Activity #2: The Spoken Word (TURN IN REPORT)

THEA 2305: Introduction to Theatre & Dance

Activity #2: The Spoken Word

Due:  Sunday, Feb. 28th by 11:59pm. (submit as an attached WORD DOCUMENT in Blackboard) 

Points Possible: 50                                                                                                                             

READ THE INSTRUCTIONS CAREFULLY ~ You should submit the following:  

1) a transcribed dialogue in manuscript format (see Byrd’s Boy examples for script format)

2) a 1-2 pg analysis of a person you have observed in solitude, 

3) a monologue created from the observation

4) Refer to the Student Example provided that provides all three parts of the assignment, along with the Byrd’s Boy script example to see how to write Part 1: Creating Dialogue on the page.

Objective

~To observe, listen and transcribe real human interaction for the purpose of creating engaging dialogue, monologue and characters.

~To define the voice of a character through use of rhythm, vernacular and “musicality”.

~To reveal a character’s point of view on the world, value system and given circumstances.

Description:

This exercise is an exploration in expressing a character’s “voice” by writing dialogue and an original character monologue in writing. You may submit a video of you performing the monologue for 10 bonus points. Please utilize the examples posted for you.

Directions: YOU MUST COMPLETE BOTH PART 1 & PART 2 OF THE EXERCISE

PART 1:  Creating Dialogue

Listen to one real-life, short conversation between two people (12 – 14 exchanges is fine).  Do not let them know that you are observing them—be a fly on the wall.  Script the short exchange as close to the way it happened as you can.  Use punctuation, overlap, interruption, pauses, all of the scripting devices that we will begin to explore over the next few weeks, in order to convey in the written word the way the conversation was spoken.  Create stage directions to establish the where and when of the conversation as well as any other clues as to the way you want the text to come off the page. Try to capture unique individuals in unique circumstances. Steer clear of the mundane. Use the manuscript style from the Byrd’s Boy script as an example in order to write your dialogue.

PART 2: Creating a Monologue (a one-person speech to an imaginary “other” – Complete both parts)

Find an individual to observe for a brief period of time.  Choose someone that engages your imagination.  You might observe someone who is speaking or someone who is deep in thought.  Observe everything about the person that you can, and without judging him/her, try to describe in writing what conclusions you draw about the person.  What is his/her story?  In what or whom does he/she believe? What does he/she want?  What stands in his/her way?  Does he/she have a secret?  This should be a minimum of 1-2 pages of detail. You should write this in the first or third person.

THEN

Imagine a circumstance in which the person you’ve observed must speak what is burbling under the surface.  He/she MUST reveal what is inside, but it may be very difficult for him/her to find the words.  Write the monologue that he/she would speak if she had a deep need to express him or herself.  He/she might be talking to a long lost relative or love.  Perhaps they confront someone.  He or she might even need to stir up a great mass of people.  You decide, and find his/her truest voice for doing so. This monologue should be at least ¾ to 1 page long (double-spaced) but can be longer.

Example Student

Activity 2: Creating Dialogue/Imagining Character

THEA 2305: Intro to Theatre and Dance

PART I ~ The Dialogue

CHARACTERS

Mom………………………………………………Forty year old Mother, Caucasian

Daughter…………………………………………Sixteen year old, Caucasian female

This conversation takes place in a Wal-Mart store in Little Rock, Arkansas 2013

WALMART SCENE

(It’s quiet and crowded)

(We hear loud voices in the distance)
(We’re on the bread isle. There are quite a few people on the isle. On the far left shelf there’s bread and on the far right there are little Debbie snack cakes and goodies, this is center. Directly across from the bread are the frozen pizzas and other frozen food items.)

(A woman in her early 40’s is searching for the right bread to buy.)
(She is wearing a nice pair of jeans with a black and white striped shirt and UGG boots because it’s cold outside.)
(She is having a conversation with her daughter quietly when all of a sudden her daughter starts speaking louder.)

DAUGHER

But, please?

(She groans anxiously)

MOM

(She glances at her daughter in annoyance)

NO! And I mean no.

(She begins reading the bread labels)

DAUGHTER

But mom, it’ll only take a…. (Mom interrupts)

MOM

(She drops the bread and immediately turns to her daughter)

N.O. NO means no! I don’t care how unfair you think it is I’m not letting you!

DAUGHTER

(She pauses)

(She groans)

You always do this mom! Every time we go somewhere you never let me leave from under your arm! When are you going to let me grow up?!

(Both voices continue to get louder)

MOM

Don’t get that attitude with me young lady or I’ll whoop you right here in front of all of these people!

(Everyone is staring at the two)

DAUGHTER

Oh, that’ll make you look like mom of the year. Wouldn’t it?! I’m not a child anymore!

MOM

Stop! You’re making a scene!

(She grabs her daughters arm)

That’s it we are leaving and I’m telling your father!

(Suddenly it seems as if time has stopped. Everyone has stopped what they

were doing and are just staring at the two arguing)

DAUGHTER

I don’t care. The hell will he do? He’s probably cheating on you anyways. If I were him I know I would!

(a longer pause)

(Everyone is in awe)

MOM

(she looks shocked and upset)

Th-That’s it! I’ve had it with your mouth! You’re grounded! Keep your mouth shut and don’t say anything else to me. I don’t know what’s wrong with you. Let’s go!! NOW!!

