By David Rush
David Rush takes starting playwrights during the first draft of a play and deep into the revision procedure. Drawing on examples from such classics as Othello and The Glass Menagerie, Rush presents special 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 indicates how you can retain performs dramatically compelling and gives how you can stay away from universal blunders that lead them to uninteresting, complicated, or useless. He then distills the essence of conventional revision into key questions and discusses usually ignored instruments, phrases, and techniques that transcend verified tools of overview. (20100814)
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Extra info for Building Your Play: Theory and Practice for the Beginning Playwright
What occupies him for the last three acts? In other words, what is he really after, of which becoming king is just one small ﬁrst step? 37 5XVK3W&KLQGG $0 TH E FUN DA M ENTA LS As you search for an answer, please apply the ﬁve criteria mentioned above. Perhaps one of these suggestions will work for you: Macbeth wants to: • become the most powerful man in Scotland, by ﬁrst becoming king and then securing his power by killing all potential rivals. • demonstrate to the “witches,” or whatever they represent, that he is master of his own fate and can control events around him.
Consider all four levels in your answer. I can’t move my legs! Should I marry Tom Jones or Harry Smith? Look at those lovely ﬂowers outside. I wish I knew how to write a play! I actually walked to the refrigerator! Call me Mrs. Smith! Look at the ﬂowers I picked for you. I want to accept this award as best playwright of the year by thanking my ﬁrst teacher. 21 5XVK3W&KLQGG $0 TH E FUN DA M ENTA LS Exercise 1:3 Here are several predicate phrases that describe changes that might occur in a play.
How Do You Make Outer Goals Work? To repeat, while all of us share the same “inner” goals, the way in which we translate those into “outer” goals varies. While we all want to achieve success, for Susan, it might be winning an Academy Award. For Gerry, it might be marrying the right spouse. For Ben, it might be earning a million dollars before the age of ﬁfty. For those of you reading this book, it might be writing a hit play. This is in the right direction, but still not home, however. Remember, we are trying to identify that one event that clearly and physically reveals the inner motive.