Ubu, Absurd plays and the theater of today

Just finished reading the three Ubu plays, by Alfred Jarry. If the name doesn't ring a bell, suffice it to say that they are very weird experimental French plays from the late 19th century, commonly acknowledged as precursors to Dada, Surrealism, the Theater of Cruelty and the Theater of Absurd (Beckett, Genet, Ionesco, Pinter, etc). For those interested in pursuing non-realistic styles, I'd say it's mandatory reading. The translation I read was pretty funny, too.

But the reason I'm bringing them up here is an intriguing bit of information I found in the entry for Theater of the Absurd at the French Literature Companion:

Absurdism helped to liberate playwrights from outmoded conventions, and gave rise to some powerful theatrical metaphors. Beckett's image of two tramps waiting beside a tree in a barren landscape became a universal icon of futile existence. But its nihilism represented a philosophical impasse. Moreover, it was the last theatrical avant-garde led by writers. After 1960 original dramatic writing fell into decline and directors took the initiative.
(the last paragraph in the entry)

I have felt for some years now that current theater has more emphasis on production than on text, with a predominance of radical re-readings of classics and collaborative experimental group creations. I don't think it's necessarily good or bad, it's just a current trend. But I do have the feeling that the big names of playwriting nowadays are not as big as their counterparts from a couple of decades ago -- think of, say, Tom Stoppard, Sam Shepard, John Patrick Shanley or any of the Pulitzer-winning playwrights of the last ten years. They're not doing bad by any accounts, but they're not the big kahunas Beckett and Pinter were in their time, are they?

That does give me a couple of things to be concerned about: on a very practical level, of course, what kind of succe$$ beginners like us can look up to in the current theater scene/industry, but also what it means to write plays at a time when production shines brighter -- and what kind of writing is more likely to move and captivate audiences in this context.

Am I the only one seeing this trend? (I can't deny I'd be a little comforted if someone told me it's all in my head.) Do you have any feelings about this trend and your own writing, and whether you should bear it in mind at all when writing (and how)?

Just wondering

  I just wanted to throw this out there.  Do you guys ever write scenes out of order?  I'm not talking about writing a play with a different use of time, jut writing scenes when you feel like writing each one then going back and arranging them sequentially?  Does this bring up continuity issues or screw up the flow of the play?  

For all you Scifi/Fantasy/Horror writers!

I just heard about this site called Critters.org, it's a community of writers who read each other's work and critique it.

This comes from their FAQ page:

"We'll look at anything science fiction, fantasy, or horror related, in whatever form -- plays, screen plays, poetry, whatever. We've had them all. Even novel query letters & synopses you might send to editors are fine. Not as many members work outside of the short story or novel form, so review rates may be lower, but they're absolutely welcome."

How not to write: "The Waverly Gallery"

In keeping with the spirit of using this blog as an extended forum for us to continue our exchange of ideas and feedback as we work to advance our writing careers, I'd like to share with you something that is not as easy to come by as one would logically think: a bad example.

I've just finished reading Kenneth Lonergan's The Waverly Gallery, a 1999 play about a family trying to cope with a grandmother's advancing Alzheimer's disease. Remember all those rules and guidelines we studied during the semester? You won't find any of them in it.

No want, no transformation, plenty of filler in the dialogues, answered questions and stated emotions. Nothing happens -- and not in any avant-garde Beckett way, either. I can't even tell you who the protagonist is supposed to be: the Alzheimer-stricken grandmother who's supposed to be the focus of it is pushed around the whole play as she mumbles incoherently, her daughter who seems to call the shots of the family doesn't bring about much change or asserts herself in any sort of power structure, and her grandson does little more than bitch about a failing romantic relationship (which we never see onstage), though for some reason he gets to speak to the audience in introductory soliloquies to a few scenes. His father, to boot, is one of those characters that could be removed entirely and not be missed at all.

"Gee, Celso, with that subject matter, what did you expect?" Good point. I looked for this play because its author is one of the screenwriters of Analyze This, which I find an excellent example of a good screenplay, with fresh comedy and engrossing characters that bring about a perfect balance of laughter and seriousness. Seems like I should look for stuff by the other screenwriters.

It's easy to find timeless classics by celebrated authors that we're all supposed to idolize and learn from. But if you ever find yourself in need of a negative example to put the good stuff in perspective, look no further: run through The Waverly Gallery with a checklist, and by the time you're done you'll have finished an intensive crash course on what to avoid in writing.

You Guys are Wonderful

Guys,
I can't tell you how much I enjoyed all of you this semester, and how much I'm enjoying your portfolios. Do you have any idea how much writing you did? A ton. You've got a lot of great work to go back and take further.

