The Greek Chorus

Paula Vogel uses a Greek Chorus in "How I Learned To Drive". Here's a definition (courtesy of Wikipedia) of what it is:

In tragic plays of ancient Greece, the chorus (choros) is believed to have grown out of the Greek dithyrambs and tragikon drama. The chorus offered background and summary information to help the audience follow the performance, commented on main themes, and showed how an ideal audience might react to the drama as it was presented. They also represent the general populace of any particular story. In many ancient Greek plays, the chorus expressed to the audience what the main characters could not say, such as their fears or secrets. The chorus usually communicated in song form, but sometimes the message was spoken.

How does it work/not work in Vogel's play? Opinions?

Paula Vogel and "How I Learned to Drive"

You all need to read Paula Vogel over the break. We will be discussing "How I learned to Drive" on Tuesday, March 13th.

Here are some cool interviews and articles on Ms. Vogel and her Pulitzer Prize winning play.




It's a controversial play--I'm sure you all will have something to say. And I look forward to hearing it.

http://www.pbs.org/newshour/bb/entertainment/jan-june98/play_4-16.html

http://www.thehipp.org/drive_perspectives_vogel.html

http://www.amrep.org/past/drive/drive1.html

http://72.166.46.24//archives/1998/documents/00531544.htm

http://www.people.fas.harvard.edu/~jmgriggs/portfoliopages/drive.html

HERO WORSHIP

In the talkback, Gary talked about having a hero. A playwright hero/heroine. We all look up to someone. Or aspire to be like someone. Who is that person? For the most part, I've hero worshipped people like Tennessee Williams, Craig Lucas, and David Mamet. I remember reading "Sexual Perversity in Chicago" like ten times in a row. It changed the way I structured/thought out my plays. I have a habit of obsessively reading the works of one author. I did that last year with Tennessee Williams. I had to read everything he wrote--and he wrote a lot.

I'd have to say my playwriting hero is Edward Albee. He's one I always go back to. If I'm uninspired, or feeling like I don't want to write plays anymore, I go back and read "Who's Afraid of Virginia Woolf?" I have read that play so many times. It gets me excited about theater. It's such a simple set-up. And nothing really happens, but man, is it intense and dark and sad and funny.

I know many of you are new to reading/writing plays. But I do want you to think about this. Maybe read stuff on your own. Find your playwright. I'll start recommending writers to each of you--your style of writing will lead me to think you may dig some writer and I'll let you know. I remember being in Arnie Johnston's 368 Playwriting class and he asked me if I read any Joe Orton. I was like who? Now he's one of my favorite writers, and a big influence on my writing.

Find a writer you can relate to. Someone that speaks to you. Or someone that writes what you want to go see.

Pretend you're a six-year-old again--find yourself a hero.

Gary Garrison Visit

What did you all think of Gary Garrison? You learn anything...if so, what? I'm curious to hear what you all have to say.

New Play Project Deadline

Who needs the beach with all it's sand and sunshine when you can spend the day in a cold, dark theater?

The deadline for the New Play Project is March 16th, 2007. I want you all to submit your 10-minute plays.

I did the New Play Project last year and I can't tell you what a great experience it is, especially since all of you are new to playwriting. It's a fantastic group of actors, writers, directors--all working together to make an excellent piece of art. It's exciting to see the final result of all your hard work performed on stage in front of a live audience. I highly recommend you all do this. It's an experience you will not forget.

If any of you have questions or want to discuss your 10-minute plays (if you wish to submit), email me and we'll talk.

Here's the specifics/guidelines you'll need to know:

New Play Project (ENGL 5970), which will be meeting M and W 9-noon, with performances during three Thursday evenings, and rehearsals on Monday evenings (times as listed in the course book).

The class includes between twelve and eighteen playwrights, twelve to fifteen actors, five directors and two stage managers. During the course students will have one of their plays rehearsed for two weeks and produced as a script-in-hand public staged reading. Additionally, playwrights will participate during the seven and a half weeks as dramaturgs, stage managers, and actors (sometimes as directors) on their fellow playwrights work, and as company members in ensemble developed plays and activities.

Admission for playwrights is on a competitive basis, and for actors and directors by permission of the Theatre Department (please contact Mark). Interested playwrights should submit two copies of a 10-30 page one-act play to the mailbox of Dr. Steve Feffer (sixth floor Sprau) with complete contact information by Monday, March 16th. You will be notified soon after that date.

Please note: We have changed the submission process slightly this year. Playwrights who are currently in ENGL 3680, have already taken 3680, but not a 5000 level playwriting class, or have not taken playwriting at Western are strongly encouraged to submit a ten minute (10 page) play. Playwrights who are currently taking 5660, have taken 5660 or a previous New Play Project, or have instructor permission, may submit a longer (up to 30 page) play.

What is Leigh Fryling up to?

Leigh will be performing in Blue Kettle (by Caryl Churchill).

Where:
The York Arena at the Gilmore Center.

When:
Sunday, Feb. 25th at 5pm.
Monday, Feb. 26th at 6pm.

The show is free.

Leigh is also directing Little Shop of Horrors for Three Rivers Community Players. Auditions will be held on Feb. 27th and 28th at 6 pm at the Three Rivers Playhouse. A prepared Broadway song with sheet music or CD is needed. Auditionees will be requested to read from the script/and do a small dance combination. Carpooling is available.