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50168 Writing for Performance: Screen, Sound and Stage

UTS: Communication
Credit points: 8 cp
Result Type: Grade, no marks

Requisite(s): 50123 Narrative Writing OR 50243 Narrative Writing OR 50117 Media Arts and Production 2 OR 50248 Media Arts and Production 2 OR 50122 Writing: Style and Structure OR 50242 Writing: Style and Structure

Handbook description

This subject is designed to develop skills in the fields of writing for film, television, radio and live performance, as well as exploring notions of writing as performance. Emphasis is on fostering students' creativity, originality and daring, with exercises, improvisations and script analysis aimed at developing craft skills. The subject is run by workshopping scripts and investigating character, emotional truth, form, dramatic action, rhythm, pace, dialogue and imagery. Critical approaches to the various media are encouraged.

Subject objectives/outcomes

This is a production subject. At the conclusion students are expected to be able to:

  1. Engage creatively with an original idea in each of the three mediums: screen, sound and stage.
  2. Develop a first draft in one of the three mediums taking into account relevant critical feedback.
  3. Apply script editing/dramaturgy.
  4. Critique their own work and that of their peers.

Contribution to graduate profile

This subject contributes to students' professional capacity to write creatively for different performance writing disciplines. It contributes to their intellectual capacity to critique as creative and critically informed communications professionals and to their personal capacity to work with others. It also contributes to their intellectual and professional capacity to use Australian cultural traditions, industries and institutions.

Teaching and learning strategies

  • Students participate in a range of instructive exercises and writing games to stimulate creative imagination and investigate elements of the craft and structure of writing for performance.
  • Script examples from screen, sound and stage are studied to illustrate writing techniques, and to challenge students to explore imaginative ways of developing their own project.
  • Screenings and listening to radio plays.
  • Participate in in-class writing exercises that explore the three different mediums.
  • Participate in critical discussions and interactive workshop and performance activities.
  • Write a first draft of their script idea to be workshopped.
  • Redraft their script following workshopping.
  • Students are strongly encouraged to experience a variety of writing for performance through reading, viewing, attending live theatre and listening to radio plays, in conjunction with studying standard industry formats for scripts.

Content

The focus is on the creative development of the skills of writing for performance, stimulated by workshop activities, writing and performance exercises, reading, viewing, listening, analysis, reflection and critical discussion. A context is created through the study of examples of scripts with traditional and alternative structures, as well as critical analysis of practices within the various media, screen, sound and stage.


Screenplay formatting
Free screenwriting software for both Mac and PC's is available on the web at www.celtx.com

A screenwriting template is also available free for students to use on the Faculty web site.

http://www.hss.uts.edu.au/departments/MAP/script_style_template_2006.doc (this is a Word document and is better with Macs than PC's)


Library
The collection of film, theatre and radio scripts is constantly being updated as is the DVD and VHS collection. All scriptwriting students may borrow DVD or VHS's from Closed Reserve in the library. See HOW TO USE THE UTS Library in the Reader.




Assessment

Assessment item 1: The Idea

Objective(s): a, d
Weighting: 40%
Task: Students engage creatively with storytelling by writing an original opening set-up in each of the three mediums: screen, sound and stage using standard industry script layout. This should be accompanied by an outline of the story the student wishes to pursue, followed by half a page of writer's notes arguing which is the most appropriate medium for it.
Assessment criteria:
  • Originality of the idea.
  • Degree of creative engagement.
  • Technical requirements for each medium.
  • Analysis of the work.

Assessment item 2: The Script

Objective(s): b, c, d
Weighting: 60%
Task: Students are to revise and redraft their chosen script idea from the workshopped first draft, responding creatively to self-assessment and to any appropriate critical feedback received. Submit a full revised draft of the chosen script using standard industry script layout appropriate to the chosen medium.
Assessment criteria:
  • Performability of the work.
  • Coherence and logic of the structure.
  • Integration of self-assessment and any appropriate critical feedback received.
  • Adherence to appropriate script format.

