In this section, the class will focus on the study of existing drama. Before beginning to write original plays that deal with student interests, they will first have to look at the work of others. While the group writing activity and the use of steps, both in Section I, may have given some ideas about structure, the class now needs to identify the major components of a play. The class will be introduced to various types of plays and will determine the questions each addresses. The sequence of events used by the various authors will help students determine the importance of each scene in the play and the progression from one point to another toward an eventual resolution.
Availability of plays will determine exactly what plays are studied. Any play dealing with childhood problems and/or social issues would be helpful. For this unit, I have selected three one-act plays for study as well as one full length drama. The choices are in no way fixed and the teacher should feel free to substitute as desired. What is important, now that interest has been sparked, is that this interest be kindled through the study of existing drama. The three one-act plays all deal with parent-child relationships. Each is contained in the Washington Square Press edition of the book
15 American One-Act Plays
, which was edited by Paul Kozelka. The three plays are
Red Carnations
by Glenn Hughes,
Feathertop
adapted by Maurice Valency from a story by Nathaniel Hawthorne, and
The Undercurrent
by Fay Ehlert. The authors’ points of view are different and so are their intentions. The first play is a comedy, the second a satiric fantasy, and the third a serious drama.
As each selection is read, the teacher should point out each of the underlined components. The plays open with a description of the
setting
and an indication of the
mood
. Where does the story take place and what
tone
is established before the play begins? How is this achieved? The list of characters may include the way in which they are dressed or important physical characteristics. These notes can give the reader a great deal of insight into how a character thinks and the way in which they will act in a particular situation.
Once the audience is interested in the characters and the setting has been established, a
dramatic situation
is introduced. In
Red Carnations
, a 1925 play, we find that the action takes place in a city park. A boy has arranged to meet a girl he met earlier at a costume party. Both were wearing masks. The meeting will take place on a park bench and she will only know him if he is wearing a red carnation. Many
complications
or
conflicts
develop. A man is also at the park bench, and he too is wearing a red carnation. The man says he is waiting for a girl to meet him. Both the man and the boy have the same name. The girl is late in her arrival and this gives the author an opportunity to develop the scene.
When the girl finally arrives she stands off to the side. Neither the man nor the boy is sure of whom she is there to meet.
Suspense
is an important ingredient in any play. The man convinces the boy to approach the girl and to determine who, in fact, she is there to meet. This suspense leads to the
climax
. The boy does approach her and learns that she is the girl from the party that he was to meet. The man we learn has carried out this deceptive plan to protect the girl, his daughter. The man soon realizes he knows the boy’s family and the three characters leave the park arm in arm on their way to dinner. The
resolution
of the play is complete. There is no doubt that the future will be a happy one. This, as we will see, is not always the case.
In the second play,
Feathertop
, we see a scarecrow come to life through the magical powers of a witch. The newly created young man is sent forth with the advice, “Look wise, ask no questions, and tell no lies.” By doing this, Feathertop is told he can hold his own with anyone. His head is clear of corruption and he can change the world. The author in setting the stage with this
dramatic situation
has a
motive
. The young man is unspoiled. Why has this type of character been developed? What does the author want us to learn in this
satiric fantasy
? Feathertop is soon surprised at how quickly people want to tell him of the corruption of others. He is treated with a great deal of respect and honor by the people he meets simply because he says very little and is willing to listen to the problems of others.
As the play progresses, Feathertop falls in love with the daughter of a corrupt judge. While the judge insists the daughter marry Feathertop, she is in love with another. Feathertop knows she would be happier with her true love and return to the witch without having changed the world. The
resolution
of the play is not entirely unhappy, however. In allowing the young girl to marry her true love, Feathertop has, according to the author, done more good in a short time than many do in their entire lives. While this is not necessarily true, the teacher may wish to introduce the author’s
point of view
. What was he trying to say about people and about life? Fantasy allows the author to discuss serious questions in terms everyone can understand. Various levels of understanding may be introduced at this time, and comparisons may be made to other forms of literature in which this technique is used such as the novel
Animal Farm
.
The final one-act play,
The Undercurrent
, is a serious drama dealing with the problem of parental discipline. Written by a Chicago social worker, the play addresses the question of how to discipline children. The author stresses the importance of good communication between family members and the need for parents to be consistent in their ideas concerning the way in which they will raise their children. Students, in reading this play, should be encouraged to discuss the
point of view
of each character. Why is the father so strict? Is this a form of love? Should the mother be more vocal? Should Anne, the teenage daughter, be more understanding? Does the social worker have any right to become involved in this family problem?
In the play, Anne has run away because of her father’s very strict form of discipline. Her mother does not want Anne’s father to know that she has run away for fear he will become violent. She instead tells him that Anne is working for the social worker at her home. On a weekly visit to her home an angry neighbor tells the father that Anne was arrested for loitering. As the father is about to strike Anne, the social worker and Anne’s mother create a story to cover up the truth. The social worker at the end of this play takes Anne to live with her in the country realizing that the father will not change. Anne’s mother, while unhappy, realizes this is the best solution.
This play offers several topics for discussion and for study. What is good discipline? How much freedom should students have? Can you love your children and be strict at the same time? How important is it for members of the family to communicate and how is this communication established?
The Undercurrent
is a wonderful play in beginning to discuss these very important issues. The questions asked here may very well be transferred to the writing of one-act plays done in Section III of this unit. Each student, if writing this play should be asked if the
resolution
they would use to end the play would have been the same. If not, how would it have differed?
