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Playwriting in Schools

Playwriting in Schools

John Newman

(2018)

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
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