I encourage you to post those things you've learned this semester, so as not to forget them. And anything else worth posting. Here's something to get you started:

http://www.latimes.com/entertainment/news/arts/la-ca-theresa-rebeck29-2009mar29,0,6152400.story

Thanks group!

So, after today's feedback, I know exactly what to do. I've realized that I want to tell my story more than I want to show spectacle. Everyone who has read my play, it's a musical that explains a love story between two men in 1930's France. I feel like I need to return to that before I consider anything else. Thanks group!

New Play Creation with Kirk Lynn

Take this class! :)

Fall 2009 class detail

26142
MW
1230 to 200p
WIN 2.180
LYNN, KIRK E

open; restricted

T D 357T NEW PLAY CREATN: CONC-REHRSL-W

PREREQUISITE: UPPER-DIVISION STANDING AND CONSENT OF INSTRUCTOR.

CONTAINS A SUBSTANTIAL WRITING COMPONENT AND FULFILLS PART OF THE BASIC EDUCATION REQUIREMENT IN WRITING. COURSE NUMBER MAY BE REPEATED FOR CREDIT WHEN THE TOPICS VARY.

TOPIC DESCRIPTION: TECHNIQUES FOR BRAINSTORMING, MIND-MAPPING, RESEARCHI NG, SYNTHESIZING, PERFORMING DRAMATURGY, QUESTIONING PERFORMANCE, AND PR ACTICING INQUIRY. FOCUSES ON CREATION OF "THE GINGERBREAD MAN" BY KIRK L YNN AND DIRECTED BY KATIE PEARL. STUDENTS WILL BE INVITED TO PARTICIPATE IN STAGED PERFORMANCE IN THE SPRING SEMESTER. ACADEMIC WRITING WILL INC LUDE DRAMATURGICAL RESEARCH AND ANALYSIS, AND SELF-REFLECTIVE RESPONSES TO IN-CLASS WORKSHOPS AND READINGS.

MEETS WITH T D 387D.

Making Mickey More Lovable

When I decided I was finished with my play and ready to have it reviewed by the group, I was excited because I liked it a lot. I was ready to hear about what other people's reactions would be. Before my group meeting, there were several problems (particularly concerning how the audience perceives my protagonist) that I had not realized. The way that I was previosely launching my main character into the event that my play is based on was causing the audience to view Mickey as immature and selfish, when I want it to seem like a risky but necessary thing. I just made Isabel a little less against it to achieve that. The comments that I got seemed so obvious and smart, and I couldn't believe I hadn't realized them before. When trying to incorporate these ideas into my play, I didn't want to completely erase scenes and start over, so instead I went through each of my lines and changed it so that it would fit the new content (the content to make Mickey a likable guy and instill audience trust in him). I also tried to add more of Tracy at the end and solidify the "hitting on Mickey" bit. Before I turn it into Jenny, I think it would be appropriate to mention more about the baby throughout, and really develop that aspect. I could possibly show Mickey's progression (how he changes) through that.

workshopping and aristotle...

Well... I haven't checked the syllabus, but it feels like it's probably time to write another blog post. Most likely, I missed the last one from neglecting to check the schedule, and if so... so sorry Jenny! End of semester lack of diligence...

So... I am really looking forward to tomorrow's workshops, and am also sort of glad that I'm in a group without anyone from the previous group (I really do love all you guys, don't take it personally!) so that they can look at it with fresh eyes. I totally agree with Julia that after doing several drafts, you think each one is great, until you start the next rewrite and change a thousand things, and I for one am losing, as a result, all objectivity (if I ever had it!) On that note... were we supposed to have read everyone's plays by Tuesday? I have yet to get my group's plays, if so... haha you know who you are, guys! :)

And Jenny, I would love to second Julia's rewriting question: How do you know when enough is enough? It seems like everything can be dissected eternally, but if we had eternity to rewrite, nothing would ever be finished! :)

Workshopping Tomorrow

"Activity - the physical thing your character is doing
Action - Physical Activity + Intention
Event - Physical Activity + Intention + The CONTEXT of time and circumstance"

Agreed.  Sorry, Jenny.  No arguments.  This is everything that I was trying to say in class, but couldn't, because I've recently become very inarticulate in a classroom setting.  This is an issue.  

So coming into this week's class, I've completely redone my play.  At least, that's the way it feels to me.  I don't know how legit playwrights do it- it seemed like I slaved over it for the last few days.  And even now, with a TON of cuts and additions and changes and revisions, it still doesn't feel like something I'll ever be able to hand over to someone and say "Okay, it's ready.  Take it and run."  So I guess my question is, how do you know?  Do you ever?  I feel a sense of closure after every draft, then pick it back up and make ten thousand more changes each time.  Does the madness ever end?  Do you just stop when people stop having issues with it (as if they ever will)?  This is also an issue- I don't want to put this into my portfolio and pick it up the day it has been graded, read over it, and think "Jeezaloo (yes, jezz. a. loo.), what was I thinking here?"  I can't believe I'm saying this, but guys?  I'm with Celso this week.  Gloves come off.  Tear it apart.  It's for my own good.  

