frame of the play's action - a day, a year? Plays vary greatly in content and form, of course, but that's just another reason to read, and if possible see, a lot of one-act plays if you're going to write one: You will know a variety of ways you can proceed with your story.

One-act plays often differ from full-length plays in their scope. They will have fewer characters, perhaps, or a more simple setting. Mainly, though, they will be very focused on a main character and a single incident or goal - there will be little time to go to subplots or scenes not involving the main character and his story. This is something you will notice as you read one-act plays, and something you will want to keep in mind as you go through the writing process.

2. Pick your main character. I really think there are a few main questions a writer should ask when she sits down to tell her story, unless the story is incredibly unconventional, in which case, you're on your own. The first question is "Who is your main character?" A story, even one with a sizable ensemble, needs that one lead focal point. In a short play, a one-act, chances are your cast will be small, maybe 4 or 5 people. Finding your lead should not be difficult. Ask "Whose story is this? Whose point of view do we see through?" That's your main character.

3. Give the character a goal. Once you decide on your main character, figure out his goal. A character, in any work, should have one goal that he pursues throughout the story. Hamlet wants to do right by his father. Dorothy wants to get home to Kansas. To write your play, you must choose a goal for your main character. To get what he wants, he may have other subsidiary things he needs to do, but the main, overarching "want" should remain the same. In a sense, what your character wants is what your play is about.

19

4. Brainstorm for obstacles your character will face. They always say the heart of dramatic writing is conflict. Once you know who your main character is and what she wants more than life itself, you need to do the hard part, which is to figure out the obstacles she will face and how she will overcome them (if she does...). Keep in mind, each obstacle should be harder than the next: You don't want to see someone kill his arch enemy and then have to look up directions to a house. You want the guy to find the directions - an easy obstacle to overcome - and then kill the enemy (perhaps the climactic moment of the story, depending on your character's goal). While you plot the obstacles - basically, your story- also keep in mind some other things. You want to start late in the story, in other words, when Dorothy gets in trouble with Miss Gulch, not on the day she comes to live with Auntie Em. You also want to make sure to give us some time to meet the character before we rush off down the Yellow Brick Road. But remember, you want conflict in every bit of the play, and with a one-act play, you don't have nearly as much time to introduce things as you would in a full-length play. This means you will want to get to a turning point moment pretty quickly, a moment where the character makes a decision that puts her on that Yellow Brick road, whatever the road might be for her specific pursuit.

5. Work on the characters. As you work on the story obstacles, you always want to develop your characters, both the main character and whomever may support that main character. Think about what the supporting characters might want - they should also have goals. Think about how the characters function as obstacles for each other. Think also about how they can be "multi-dimensional" or in other words, have strengths and weaknesses, shades of gray, etc. See how characters in your favorite plays are revealed by how they deal with conflict, how they interact with others and how others describe them. Use those same techniques in your play as you build characters.

6. Work on the setting. As you work out the story and characters of your script, also consider setting. Often, one-act plays will have simple settings which require an audience to use some imagination. Other times, one-acts may have elaborate sets. Keep in mind, if you're a beginning playwright looking to get your work produced, elaborate sets can sometimes be a strike against you - but, of course, do what best serves your play. Sometimes, setting is important The Wizard of Oz needs Oz. Other times, you may be in a generic café or living room that doesn't have any particular effect on your characters. Consider the setting of some favorite plays - how it works in the story, how important it is, how the playwright describes it.

7. Outline your scenes. A scene is a basic unit of drama within a play. It can be roughly described as a chunk of the play that happens in one time and place. If you read some plays, you can analyze how the playwright breaks the act into scenes. Some may have one scene, others may have many scenes, even in a short one-act. The key is for each scene to move the story and/or character revelation forward. In other words, each scene should involve a conflict, not just simply people chatting it up. And each conflict should, in some way, involve the main character pursuing his or her goal. (In a multi-act play, you might well have scenes where the main character isn't present, but you won't want to spend that kind of time away from your main character in a one-act.)

Your job becomes transforming your list of obstacles that stand in your main character's

20

way into scenes. For instance, Wicked Witch becomes "Dorothy fights off the Wicked Witch and gets her broom." Some people prefer to go ahead and write the scenes instead of outlining them first. Sometimes I do that, but it is much more difficult to rewrite a whole scene than it is to rearrange a few lines of an outline.

8. Write and rewrite. Once you know where your main character is going, it's time to actually write the play. There is no easy way to do this. If you've written anything before, you know that everything good takes several drafts. If you haven't written before: Everything good takes several drafts. So when you write, bear in mind, it won't be perfect the first time through. That's fine. Just go for it!

Also take into consideration that creative writing of any form is a craft that has to be worked on over time and polished. I suggest taking a playwrighting course if you don't have a writing background. If you do have some sort of writing background, you may find that analyzing plays is sufficient for "getting the hang of it."

Writers also often go back to the basics to see if they hit their marks: Is there a clear main character pursuing a goal? Are the obstacles and characters interesting? Is the dialogue authentic-sounding? They also might look at more intricate pieces of the play: Is the theme coming across? Are the metaphors working? In any case, it is almost impossible to objectively judge all of what you need to improve. You should go with your gut on most things, but don't work in a vacuum. Find a teacher, fellow writer, paid consultant, or other trusted associate and have her tell you what she thinks could stand to be changed. Since this is dramatic writing, it might also help, as you go through different drafts, to have actors read your script in a workshop setting. This is often done with writers-in-residence at professional theatres and in academic sessions, but if you're just starting out, you can potentially find a community theatre where the company will be happy to help you.

9. Look for submission opportunities. There are many playwrighting contests looking for one-act plays. There are also many theatre companies who eagerly take one-act submissions. Whether any of these opportunities offer any money is another story, but if you write for the love of it (and have a decent day job...), the joy and thrill of seeing your work produced will be payment enough. Some websites have databases of playwrighting contests and theatre submission guidelines. See the links below for more information.

Writing a play of any length can be a challenge. Writing a one-act play which covers all the bases in limited time - but which also has nuance, depth, and offers the audience a memorable experience - is no exception. Following good examples, taking time with the pre-writing portion of the process, and devoting yourself to rewriting as needed, will help you put your best foot forward and your best script on stage.

Quick Tips: Start with a character who has a goal and then make it hard for him to reach that goal. Use existing one-act plays as your example of what works (and what might not)

21