Additional Information
Book Details
Abstract
John Newman invites teachers to take their students on a playwriting voyage in Playwriting in Schools. The book examines why students who learn to write plays and work with a professional playwright in residence empower themselves and how teachers can teach the process of playwriting to make space for the student voice. Playwriting in Schools investigates how adult teachers and playwrights use playwriting as a strategy for student self-expression through two main approaches. One approach is the creation of fully-developed plays written either by individual students taught by teachers or through interactions between a team of students and a teacher-playwright. The other approach is developing plays through collaborations between professional playwrights, teachers and student actors, crafting new plays in ways that suit the needs, interests and learning of young people. Throughout, John and the teachers and playwrights he features express themselves with an artistic generosity that encourages us to widen the scope of our own programs by introducing students to the vast ocean of playwriting and play development.
John Newman is an associate professor of theatre at Utah Valley Universityand director of the UVU Theatre for Youth and Education Center.
Table of Contents
Section Title | Page | Action | Price |
---|---|---|---|
Cover | Cover | ||
Half Title | i | ||
Title | iii | ||
Copyright | iv | ||
Contents | vii | ||
Credits | xiii | ||
Acknowledgments | xv | ||
Foreword | xvii | ||
Introduction: Navigating the Theatre Curriculum with Playwriting | 1 | ||
Part I: The Practical Navigator – Charts, Tools, and Dynamics | 11 | ||
Chapter 1: Phases of Playwriting | 15 | ||
1. Preparation | 17 | ||
2. Generation | 18 | ||
3. Experimentation | 18 | ||
4. Determination | 19 | ||
5. Clarification | 20 | ||
6. Exhibition | 21 | ||
7. Examination | 22 | ||
8. Production | 22 | ||
9. Evaluation | 22 | ||
Mapping devised theatre | 23 | ||
Chapter 2: Generating and Workshopping Scripts | 25 | ||
Preparing students | 27 | ||
Grounding students in dramatic theory | 27 | ||
Reading and analyzing plays as a class | 32 | ||
Partnering with creative writing teachers | 33 | ||
Introducing students to professional playwrights | 33 | ||
Generating material | 34 | ||
Visual image prompting | 34 | ||
Rapid-fire prompting | 35 | ||
Card prompting | 35 | ||
Interviewing | 36 | ||
Winnowing and drafting | 37 | ||
Experimenting with possibilities | 37 | ||
Classroom readings of initial drafts | 37 | ||
Descriptive feedback | 38 | ||
Variation drafts | 39 | ||
World-building | 40 | ||
Determining the center | 41 | ||
Mural-making | 41 | ||
Character tableau | 42 | ||
Role-on-the-wall | 42 | ||
Clarifying text | 43 | ||
Question selection | 43 | ||
Draft-tracking | 44 | ||
Chapter 3: Presenting and Premiering Plays | 45 | ||
Exhibiting scripts | 47 | ||
Theoretical designs | 47 | ||
Staged readings | 48 | ||
Examining text | 50 | ||
Written responses | 50 | ||
Post-reading discussions | 51 | ||
Day-after responses | 52 | ||
In-the-moment responses | 54 | ||
Producing new plays | 54 | ||
Premiere productions | 54 | ||
Actor interviews | 55 | ||
Subsequent productions | 56 | ||
Evaluating product and process | 56 | ||
Chapter 4: Employing the Tarot Card Model | 59 | ||
The Tarot card model and exercise by Suzan Zeder | 62 | ||
Why Tarot? | 63 | ||
Leading the exercise | 63 | ||
Creating the cards | 64 | ||
Laying out the cards | 67 | ||
Reading the cards | 70 | ||
What the Tarot does | 72 | ||
What the Tarot does not do | 73 | ||
How to use the Tarot to develop plays in schools | 73 | ||
Part II: Ports of Call – Learning Environments for Student Playwriting | 77 | ||
Chapter 5: School Productions of Student-Written Plays | 81 | ||
Collaborating with creative writing classes | 83 | ||
Mentoring student directors and producers | 86 | ||
Involving student playwrights in rehearsal | 90 | ||
Sounding off: Teacher-advisors at East High School | 92 | ||
Chapter 6: Developing Plays through Playwriting Contests | 95 | ||
Developing plays through Thespian Playworks | 97 | ||
Pre-workshop development | 99 | ||
Collaborative casting | 99 | ||
Role of the adult dramaturg | 100 | ||
Role of the adult director | 103 | ||
Theoretical designs | 104 | ||
Publication of student-written plays | 105 | ||
Developing plays through Young Playwrights for Change | 105 | ||
