Deck 4: Image Maker: the Playwright

Question 1

Tennessee Williams said that the printed script is "hardly more than a blueprint of a house not yet built." What is contained in this blueprint and how does it become a theatre production?

Answer 1

The blueprint of a play script contains the dialogue, stage directions, and sometimes even suggested blocking or character motivations. It serves as a guide for the director, actors, and production team to bring the words on the page to life on the stage.

When a script is chosen for production, the director and production team will start by interpreting the blueprint and creating a vision for how they want to bring the story to life. This may involve discussions about the setting, the tone, the character motivations, and the overall message of the play.

Once the vision is established, the production team will begin the process of casting actors, designing sets, costumes, and lighting, and rehearsing the play. The actors will bring the characters to life, the set and lighting will create the world of the play, and the director will guide the overall production to ensure that the vision of the script is realized on stage.

Through collaboration and creativity, the blueprint of the script is transformed into a living, breathing theatre production, ready to be experienced by an audience. The words on the page become real and meaningful through the interpretation and creativity of the production team, bringing the story to life in a way that is unique to each individual production.

Question 2

The text indicates that playwrights use many different methods to approach the creative beginnings of playwrighting. What are some of the methods outlined in the text and how would they use the tools of the playwright's craft differently?

Answer 2

In the text, several methods of approaching the creative beginnings of playwrighting are outlined. Some of these methods include using personal experiences as inspiration, conducting research on historical events or figures, exploring social or political issues, or experimenting with different storytelling techniques.

Using personal experiences as inspiration allows playwrights to draw from their own emotions, memories, and perspectives to create authentic and relatable characters and situations. This method can infuse the playwright's work with a sense of authenticity and depth, as well as provide a unique and personal perspective on the subject matter.

Conducting research on historical events or figures can provide a wealth of material for playwrights to draw from, allowing them to explore different time periods, cultures, and societal issues. This method requires a thorough understanding of the historical context and an ability to weave factual information into a compelling narrative.

Exploring social or political issues through playwrighting allows writers to address important and relevant topics, sparking meaningful conversations and potentially inspiring change. This method often requires a deep understanding of the complexities of the issues at hand and a skillful approach to presenting multiple perspectives and viewpoints.

Experimenting with different storytelling techniques, such as non-linear narratives, multiple perspectives, or unconventional structures, can push the boundaries of traditional playwrighting and create innovative and thought-provoking work. This method requires a willingness to take creative risks and a mastery of the tools of the playwright's craft to effectively execute these experimental approaches.

Overall, each of these methods allows playwrights to use the tools of their craft in different ways, whether it be drawing from personal experiences, conducting thorough research, addressing social or political issues, or experimenting with storytelling techniques. Each approach offers its own unique challenges and opportunities for creativity, ultimately contributing to the rich and diverse landscape of playwrighting.

Question 3

The works of August Wilson and David Mamet are known for their unique and powerful use of language. Pick a passage from one of their plays and explain how their use of language is unique and powerful.

Answer 3

Sure! Let's start with a passage from August Wilson's play "Fences." In this play, Wilson's use of language is unique and powerful in the way it captures the rhythms and cadences of everyday speech, while also infusing it with poetic and symbolic elements. For example, in the following passage, Troy Maxson, the protagonist, reflects on the challenges he has faced in life:

"TROY: I done locked myself into a pattern trying to take care of you all that I forgot about myself. Rose, I been standing in the same place for eighteen years."

In this passage, Wilson's use of language is powerful in its ability to convey Troy's inner turmoil and sense of being trapped. The repetition of "I done" and "I been" reflects the vernacular speech of the character, while also emphasizing the weight of his realization. The use of the word "pattern" suggests a larger theme of repetition and stagnation in Troy's life, adding a deeper layer of meaning to his words.

Now, let's turn to a passage from David Mamet's play "Glengarry Glen Ross." Mamet is known for his distinctive use of language, characterized by its rapid-fire dialogue and use of profanity to convey the intensity and rawness of human interactions. In the following passage, the character Ricky Roma delivers a monologue to a potential client:

"ROMA: You ever take a dump made you feel like you'd just slept for twelve hours?"

Mamet's use of language in this passage is unique and powerful in its ability to capture the brash and aggressive nature of Roma's character. The use of profanity serves to underscore Roma's boldness and confidence, while the unexpected comparison of taking a dump to feeling rejuvenated adds a touch of dark humor and unpredictability to the dialogue. This kind of language is a trademark of Mamet's work, creating an intense and visceral experience for the audience.

In conclusion, both August Wilson and David Mamet demonstrate a unique and powerful use of language in their plays, capturing the nuances of everyday speech while infusing it with deeper layers of meaning and emotion. Their language serves to bring their characters to life and convey the complex realities of the human experience.

Question 4

The American Dream was written by

A) Edward Albee
B) Arthur Miller
C) David Mamet
D) August Wilson

Question 5

Aristotle said that plot requires:

A) Compression
B) Economy
C) Intensity
D) All of these

Question 6

David Henry Hwang introduced Asian American theatre into mainstream American theatre in 1988 with his play

A) Fences
B) Mulatto
C) Kiss of the Spider Woman
D) M. Butterfly

Question 7

A Spanish-speaking theatre dedicated to preserving Hispanic traditions has existed in North America since

A) The late 16^th century
B) The mid 17^th century
C) The late 18^th century
D) The mid 20^th century

Question 8

Diana Son is best known for plays dealing with

A) Asian Americans
B) African Americans
C) Gays and Lesbians
D) Chicanos

Question 9

The clashing of personal, moral and social forces can be seen as

A) Catharsis
B) Conflict
C) Complexity
D) Performability

Question 10

A Raisin in the Sun was written by

A) Lorraine Hansberry
B) Lillian Hellman
C) Maria Irene Fornes
D) Paula Vogel

Question 11

The essential tools of the playwright are

A) Compression, economy, intensity
B) Agent, producer, director
C) Plot, character, language
D) Gesture, metaphor, dialogue

Question 12

The Curse of the Starving Class was written by

A) Samuel Beckett
B) Sam Shepard
C) David Mamet
D) Terrence McNally

Question 13

To sustain our interest, the playwright's characters must be

A) Believable
B) Multi-faceted
C) Psychologically complex
D) All of these

Question 14

Television and film contracts and prestigious awards, such as the Pulitzer Prize are among the indicators of a playwright's success.

Question 15

The two essential connections for success are the agent and producer.

Question 16

Verfremdung, or alienation, was frequently used by Bertold Brecht.

Question 17

Boys in the Band was a groundbreaking play dealing with gay issues.

Question 18

Sweet Bird of Youth was written by Arthur Miller.

Question 19

The Children's Hour was written by Lillian Hellman.

Question 20

The published text of a play should be considered complete.