13.1: Classroom Lecture and Activity By Ukaisha Al-Amin
- Page ID
- 386530
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\(\newcommand{\avec}{\mathbf a}\) \(\newcommand{\bvec}{\mathbf b}\) \(\newcommand{\cvec}{\mathbf c}\) \(\newcommand{\dvec}{\mathbf d}\) \(\newcommand{\dtil}{\widetilde{\mathbf d}}\) \(\newcommand{\evec}{\mathbf e}\) \(\newcommand{\fvec}{\mathbf f}\) \(\newcommand{\nvec}{\mathbf n}\) \(\newcommand{\pvec}{\mathbf p}\) \(\newcommand{\qvec}{\mathbf q}\) \(\newcommand{\svec}{\mathbf s}\) \(\newcommand{\tvec}{\mathbf t}\) \(\newcommand{\uvec}{\mathbf u}\) \(\newcommand{\vvec}{\mathbf v}\) \(\newcommand{\wvec}{\mathbf w}\) \(\newcommand{\xvec}{\mathbf x}\) \(\newcommand{\yvec}{\mathbf y}\) \(\newcommand{\zvec}{\mathbf z}\) \(\newcommand{\rvec}{\mathbf r}\) \(\newcommand{\mvec}{\mathbf m}\) \(\newcommand{\zerovec}{\mathbf 0}\) \(\newcommand{\onevec}{\mathbf 1}\) \(\newcommand{\real}{\mathbb R}\) \(\newcommand{\twovec}[2]{\left[\begin{array}{r}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\ctwovec}[2]{\left[\begin{array}{c}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\threevec}[3]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\cthreevec}[3]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\fourvec}[4]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\cfourvec}[4]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\fivevec}[5]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\cfivevec}[5]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\mattwo}[4]{\left[\begin{array}{rr}#1 \amp #2 \\ #3 \amp #4 \\ \end{array}\right]}\) \(\newcommand{\laspan}[1]{\text{Span}\{#1\}}\) \(\newcommand{\bcal}{\cal B}\) \(\newcommand{\ccal}{\cal C}\) \(\newcommand{\scal}{\cal S}\) \(\newcommand{\wcal}{\cal W}\) \(\newcommand{\ecal}{\cal E}\) \(\newcommand{\coords}[2]{\left\{#1\right\}_{#2}}\) \(\newcommand{\gray}[1]{\color{gray}{#1}}\) \(\newcommand{\lgray}[1]{\color{lightgray}{#1}}\) \(\newcommand{\rank}{\operatorname{rank}}\) \(\newcommand{\row}{\text{Row}}\) \(\newcommand{\col}{\text{Col}}\) \(\renewcommand{\row}{\text{Row}}\) \(\newcommand{\nul}{\text{Nul}}\) \(\newcommand{\var}{\text{Var}}\) \(\newcommand{\corr}{\text{corr}}\) \(\newcommand{\len}[1]{\left|#1\right|}\) \(\newcommand{\bbar}{\overline{\bvec}}\) \(\newcommand{\bhat}{\widehat{\bvec}}\) \(\newcommand{\bperp}{\bvec^\perp}\) \(\newcommand{\xhat}{\widehat{\xvec}}\) \(\newcommand{\vhat}{\widehat{\vvec}}\) \(\newcommand{\uhat}{\widehat{\uvec}}\) \(\newcommand{\what}{\widehat{\wvec}}\) \(\newcommand{\Sighat}{\widehat{\Sigma}}\) \(\newcommand{\lt}{<}\) \(\newcommand{\gt}{>}\) \(\newcommand{\amp}{&}\) \(\definecolor{fillinmathshade}{gray}{0.9}\)Writing Plays
How long does it take you to get to the point? How long does it take for characters to resolve their issues? These are important questions that will need to be answered as you write your play and as you think about what type of play you are writing. Usually, if you set out to write a certain type of play, this will be in the back of your mind the whole time you write. This is neither good or bad. It really will depend on your writing process and the writing situation.
The 10-minute Play
The 10 minute play is an exercise in constraint. It allows the writer to get straight to the heart of the matter. It has a beginning, a middle, and an end. The characters must be doing more than standing around. It needs to convey the full plot.This is great, right? It can be! But the tricky part about the 10-minute play is that it needs enough context for the audience to understand and follow what is happening. You as the writer will always have more information about your characters than the audience, so it is important to keep in mind what needs to be said versus what would be nice if it were said. The 10 minute play can feel a lot like a singular scene in a longer play, but the scene in a longer play sets up the expectations for the following scene. The audience knows the play is not over at the end of a scene, unless it is the last scene of the play. Leaving the ending too open or beginning too vague can confuse the audience or leave them dissatisfied. This is the plight of all short form writing, but of course it is very possible to achieve a short play that works.
Think about comedy sketches for example. While the art of writing comedy is its own textbook, thinking about how a story is told in just 5 minutes along with a punchline is pretty incredible. The 10-minute play is also a good piece to have in your portfolio because it shows how well you deal with conflict and resolution in a play. It is a great way to give a snap shot of your writing. Finally, this type of play comes in handy during readings, open mics, and festivals. When programming calls to pack several performances into a short period of time, having a 10-minute play on hand could help you be a part of the programming. For loquacious writers, this task can be very difficult, and you might realize that this isn’t your cup of tea. However, as you continue to study playwriting, it is a good skill to practice. If anything, it will help you create stronger more powerful scenes.
The One Act Play
This is the play that you will be writing at the end of this course. One Act plays usually have the runtime of 10-45 minutes with no intermission. It consists of 3 to 4 scenes and is usually set in one singular place. For people who aren’t familiar with plays, one way to think about it would be a stand alone episode of a television show. These shorter episodes have full stories in them. Another way to think about the one act play could be a short film. In this day and age, it is difficult to think about a movie that is shorter than 1:30:00, but short films or Shorts is another way to help you imagine the scope of an One Act Play.
Full Length Plays
These are the plays you are already most familiar with. When you visit the theater, a full-length play may have a runtime about 2 hours with a 15-minute intermission. Each act of the play has several scenes that move the story forward. Oftentimes, a new act is a leap in time or place for the play. For instance, Act one in a play may be about the characters preparing for an election and all the decisions and tensions that come along with it. Act two might be after the election and results have already had an impact on the characters. In this scenario, you’ll notice that the election in and of itself is left out of the play. Writing full length play takes time and consideration, but it is a great way to truly explore the character’s experiences and immerse the audience in their world.
Run-Time:
The playwriting script is formatted specifically in a way that helps the director and actors understand how long the play is. The format which includes the font type, font size, and spacing equals about two minutes per page. Monologues tend to run longer, so keep that in mind as you add them to your play.
Watch the YouTube video below about how to format a playwriting script. By RTHS Ian Finley