Minimum requirements

Students are expected to read the subject outline to ensure they are familiar with the subject requirements. Since class discussion and participation in activities form an integral part of this subject, you are expected to attend, arrive punctually and actively participate in classes. If you experience difficulties meeting this requirement, please contact your lecturer. Students who have a reason for extended absence (e.g., illness) may be required to complete additional work to ensure they achieve the subject objectives.

Indicative references

Text and References

  • Writing for Performance, Screen, Sound and Stage Reader: 50168. Available from the Union Shop on Level 3 of the Tower Building and also held in the library.

  • Barker, H Arguments for a Theatre, Manchester: Manchester University Press New York St Martin's Press 1997

  • Castagno, Paul C. New Playwriting Strategies, New York London Routledge 2001

  • Cooper, P and Dancyger, K Writing the Short Film, Boston Focal Press 1994

  • Crook, T Radio Drama: Theory and Practice, London, Routledge, 1999

  • D'Vari, Marisa Script Magic: Subconscious Techniques to Conquer Writer's Block, Studio City CA: Michael Wiese Productions 2000
  • Gallacher, T The Way to Write for the Stage, London: Elm Tree 1987

  • Griffiths, S How plays are made, London: Heinemann 1982

  • Noel, G - Playwriting : a practical guide for students of all ages, New York: Routledge. 2004

  • Richards, K Writing Radio Drama, Sydney Currency Press 1991

  • Seger, L Making a good script great, New York Dodd, Mead & Co 1987 (see pp.3-26 for 'The Three Act Structure'.) 1987

  • Vogler, C The Writer's Journey: Mythic Structures for Storytellers and Screenwriters, Studio City, Ca, Michael Wiese Productions (see pp.13-31 for an outline of the hero's journey) 1992

  • MaCauley A: Don't Show Me Tell Me: Directors Talk About Acting, Currency Press 2003
  • Meyrick J: See How It Runs, Currency Press 2004

Radio Scripts
  • Adams, D The Hitchhiker's Guide to the Galaxy, London and Sydney Pan 1985

  • Thomas, D Under Milkwood, London Aldine Press 1954, 1968

  • Holt, R 13 Aug Speaking of Angela 'Airplay' Unpublished ABC RN 2000

  • Keene, D The Telling, 'Airplay' Unpublished ABC RN, 18 March, 2001

  • Zimdahl, C Family Running for Mr Whippy, Unpublished ABC Radio 1995

Stage Scripts
  • Bell, H Wolf Lullaby Sydney: Currency Press Press 2002

  • Duong, Le Quy Meat Party Sydney: Currency Press 2000

  • Enoch, W and Mailman, D The Seven Stages of Grievin Brisbane: Playlab, 1996

  • Fierstein, H Torch Song Trilogy, New York, N.Y.: The Gay Presses of New York1978, 1983

  • Genet, J The Maids London: Faber & Faber 1965, 1952

  • Kemp, J Call of the Wild in Allen, Richard James, and Pearlman, Karen, (eds.) Performing the unNameable, Sydney: Currency Press 1999

  • Murray, P Wallflowering Sydney Currency Press 1992

  • Rankin, S and Purcell, L Box the Pony, Sydney: Hodder Headline Australia 1999

  • Romeril, J – Miss Tanaka (based on a Xavier Herbert short story) Sydney Currency Press in association with Playbox Theatre, Melbourne. 2001

  • Shange, N For colored girls who have considered suicide when the rainbow is enuf: A choreopoem, London: Eyre Methuen 1977

  • Stoppard, T The Real Inspector Hound, London: Faber and Faber. 1991 /1968

  • Hare D, Stuff happens: Faber and Faber London 2005

  • Harrower D, Blackbird, Faber and Faber London 2007

  • Frankland R, Conversations With The Dead, Currency Press 2004