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    Writing for Stage and Screen: Creating a Perception Shift in the Audience

    Writing for Stage and Screen by Kramer, Sherry;

    Creating a Perception Shift in the Audience

    Sorozatcím: Introductions to Theatre;

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    Hosszú leírás:

    " Reading and digesting the lessons in this book can be of greater value to an aspiring dramatist than years in an MFA program. Whether you are writing for the stage, screen or audio, this book is an invaluable teacher and guide to have by your side throughout the development and revision process."
    Frances Ya-Chu Cowhig

    "This book does what no other playwriting book in my experience has done, it offers a new way of seeing and conceiving how theatre makes meaning and carries emotional impact in performance."
    Suzan Zeder, Professor Emerita and former Head Of Playwriting at University of Texas at Austin, USA

    Combining a step-by-step analysis of the technique of writing for stage and screen with how the mystery, poetry, and emotional momentum is achieved for the audience, Sherry Kramer offers an empowering, original guide for emerging and established writers.

    In this structured look at the way audience members progress through a work in real time, Sherry Kramer uses plain-spoken vocabulary to help you discover how to make work that will mean more to your audiences. By using examples drawn from plays, film, and streaming series, ranging from A Streetcar Named Desire to Fleabag to Pirates of the Caribbean, this study makes its concepts accessible to a wide range of artists who work in timebound art. The book also features multiple exercises, developed with MFA writers in The Iowa Playwrights Workshop and The Michener Center for Writers, where Kramer taught for the past 25 years, which provide entrance points to help you consider and create your work.

    Több

    Tartalomjegyzék:

    List of Illustrations

    1. Works of Art Teach Us How to Read Them
    First We Must Find a Way to See The World in Front of Us
    There is an Old Saying in the Theatre: The First 20 Minutes Are Free
    A Closer Look at The First 20 Minutes
    Some Advice About the First 20 Minutes
    Tone
    There is Always a Clock
    EXERCISE: Spend Some Time With Structured Time
    Attention

    2. The Perception Shift
    Insight: The Eureka Moment
    Attention and Insight
    The Power of a Moment's Newness
    How Newness Drives Insight
    A Joke is a Small Play
    The Perception Shift in Three Plays: Who's Afraid of Virginia Woolf?, The Beauty Queen of Leenane, A Streetcar Named Desire
    EXERCISE: Experience a Small Perception Shift in the Comfort of Your Own Home
    Hiding in Plain Sight

    3. Theatre Is a Rhyme For Life
    Certainty, Meaning, and Maybe
    Dramatic Doubleness
    The Bone Violin
    The Bone Violin: A Fugue for Five Actors
    EXERCISE: Track Doubling in The Bone Violin
    Doubleness is Our Most Elegant Tool
    The Three Surfaces of Doubleness in Three Plays : A Streetcar Named Desire, Betrayal, The Beauty Queen of Leenane
    Systems
    EXERCISE: Pleats
    Systems and Theme
    EXERCISE: Tracking Systems In A Streetcar Named Desire
    The Ends of Plays Tend to Mirror Their Beginnings
    Empathy and Doubleness

    4. Story and Plot
    Sequence = Meaning
    EXERCISE: Order Makes Meaning
    Breadcrumbs
    Story Is Another Word for Time
    How the Plot Organizes Itself Outside of Story
    Futurity
    The Double Track of Time (Non-linear plays)
    Plot and Story are Two Different Things
    Anti-Climax
    EXERCISE: How Your Plot Uses Story
    Conveniences
    To Sum Up Story and Plot
    So Here We are, Ready to Talk About the Enchantment That Is Story
    Vertical and Horizontal
    Vertical vs. Horizontal
    EXERCISE: Draw Two Sets

    5. Choice and Consequence
    Why Choice Matters to the Audience
    The God Who Loves You - Carl Dennis
    EXERCISE: Tracking Character Desire
    The And Then, The So Then, and The What If
    EXERCISE: The And Then, The So Then
    Repeatability
    WRITING EXERCISE: A Five Minute Scene About Choice
    Choice vs. Reveal
    WRITING EXERCISE: Adapt A Family Story
    Alternative History
    WRITING EXERCISE: An Alternative History Play
    Choice and Tragedy
    A Tragedy is like Going Down a River
    There are Two Forks of the River
    The Sun has to Shine
    Breaking Bad
    Right vs. Right
    Tragedy is the Art Form of Change
    Tragedy is Made Out of Hope
    Hope as Strategy
    WRITING EXERCISE: The Nodes
    Tragedy is a Clash of Values
    What is it Worth? vs. What does it Mean?
    In-Itself Value and the Evolution of the Art Form
    Tragedy Is Not Simply Sad
    Why Do We Take Pleasure in Tragedy
    Characters Don't Change No Matter How Much They Want To. No Matter How Much We Hope They Will.
    In Comedy, People Change
    It's a Form of Magic
    The Magic of Changing Without Changing
    EXERCISE: Find Comedies Where People Change
    But it Feels Like Someone Changes in Plays That Aren't Comedies.
    Are You Sure Someone Doesn't Change?
    But If People Can't Change How Do We Change?
    WRITING EXERCISE: Write Three Monologues About the Same Choice from Three Different Character's Point of View

    6. In Retrospect, Inevitable
    In Retrospect Inevitable Outcomes
    Not In Retrospect Inevitable Outcomes
    EXERCISE: Write the Last Moment of Your Play As a Sonnet
    Pointers
    Pointers are Lies that Tell the Truth
    The Attributes of Pointers: Systems and Pointers, Forwards and Pointers
    How Pointers Announce Themselves
    How to Write Pointers On Purpose
    The Atomic Throw Is an Uncertain Kitchen
    Foreshadowing and Misdirection
    Titles
    EXERCISE: Finding Your Title
    Running Gags
    A Play Tells the Truth, But It Enjoys Using a Lie To Tell It
    EXERCISE: Lies
    Spoilers
    EXERCISE: Identifying Pointers
    EXERCISE: Identify Pointers In Your Own Play

    7. Convergence
    It's Never a Single Moment
    EXERCISE: The End and The Beginning
    Is Saying That Convergence is Everywhere in A Great Work of Timebound Art The Same Thing as Saying That a Great Work of Timebound Art is All Convergence?
    To Be Human Is To Confuse a Satisfying Story With a Meaningful One
    EXERCISE: Noticing Perception Shifts
    The Turn
    The Prestige
    Reveal and Choice
    Enlarging the Idea of Dramatic Event
    EXERCISE: The Dramatic Future
    The Difference Between What Happens on Stage and What Happens in the Audience
    EXERCISE: The Last 45 Seconds Again. Endings as Different Genres
    Why a Perception Shift Makes Things Weightless
    How Coincidence is a Form of Rhyme
    Open Endings
    Mysteries are Almost All Writers' Favorite Genre for a Reason
    A Small Play To Fill Us With Wonder
    Structure is Just What Happens in the End
    EXERCISE: Adapt the Climax/Convergence of a Song
    Hope is at the Heart of Everything in the Theatre
    EXERCISE: Tracking Hope
    Once Again: The Duck Rabbit

    Index

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    Writing for Stage and Screen: Creating a Perception Shift in the Audience

    Writing for Stage and Screen: Creating a Perception Shift in the Audience

    Kramer, Sherry;

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