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Louis E. Catron THE ELEMENTS OF PLAYWRITING

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Grad: Novi Sad,
Novi Sad
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H.C.E (5808)

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Godina izdanja: Ostalo
ISBN: Ostalo
Jezik: Engleski
Autor: Strani
Vrsta: Teorija književnosti

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Louis Catron imbued experienced and fledgling playwrights with inspiration, guidance, and a passport to maximizing their writing skills as well as their overall ability to transform written words into a stage production. He understood that being a playwright is more than putting pen to paper. It involves expressing a personal point of view, bringing a vision to life, developing dimensional characters, structuring a play’s action, and finding producers, directors, and actors to bring the work to life.



Table of Contents
1. Being a Playwright
Being a Playwright Means Appreciating Your Ancestry / Being a Playwright Starts with Knowing Who You Are / Being a Playwright Means Studying People / Being a Playwright Involves a Sense of Construction; Being a Playwright Involves a Sense of Discovery / Being a Playwright Means Writing Stageworthy Plays, Not `Closet Dramas` / Being a Playwright Means Understanding, Using, Modifying, and Challenging Accepted Principles and Guidelines of Drama / Being a Playwright Means Writing, Writing, and Writing / Special Advantages of Being a Playwright

2. What Makes a Play?
A Play Is Not a Novel / Plays Require Conflict / Selectivity: Drama Is an Interpretation of Life, Not Real Life / Plays Are Complete in Themselves / Plays Have a Beginning, Middle, and End / Avoid Cinematic Writing / Dramatic Action Must Be Possible, Plausible, and Probable / Plays Are Entertainment / Plays Communicate with Emotions / Plays Communicate to the Imagination / Unities of Time, Place, and Action / The Fourth (and Most Important) Unity: Playwright`s Purpose

3. The Size of Your Canvas: Monodramas, One-Acts, and Full-Length Plays
Determining the Size of Your Canvas / The Monodrama / The One-Act Play / The Full-Length Play / Thinking of Audiences and Types of Theatres for Your Play

4. Where Do You Start?: Turning Your Vision into Plays
Sources of Plays: Germinal Images / Working with Your Germinal Images / Fleshing Out Germinal Images / Developing Your Idea`s Theatrical Potential

5. Building Plot: Shaping Your Play`s Action
Three Basic Divisions of Plot / Part One: Beginning—Introductory Materials / Part Two: Middle—The Play`s Struggles and Action / Part Three: Ending—A Sense of Finality / A Twenty-First-Century Plot Sample

6. Creating Characters: People in Action to Achieve Their Goals
Writing Effective Characters / Forces That Shape Us. Forces That Shape Our Characters / Sources for Theatrical Characters / Necessary Characters for Your Play / The Protagonist / The Antagonist / Secondary Characters Serve the Play / Creating Theatrical Characters / Deciding How Many Characters You Need in Your Play

7. Constructing Dialogue: Action through Words
Dialogue Is Verbal Action / Theatrical Dialogue Differs from Other Forms of Writing / The Playwright`s Goals / Acquiring an Ear for Dialogue / Communicating Basic Details / Techniques of Writing Dialogue / Principles of Structural Emphasis / Special Aspects of Dialogue: Imagery and Poetry, Monologues and Soliloquies / Dangers to Avoid / Working with Actors and Directors

8. Laying the Groundwork for Production Elements
Production Elements for Playwright Consideration / Insuring Theatricality / Danger Areas / Understanding Stage Directions / Writing Like a Theatre Practitioner

9. Evaluating and Revising Your Play
The Revision Process for All Writers / Working Alone to Revise Your Play / Working with Others to Revise Your Play / A Checklist of Questions to Consider at Each Step of Revision

10. Script Format: Typing Your Script for Producers and Directors
General Guidelines / Specific Guidelines for the Playscript / Preliminary Pages / The Script Itself / Script-Writing Software / Sample Pages from a Script / Mailing Your Script

11. Resources for the Playwright
Organizations for Playwrights / Copyright / Literary Agents / Contests, Workshops, and Conferences / Productions / Conclusion

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Predmet: 75928441
Odlično stanje

Retko!


