By David Rush
David Rush takes starting playwrights in the course of the first draft of a play and deep into the revision strategy. Drawing on examples from such classics as Othello and The Glass Menagerie, Rush offers distinct types for writers to guage their paintings for weaknesses and concentrate on the in-depth improvement in their plays. Rush encourages writers to ensure their performs are transparent and centred. He exhibits tips on how to preserve performs dramatically compelling and gives how you can steer clear of universal error that lead them to boring, complicated, or useless. He then distills the essence of conventional revision into key questions and discusses usually ignored instruments, phrases, and methods that transcend proven tools of assessment. (20100814)
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Extra info for Building Your Play: Theory and Practice for the Beginning Playwright
The only thing he even remotely “does” is fall off the wall, and that’s only an accident. There’s no conscious effort on his part; there’s no goal he’s in pursuit of; he doesn’t undertake any activities in order to accomplish anything. No, the real protagonist of this fable must be somebody else who meets all those requirements. And that, of course, would be the king’s men, or perhaps one of the king’s men. Perhaps Sir Harry. He has a problem. He has to do something. He has to make things happen.
You have to get out of bed. You have to open your eyes. See how far back in time you have to go? And that’s just to get the cereal. You also need a side strategy. You also have to get the milk; and this has its own series of substrategies. You have to open the new carton of milk you bought last night; you have to ﬁnd the carton in the back of the crowded top shelf; you have to open the refrigerator; and you have to get to the refrigerator. Now you have to get a spoon. You have to ﬁnd a clean one in the drawer.
If Tom could just pick up and leave his sister destitute, we wouldn’t be interested in The Glass Menagerie. This element—and often there’s more than one—becomes a major obstacle. ) What makes it hard for Red to get those roses? Is she paraplegic? Is she afraid of thorns? Is it raining? 4. And Does Whatever Is Necessary If a character wants something bad enough, that character will go through whatever it takes to win. He may have to try several different things before any of them works. Dorothy has to ﬁnd friends, get to the Wizard, kill the witch, and ﬁgure out the riddle of the shoes.
Building Your Play: Theory and Practice for the Beginning Playwright by David Rush