Writing a Hook Story Line Before you start writing a play, think about your story.
Writing the Introduction The introduction should include the following: The title of the play, the name of the playwright, and any pertinent historical information regarding them other similar works from this period?
The name of the director, the place and date of the production you attended, and the name of the production company again, do you know of any previous work by this company?
The thesis of your review, which should include possibly in more than a single statement the following: A general impression of the relative success or failure of the production, based on what you actually saw and on your initial impression of how the play should have been performed.
Note that even if the production did not exactly coincide with your own conception of the play, you should not feel obliged to condemn the performance outright. Be open-minded and willing to weigh pros and cons.
Note that this thesis asserts that Papp captured the essence of what is in the text itself -- the expectations set up by the thesis are that the reviewer will then analyze the methods by which the director achieved this effect.
Without that sympathy, the play would have been reduced to pure chaos and would have failed to portray an American ideal of freedom.
Since you will not be expected to discuss all aspects of the production, focus your thesis on one or two major concerns that the performance has or has not addressed.
Read your assignment carefully to find out which aspects of the performance are to be emphasized in your review. You can include this summary in the introduction; or, if you wish to expand the summary, include it in a separate paragraph following the introduction.
Writing the Body of the Paper: The Review Remember that in the body of the paper you are obliged to deal specifically with each element of the production that you mentioned in the introduction and thesis. In order to give your review a tight internal logic and cohesiveness, you should also discuss these elements in the order that you outlined in the introduction.
For each element that you discuss: In as brief and precise a manner as possible, describe in detail the physical aspects of what you saw performed. Keep in mind at all times that whatever you include must in some way contribute to the assertion you made in your introduction and thesis.
Focus on particular scenes or performances that will provide the evidence for your final evaluation of the play. The tempest scene in Lear utilized a particularly hostile set in order to universalize the suffering depicted throughout the play. The lights were dimmed and the backdrop was flat black.
Against this backdrop were propped, in no particular order, seven skulls that looked out over the events to come. Note the vivid description of what was seen, and the use of detail to convey that vividness. The passage will work nicely as evidence for an overall, positive evaluation of the production.
This part of the paper requires the most thought and organization and consequently receives the most attention from your reader. After you have finished describing important elements of the production, proceed to evaluate them.
For example, you would need to answer the following questions regarding the last description of Lear: Why were the lights dimmed at the beginning of the scene? Why was the backdrop painted black? Why was there no order to the skulls? In the evaluation, you are given the opportunity to attack as well as commend the performance; if the production fails to answer questions that you feel need answers, then say so.
If the question or problems are relatively minor, ignore them. Writing the Summary and Conclusion Your conclusion should not merely recapitulate your thesis in a mechanical way. Rather, you should try to show why your response to the play is valid and significant, based on what you have described in the body of the paper.THE STANDARD STAGE PLAY FORMAT What follows is a guide to “professional” stage play script formatting.
These pages are start over again with Arabic page numeral 1 at the beginning of a new act. If the first act ends on page I, the second act will begin with Act Two, Scene Eight, Page First of all, as in all things, you must know your medium: the theatre.
If you are a constant movie watcher, don't write plays. Even the largest stage cannot accommodate car chases and explosions. And, for Heaven's sake, actually go see a play! To write truly effective theatre, you .
This material forms part of The Open University course A Start writing plays.
By: The iTunes U team (The Open University,) Play now Politics and the stage: Back to top. About the author. The iTunes U team but never quite had the courage to start? This free course, Start writing fiction, will give you an insight into how authors. In Script Magazine’s How to Write a Stage Play section, you’ll find tips on theme, premise, plot, outlining, formatting a stage play, writing dialogue, scenes and the differences between successful one-act or multi-acts plays.
Jun 25, · How to Write a Play Script. Can I write a character for a play who never makes an appearance on stage? wikiHow Contributor. Community Answer. Yes, if the character is mentioned in the play.
If you’re writing a play script, start by brainstorming a story. Then write an exposition, or beginning, some rising action, or 74%(86). Consider the blocking, or stage movement, of the actors and how it works with the story, as well.
Note any special talents such as singing or dancing and how they act as a vehicle for the talent and contribute to the overall experience of the play.