Pisanje drame

sadržaj možete videti na slikama

Louis Catron imbued experienced and fledgling playwrights with inspiration, guidance, and a passport to maximizing their writing skills as well as their overall ability to transform written words into a stage production. He understood that being a playwright is more than putting pen to paper. It involves expressing a personal point of view, bringing a vision to life, developing dimensional characters, structuring a play’s action, and finding producers, directors, and actors to bring the work to life.



Table of Contents
1. Being a Playwright
Being a Playwright Means Appreciating Your Ancestry / Being a Playwright Starts with Knowing Who You Are / Being a Playwright Means Studying People / Being a Playwright Involves a Sense of Construction; Being a Playwright Involves a Sense of Discovery / Being a Playwright Means Writing Stageworthy Plays, Not `Closet Dramas` / Being a Playwright Means Understanding, Using, Modifying, and Challenging Accepted Principles and Guidelines of Drama / Being a Playwright Means Writing, Writing, and Writing / Special Advantages of Being a Playwright

2. What Makes a Play?
A Play Is Not a Novel / Plays Require Conflict / Selectivity: Drama Is an Interpretation of Life, Not Real Life / Plays Are Complete in Themselves / Plays Have a Beginning, Middle, and End / Avoid Cinematic Writing / Dramatic Action Must Be Possible, Plausible, and Probable / Plays Are Entertainment / Plays Communicate with Emotions / Plays Communicate to the Imagination / Unities of Time, Place, and Action / The Fourth (and Most Important) Unity: Playwright`s Purpose

3. The Size of Your Canvas: Monodramas, One-Acts, and Full-Length Plays
Determining the Size of Your Canvas / The Monodrama / The One-Act Play / The Full-Length Play / Thinking of Audiences and Types of Theatres for Your Play

4. Where Do You Start?: Turning Your Vision into Plays
Sources of Plays: Germinal Images / Working with Your Germinal Images / Fleshing Out Germinal Images / Developing Your Idea`s Theatrical Potential

5. Building Plot: Shaping Your Play`s Action
Three Basic Divisions of Plot / Part One: Beginning—Introductory Materials / Part Two: Middle—The Play`s Struggles and Action / Part Three: Ending—A Sense of Finality / A Twenty-First-Century Plot Sample

6. Creating Characters: People in Action to Achieve Their Goals
Writing Effective Characters / Forces That Shape Us. Forces That Shape Our Characters / Sources for Theatrical Characters / Necessary Characters for Your Play / The Protagonist / The Antagonist / Secondary Characters Serve the Play / Creating Theatrical Characters / Deciding How Many Characters You Need in Your Play

7. Constructing Dialogue: Action through Words
Dialogue Is Verbal Action / Theatrical Dialogue Differs from Other Forms of Writing / The Playwright`s Goals / Acquiring an Ear for Dialogue / Communicating Basic Details / Techniques of Writing Dialogue / Principles of Structural Emphasis / Special Aspects of Dialogue: Imagery and Poetry, Monologues and Soliloquies / Dangers to Avoid / Working with Actors and Directors

8. Laying the Groundwork for Production Elements
Production Elements for Playwright Consideration / Insuring Theatricality / Danger Areas / Understanding Stage Directions / Writing Like a Theatre Practitioner

9. Evaluating and Revising Your Play
The Revision Process for All Writers / Working Alone to Revise Your Play / Working with Others to Revise Your Play / A Checklist of Questions to Consider at Each Step of Revision

10. Script Format: Typing Your Script for Producers and Directors
General Guidelines / Specific Guidelines for the Playscript / Preliminary Pages / The Script Itself / Script-Writing Software / Sample Pages from a Script / Mailing Your Script

11. Resources for the Playwright
Organizations for Playwrights / Copyright / Literary Agents / Contests, Workshops, and Conferences / Productions / Conclusion

dramaturgija teorija književnosti drame kako napisati dramu saveti scenario 75928441 Louis E. Catron THE ELEMENTS OF PLAYWRITING

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