Playwright Discovery Award Teacher's Guide - The John F. Kennedy ...

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PLAYWRITING EXERCISE 1 : <strong>The</strong> Root of Character <strong>The</strong>re are a number of ways to explore character: either begin with observing people; reading about people in the news (celebrities, politicians, regular people); researching a topic, ethnic or cultural group, or followers of a specific belief system; or thinking about personal experience. Choose at least two methods to begin exploring character. Record the observations and thoughts in a journal or with a digital voice recorder. PART 1 Observation Sometimes observing others while sitting in the library or cafeteria, on the bleachers, or at the local coffee shop can ignite the imagination. Writers often watch people, listen to how they use language, and then imagine what they might do in various situations. A. Observe (by watching and/or listening) how people interact with others. Who chews on pencils or straws? Who drums their fingers on the desk? Who perks up when others are around and withdraws when alone? Who withdraws when others are around and perks up when alone? Listen to their speech— do they talk the same way to everyone, or does their tone or vocabulary change? B. Listen to the person talk. Watch their eyes—do they look engaged? Bored? Or are they looking someplace they shouldn’t? C. Record physical actions, words, or physical attributes that strike you. >>> 20 ACT II: PLAYWRITING
PLAYWRITING EXERCISE 1 continued PART 2 Investigation Sometimes people in the news—celebrities, politicians, or regular people—grab our attention. We wonder how they achieved their fame, would behave at our school assembly, or would confront the school bully. A. Think about what makes this person newsworthy. Will their fame last? Are they kind and genuine? Are they superficial? B. Record physical actions, words, or physical attributes that strike you. PART 3 Research A. Read articles or listen to radio newscasts or watch video clips/films to learn more about a particular group. Refer to at least three sources. B. What is important to this group? What discoveries or accomplishments set this group apart? Record insights into how this culture or group engages with the world. PART 4 Reflection Sometimes writers discover that the best way to explore a new world or circumstance is to borrow from the world they already know. While reflecting, try to be as open and unbiased (which is sometimes hard if we are involved in an experience) as possible. A. Take a moment and think about the people in your life who may have a disability. Does your grandmother use a cane? Does your grandfather use hearing aids? Does your cousin stutter? Does your aunt use a wheelchair? Do members of your parish or synagogue or temple use service animals? B. If you have a disability, what challenges have you experienced because of it? What actions have you taken to overcome it? How have others reacted to it? • ACT II: PLAYWRITING 21
Page 1 and 2: vsa Playwright Discovery Resource G
Page 3 and 4: vsa Playwright Discovery Resource G
Page 5 and 6: PROLOGUE The Changeling by Paul Bau
Page 7 and 8: A goal of this guide and project is
Page 9 and 10: 3/4 of a Mass for St. Vivian by Pho
Page 11 and 12: ACT I PREPARATION: Exploring Disabi
Page 13 and 14: heats up quickly. Isn’t it much m
Page 15 and 16: Discussion Questions 1. What charac
Page 17 and 18: presented for entertainment. Instea
Page 19 and 20: ACT II PLAYWRITING: Igniting the Im
Page 21: FOR THE ARTIST’S NOTEBOOK: The Bu
Page 25 and 26: PLAYWRITING EXERCISE 2 continued Wh
Page 27 and 28: Creating Narrative and Dramatic Act
Page 29 and 30: PLAYWRITING EXERCISE 3 continued Po
Page 31 and 32: PLAYWRITING EXERCISE 3 continued PA
Page 33 and 34: PLAYWRITING EXERCISE 4 : Changing t
Page 35 and 36: PLAYWRITING EXERCISE 4 continued PA
Page 37 and 38: PLAYWRITING EXERCISE 5 : Putting Wo
Page 39 and 40: PLAYWRITING EXERCISE 5 continued DI
Page 41 and 42: ACT III DRAMATURGY: Shaping What Yo
Page 43 and 44: FOR THE ARTIST’S NOTEBOOK: The El
Page 45 and 46: DRAMATURGY EXERCISE 1 continued PAR
Page 47 and 48: FOR THE ARTIST’S NOTEBOOK: The Dr
Page 49 and 50: DRAMATURGY EXERCISE 2 continued PAR
Page 51 and 52: DRAMATURGY EXERCISE 3 : The March o
Page 53 and 54: DRAMATURGY EXERCISE 4 : What Are th
Page 55 and 56: DRAMATURGY EXERCISE 4 continued In
Page 57 and 58: ACT IV PRESENTATION: Sharing Your W
Page 59 and 60: ACT I Scene 1 1 A Classroom. Upstag
Page 61 and 62: ACT V ASSESSMENT: Discover Your New
Page 63 and 64: Discovery Assessment NAME (optional
Page 65 and 66: 9. Define what it means for a scene
Page 67: 19. Name at least three writers or
Page 70 and 71: EPILOGUE Plays submitted to the VSA
Page 72 and 73:
VSA Rating System continued 4. CRIT
Page 74 and 75:
Contributors Lenora Inez Brown | Pr
Page 76:
VSA, the international organization
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Playwright Discovery Award Teacher's Guide - The John F. Kennedy ...

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