I'm also REALLY excited to start in small groups tomorrow after getting Sara and Burkard's plays.  After reading Burkard's, I feel like workshops from last week helped everyone (not just me :) and I hadn't had the opportunity to read Sara's since I wasn't in her group- the story is REALLY cool.  Very, "I Never Promised You a Rose Garden"ish.  I like it a lot.  

So yay for tomorrow.

:)

(I, along with Ashley, would also like to know who is taking playwriting II.  It's always cool to see familiar faces.)

Activity, Action, Event

I think this is right, I am modeling it off of Jenny's post. Please correct me if I'm wrong.

Activity - Jenny's parents kiss in the kitchen.

Action - They have their "Tuesday Kitchen Kiss," something they intend on doing every Tuesday.

Event - Jenny's dad rejects her mother for the Tuesday Kitchen Kiss--this would be intentional and have repercussions.

Or...(And this example I am less sure of)

Activity - Jenny walks out the door for the first time. Obviously this is a physical activity. I'm confused though, because this activity could have repercussions and could be intentional. Is this the same as writing "Exit CHARACTER NAME" in a play?

Action - Jenny walks out the door a second time. This is intentional because she repeats the activity to build tension among the students?

Event - Jenny says "I've had enough!" and leaves the room. This is definitely intentional and has repercussions for all.

Activity, Action, Event

Lily, Good Post.
For Posterity's sake (or to start an argument -- go ahead, guys, whatcha got???)

Activity - the physical thing your character is doing
Action - Physical Activity + Intention
Event - Physical Activity + Intention + The CONTEXT of time and circumstance. An action with repercussions.

Jenny wanted me to post the difference we articulated in class between an action and an activity...
ACTIVITY is the physical action that is occurring (teeth brushing)
ACTION is the physical activity plus an objective, a motivation (brushing teeth to avoid cavities..)

Team Beckett #7

Aghhhh! Rewrites! This current round of rewriting is freaking me out because I've basically thrust my story 15 years into the future. Talk about messing with time. I'm excited about how Jenny divided us into our final workshopping groups and I'm looking forward to next week. I hope workshopping with Chibbi, Josh and Lily will really cater to our specific revising/editing questions concerning time. I was also thinking about the timeline Chibbi uses in his play. More specifically, the order of his scenes. And I like the fact that he started his play with the last scene of the story. There are gun shots and two of the main characters die. I was wondering if something like that would work well with my play. Because in my last scene, there is a murder and one of the main characters dies. Some of my peers thought that type of violence was too abrupt. So I was thinking about showing it first and working my way backward. I know that I will still need to set it up properly and justify the scene. But I like the idea of getting it out there from the get-go. Any thoughts?

P.S. Is anyone taking Playwriting II with Kirk next semester? Besides me and Julia, of course. :)

1 is the loneliest number, but 4 sucks

In my entire rewriting/writing process, I've had a lot of trouble simply because my play has four central characters. While that alone adds a challenge enough, to have their paths all intersect really cakes on the challenge. My question is, is anyone else finding themselves in that sort of situation and if so how are you dealing with it?

I will tell you it has given me a whole new respect for writers whoe are able to pull this off. To take a person from the start to the finish of a story is one thing, to take four a, and fully develop them to make it where anyone cares really requires so much thinking!

This weekend I saw the movie Duplicity. In spite of its all star cast, (Leading with Clive Owen and Julia Roberts) it has not done so well in the box office. For those who havn't heard about it, it is a story of two corporate spies who are lovers, that are caught up in a gigantic conglomerate deal that could make or break their career, as well as trying to balance their love life.

It sounds like a lot, and it is, however, it was very good movie. Smarter than anything I've seen in a long time. But, this is also its downfall. I felt like I just finished the LSAT because the plot was so overlycomplicated, (from the writer of Michael Clayton, if that gives you a hint) and it litterally wore you out.

But here is the point, to write something like that, with so many characters, and that intricate, is something that is truly bad @ss, but for those of us who can't write Michael Clayton or duplicity, what can we do?

Trying to be ready for tomorrow-

I'm spending a LOT of time getting another revised draft ready for tomorrow, but like Jenny suggested, I might only have 3 pages or so.

BUT if I do only have 3 pages, they will be the most awesome 3 pages ever.  

Actually, they'll be the 3 pages that need the most work.

Can't win.