Having read a variety of one-act plays, the class will now read and analyze a full length drama,
A Raisin in the Sun
by Lorraine Hansberry. As with
The Undercurrent
, this too is a serious drama. Unlike
The Undercurrent
, however, which dealt only with parental discipline,
A Raisin in the Sun
looks at a great many social issues and themes. Among these topics discussed are poverty, crime, education, religion, race prejudice, pride, family responsibility, and love. The way in which these themes are introduced give the play a more complex dramatic structure than the one-act plays read previously.
Set in Chicago’s Southside sometime after World War II, the play takes place over a two week period. Unlike the plays studied earlier, this is a play in three acts. The main plot is soon evident. The Younger family, about whom this play is written is about to receive a ten thousand dollar insurance check. Mama, whose husband’s death is the reason for the check, and Walter, her son, disagree on what to do with the money. Walter would like to go into business. Mama wants to buy a house. Ruth, Walter’s wife, Beneatha, his sister and Travis, Walter’s son, are the other players. The interaction between each member of the family has great value in helping students deal with family problems they too may face.
Unlike one-act plays, several sub-plots develop within the play. One sub-plot involves Beneatha. She is dating two men. One, George, is very wealthy and would have her leave her worries for the finer things in life. The other boyfriend is an African nationalist, Asagai, who would have Beneatha move with him to Africa. How this question is introduced and if it is eventually resolved should be traced.
Another sub-plot involves the fact that the house Mama buys in Act II-Scene I is in a predominantly white neighborhood. When Lindner, a white businessman, is sent to buy the house back from the Youngers in Act II-Scene 3 Walter throws him out. Later in Act III, Walter calls him back to accept the offer. Once again, Walter changes his mind and throws him out. Why this progression? The questions of race prejudice as well as family pride are necessary to discuss; so too is the way in which themes such as prejudice, the need for education, and the question of religion are introduced. A vital activity would be to take each scene in the play and to decide why the author included it in the play. What is the purpose of each scene? In the lesson plans which conclude this unit, this activity and others relating to the study of
A Raisin in the Sun
will be provided.
Scenario
Play Title
Writer
Type of Play (Circle one) Comedy Fantasy Serious Drama
Setting (Include year, location, scenery notes)
Mood (The predominant emotion or feeling in the play; may include type of music or lighting to be used)
Characters (Include name, age, physical characteristics, type of dress, feelings about other characters, and any other helpful information such as type of personality or attitude)
Exposition—What is going to happen in the play? What is the cause of each event that happens and what is its effect? What is the eventual outcome of the play? (paragraph form)
Using the above paragraphs show the scenes your play will use to go from the initial conflict to the resolution. Additional notes should be written on a separate sheet of paper as to how you will go from one step to the next.
(figure available in print form)
Satisfied that preparations have been made through the formulation of a scenario, the writer is ready to begin. In the first step, the student, using the plan developed, should describe the setting and indicate the mood of the play through lighting notes, music to be played, and a short exposition. The characters should be described as to age, physical features, and type of dress. The scenario may include other information such as type of language used or favorite expressions, but this is not necessary for the audience in understanding the story. This additional information will become evident through the dialogue.
Once the setting has been described and the audience has the information it will need to understand the play, the dialogue should begin. Like a short story, a one-act play should concentrate on essential elements in understanding the story. The action presented in such plays is usually continuous and the plot relatively simple. Unlike full length plays there in not enough time to develop a complex plot. The one-act play is simply a “slice of life” and very straightforward. The dialogue should be written with the idea of telling the story in a clear manner and using language appropriate for each character.
The steps outlined in the scenario should be consulted in planning the major exchanges which will take place. The writer must determine beforehand what characters will be necessary to complete each exchange and how these characters will get on and off the stage. The words EXIT and ENTER should be used as needed. In addition, stage directions and notes on the way lines should be delivered must be given in parentheses after the name of the speaker and before the dialogue. It is important that the writer quickly introduce the characters, get the audience involved in the situation, and establish the mood of the play. Careful planning is the key to accomplishing these objectives.
As the play progresses, the audience should become aware of the problem or complication and the resulting suspense caused by this problem. Various alternatives and possible solutions should be offered within the dialogue. There are many choices which are possible when we are confronted with a problem and each of these choices has consequences which will differ. The writer should provide the audience with the various alternatives without revealing which choice is made and the result of that decision.
Reading the scripts aloud throughout the writing process will help to clear up awkward or unclear exchanges. It is also an excellent technique to use in showing students how they can help one another both in the writing process and in content. As we are dealing with social questions and attitudes, the situations presented in the various scripts are questions faced by a great number of students. Exchanges between students will help in understanding why the writer chose a particular point of view. There is a great need to discuss common problems as a means of coping with issues which all of the students face in their daily lives.
Once completed, the plays should once again be shared with one another. Discussions between members of the class may lead to final revisions. It also gives needed recognition to the students for the plays they have written and deserve to share. A title page should be written with the name of the play followed by the words, “A One-Act Play by.” Additional notes on the play’s format should be compiled through the study of other works. The final copy should be typed and bound if possible.
Many of the student plays will be suitable for performance. The teacher, together with the class, should make plans to present their work to other classes and parents. While not a necessary outcome of this unit, the presentation of one-act plays written by the students would be magnificent both for the students and for the audience. Too often students are spectators in education rather than active participants. Education is not a passive activity, and drama offers the opportunity to create and to share. It allows us to explore the questions of life which confront us all. Through psycho-drama, students are encouraged to discuss their concerns in a non-threatening environment. Drama may well be the “Guiding Light” in helping “The Young and the Restless.”