Written feedback | 106 | ||
Mentoring by adult playwrights | 107 | ||
Staged readings and performances | 107 | ||
Sounding off: Middle school playwrights | 108 | ||
Chapter 7: Team-Playwriting with Students | 111 | ||
Playwriting teams at Le Jardin Academy | 113 | ||
Preparing student playwrights | 114 | ||
Leading playwriting teams | 115 | ||
Sounding off: Students on a playwriting team | 117 | ||
Team-playwriting at Middleton High School | 120 | ||
Chapter 8: Playwriting-Centered Drama Programs | 123 | ||
Friends Academy: A community of equals | 125 | ||
An inclusive production season | 126 | ||
A vertical playwriting curriculum | 128 | ||
Sounding off: Graduates of a playwriting-centered curriculum | 131 | ||
Cleveland School of the Arts: A constellation of voices | 132 | ||
A collaborating literature teacher | 134 | ||
Playwriting-centered drama cohorts | 135 | ||
Second draft strategies | 137 | ||
A repertory of non-traditional productions | 140 | ||
A festival of new works | 141 | ||
Part III: Apprentice to a Playwright – Modeling Playwriting in School Residencies | 143 | ||
Chapter 9: Preparations for a School Residency | 149 | ||
Preparing for the voyage | 151 | ||
Finding the playwright | 151 | ||
Finding the school | 152 | ||
Forging the agreement | 153 | ||
Financing the venture | 154 | ||
Manning the ship | 155 | ||
The teacher-director | 155 | ||
The teacher-director’s other hats | 156 | ||
The playwright | 157 | ||
Student actors | 158 | ||
Student dramaturgs | 158 | ||
Student designers | 159 | ||
Expert student participants | 159 | ||
Building bridges: Sharing power in play development | 159 | ||
Chapter 10: Playwright Residencies at Highland High School | 163 | ||
The ARK 5 Project | 165 | ||
Development residency at Highland High School | 166 | ||
Premiere production at Highland High School | 168 | ||
Second production at Middleton High School | 168 | ||
Mounting second productions | 169 | ||
Developing novel adaptations | 172 | ||
Developing a musical | 174 | ||
Facilitating playwright residencies in schools | 176 | ||
Mounting plays by the teacher-director and students | 176 | ||
Addressing technical challenges | 178 | ||
Employing guest directors | 178 | ||
Reading additional plays by the guest playwright | 179 | ||
Letting the playwright process the presentation | 179 | ||
Acting with students to experience the text | 180 | ||
Sounding off: Student actors in new plays | 181 | ||
Chapter 11: Playwright Residencies at Other Secondary Schools | 183 | ||
Playwrights In Our Schools residencies at DaVinci Academy | 185 | ||
The residency for Escape from the Labyrinth by playwright Ric Averill | 187 | ||
Itinerary of a school residency | 189 | ||
The residency for Max Bush’s What Remains | 190 | ||
Components of Playwrights In Our Schools residencies | 193 | ||
Student preparation | 193 | ||
Pre-residency development | 194 | ||
Workshop exploration | 194 | ||
Theoretical designs | 194 | ||
Classroom visits | 196 | ||
Mentorship of student playwrights | 196 | ||
Informal interactions | 197 | ||
Staged readings | 197 | ||
Post-reading discussions | 198 | ||
Chapter 12: Playwright Residencies and Visits at Primary Schools | 201 | ||
Developing When She Had Wings with Lucy School students by playwright Suzan Zeder | 203 | ||
Engaging with children in research | 204 | ||
Discussing the script with children | 206 | ||
Exploring design possibilities | 207 | ||
Finding an alternate title | 207 | ||
Involving children in rehearsal and production | 208 | ||
Child learning in the script development of When She Had Wings | 209 | ||
Project-based, arts integrated learning | 210 | ||
Social skills development | 212 | ||
Seeking clarity and dealing with ambiguity | 213 | ||
Validating children’s perspectives | 213 | ||
Design collaboration with children for When She Had Wings | 214 | ||
Confronting limitations creatively | 216 | ||
Balancing child perspectives with adult expertise | 217 | ||
Emulating the “Wings Project” | 217 | ||
Playwright classroom visits for Lily Plants a Garden with the Bonderman Symposium | 218 | ||
Epilogue: Embarking on Your Voyage of Discovery | 223 | ||
Appendix: Books on teaching playwriting | 225 | ||
Books on play development | 227 | ||
Books on devising theatre | 228 | ||
Online resources | 229 | ||
References | 231 | ||
Biographies | 239 | ||
Index | 241 | ||
Back Cover | Back Cover |