Just a heads up.

:)

Amber's Taboo

I'm not sure what the time manipulation strategy is called, but I refer to it as The Fried Green Tomatoes technique.  I like this strategy in this play.  It makes it more interesting than if it were a straight through narrative, I think. 

You introduce a lot of characters in scene 2 that seem unnecessary.  This is kind of confusing when I first read the play and was trying to figure out who was who and where they fit into everything.  I can see the purpose of Sarah in how she pops up later on, but not much with the other characters.  Why do we need to see Sam and Christina?

You don't differentiate between the scene with Julie and Carlie and the scene in the present with Julie and Amerie.  There is a blackout in between, so there should be a new scene.  When you switch back and forth between time, it helps to clarify things for the reader with a definite scene change.

I liked the flow of the dialogue and the structure of the scenes except for Julie's monologue at the top of scene 4.  Lots of what she says seems too blatant, like she's speaking some subtext aloud.  Maybe there are ways you can show these things without her having to say them outright. 

What's with Amerie and her guy?  You introduce some issues and they are never really explained or anything.

I wasn't sure at the end of act 1 whether or not Carlie died, was this intentional?

Is the ethereal voice that tries to get Julie not to take the pills Carlie?

I liked the resolve Julie has at the end.  The fact that she made it through.  

Bryan's Mickey

I took notes during class, listening to the discussion of Bryan's play.  I remembered one comment, that his play was reminiscent of Willy Wonka and the Chocolate Factory, which I forgot about until I got to the last pages of the play.  Then I realized that that was a very spot on comparison.  I like the setup of this and the whole Willy Wonka premise, the surprise tests to sees who is the best fit and all that.  I think you can really expand upon this.  

Maybe you could show little scenes of Dewey and Maverick before the audition.  That way we can get more of a backstory to these guys.  At this point they seem pretty one dimensional, with Maverick being the antagonist to the good guy Mickey.  Seeing more of them at the beginning will help build the story and raise the stakes for these two characters, as well as divert the attention from Mickey so that we don't suspect he gets the part at the end.  Even if you want to keep Maverick as a straight antagonistic figure, you could make us dislike him before the audition.

I was wondering about the significance of scene 3 ending with the three men delivering the monologue in unison?  Repeating such a long monologue, and with overlapping voices, at the end of the scene seems such a big move and I can't decipher it.

I was confused about the layout of the audition room.  I thought it said it was one big room and the receptionist and the other people auditioning are on the other side.  So can they hear what's going on over there?  Is it split stage?  

Maybe Maverick can dig himself a deeper hole and make more of an ass of himself before Mr. Baron jumps in to end it.  Build it up more for a bigger payoff.  

I also thought the snickering of Mr. Baron and Tracy during Maverick's audition gave away too much too soon.  

This is a quick monologue I wrote - ROUGH! - after going to a baseball game yesterday. I am still very alarmed by college sports. Call it one thing that I haven't adjusted to yet. I'd appreciate any feedback any has time to give!

What would your song be? I mean, every single baseball player has one, every single one. How on earth do they ever decide? It’s an impossible decision. Imagine it. You make it through high school as the star player, and get your scholarship to play baseball in college (yay). It’s your freshman year, you’re caught up in the glamorous grunge and independence of college life, parties (yay) girls (yay) sports (double yay). But at the same time, it’s a lot of pressure: to impress, to aspire, to achieve, to hit balls really hard and catch them when nobody else can, send your body twisting in opposing directions at ludicrous speeds to smack a ball, throw yourself with no, or very little, regard for your safety and well being at a red and white bullet while people cheer and boo if you miss. And that’s when they’re feeling generous. You have all this going on around you. It’s blinding, intoxicating, gut0churning. And some Assistant to the Assistant Assistant Coach comes up to you in the middle of this tornado that has become your life and says, “Hey, buddy, by the way, what’s your theme song?” What the fuck. 

Writing is rewriting, then rewriting the rewrites...

Is it just me or is anyone kinda overwhelmed going into draft two of their long play?  I was afraid to look at all the notes because I want to make so many edits and I find the task extremely daunting, lurking like the Sword of Damocles.  There's so much I want to cut or embellish, the possibilities are overwhelming me somewhat.  I'm having a hard time trying to jump back into it and pick up on a scene in the middle of the play and just play around with it.

I think what I'm going to do is separate my scenes and save them all as separate files so I can see them alone and focus on editing and rewriting one scene at a time.  I always want to conquer the entire script at once and I think that is why I have been so intimidated to do my rewrites.  If I approach it like the short plays at the beginning of the semester and just take it one bit at a time I think it will chug along fine.

Are there any successful tips or strategies for rewrites that have been particularly helpful to you guys?