(They both walk away, the mother pushing the cart, leaving the bread behind, ashamed and embarrassed they walk with their heads down and fail to make eye contact)

PART II~ The Observation

Creating a Monologue

She sits alone in the student center everyday. She sits at the same table with nobody to talk to. She has a blank piece of paper on the table in front of her. She sits there quietly, tapping her pen on the table. She pretends to be the happiest girl alive; she’s friendly, helpful, soft-spoken, headstrong, confident, beautiful, intelligent, but if you truly look at her you can see that something isn’t right. If you look closely you can see that she truly feels sad, hurt, and broken on the inside. She feels all alone in the world as if there isn’t anyone who’s there for her. She hides behind a smile and a laugh so vibrant that nobody could ever figure out that underneath it all there are problems. She is the type of person that you can go to for anything and no matter what she’ll try and help you. She cries all of the time because she grew up without a father just a single mother and two older siblings. Her father cares more about booze and pills than he does about her. She wants to believe that he’s going to change because time after time he tells her that he will. But they always end up at the same broken road. She would love for him to stick to his word and never turn to booze and pills again to prove that he does care about her but deep down she knows that no matter how much she wants it to happen, it won’t. She has a secret, a big one. She is scared to let the world know that she’s upset and that she isn’t this happy headstrong vibrant girl that everyone thinks she is, that she does hurt a lot, that she is broken and her family has issues that are worse than anyone could imagine. The reason that nobody knows about this feeling she has is because she doesn’t want to bring the people around her down. She cares more about the people around her and keeping them happy than she does about herself. She always puts other people before herself. She doesn’t want people treat her differently or “pity” her based on her father’s actions. She makes it hard for people to have a close relationship with her because of the way her father hurt her. Even though she wouldn’t accept the sincerest apology from her father and the way he’s treated her she would still love to hear one. She sits and tries to think about what to write on paper to a letter she wants to send her father but every time she picks up the pen and puts it to the paper she can’t think of the words to write. So, she sits there and taps her pen at the table hoping that one day the words will flow out like blood going into a needle.

Part II~ The Monologue

GIRL

Do you realize how much pain you’ve caused me my entire life? You come in and out of my life as you please. One minute you say you want to change and the next you’re back to drinking alcohol again and who knows what else! I mean, what is it? You sober up for a few months then you screw it up again?! FOR WHAT!!? That’s why when I turned eighteen I didn’t want anything to do with you. I’m glad that my mother took full custody of me, otherwise who knows what would’ve happened to me. You want to blame my mom for me never wanting to come around once I could drive but did you ever think it was because once I was old enough I figured out what was honestly going on!?! Do you honestly think my mom would continue to protect your addiction? No. I’m old enough to know what’s really going on. When you’re sober all you talk about is how you’re going to make it up to me and how you won’t get into alcohol and drugs again but once you get a drink you’re all about that “liquid courage”. You insult my family not to mention me, you disappear from your house and are nowhere to be found for days, and then you expect that saying you’re sorry again is going to cut it? NO!!! I’M DONE!!! I’m sick of putting myself through this believing that you’re going to change because you won’t, you haven’t and you never will!!! You will never be a real father to me. You’ve never been there for me and I don’t know why I ever expected you to be. You can say that you’re sorry as many times as you want to but actions speak louder than words. “I’m sorry” just won’t cut it this time and neither will “I’ll stop drinking and doing pills” because the truth is you’re never going to change and you’ve shown me that time and time again. I’m not going to let me hurt you anymore. It ends here. You are no longer welcome in my life, you aren’t willing to get help for your addiction or do anything to stop it so here is where it ends. I hope your addiction is worth it because I’m your only daughter and there are no more chances left for you. Goodbye.

BYRD’SBOY

By Bruce J. Robinson

CHARACTERS

Birdie McCauley………….

thirty-something years old, African-American woman

Byrd…………………………sixty-eight, Caucasian

The offstage voice can be either the stage manager or recorded.

The play takes place in Baltimore—in a waterfront warehouse and a small office.

It’s 1988.

BYRD’S BOY

By Bruce J. Robinson

SCENE ONE

(It’s dark.)

(We hear a mournful cry in the distance.)

(We’re in a warehouse. It’s empty save for a pile of boxes left, a small

box right, and a large closet on its side. This is center.)

(Up right is the entrance to the warehouse. Above the door and

stretching across the top of the wall is a bank of dirty windows.)

(A man who seems to be in his late-60’s is standing on the door looking

to the horizon with old binoculars.)

(He’s grizzled, wild-eyed in tattered clothes and hat. He has a brown box

mounted on a belt that’s over his shoulder.)

(He takes the binoculars from his eyes. He looks confused, passionate,

ominous, and haunted.)

BYRD

Now!

(he beats rhythmically on the box. He listens for a response. There is

none. Once more, he beats.)

Now!!!

Reporting for duty, sir!! (saluting)

Primed to pioneer! Poised to shoulder the load! Whatever that load might be…sir!

I’m here awaiting orders. This, time, you can count on me. Just tell me…tell me.

Why am I here? Dark. It’s dark. But though it’s dark, I shall guide us truly home.

(as he salutes, he grabs his head in agony)

Now!!!

(The last word echoes.)

(The old man lifts a lid on top of the closet and gets in.)

(There’s a moment of silence.)

A MAN’S VOICE

(offstage)

An hour late!!

A WOMAN’S VOICE

(offstage)

Sorry, sir.

A MAN’S VOICE

Sorry!! I’ll make you sorry! You’re hear ten years!?

A WOMAN’S VOICE

Twelve, sir.

A MAN’S VOICE

Wanna stay another ten!?

A WOMAN’S VOICE

Yessir.

A MAN’S VOICE

I don’t believe you.

A WOMAN’s VOICE

Yessir, Mr. Stewgill

A MAN’S VOICE

Then don’t make trouble for me! Uncerstand?

A WOMAN’S VOICE
Yessir.
A MAN’S VOICE

You’re the night-watchman, Birdie! You stop trouble! Your sitter don’t show, the kid stays alone. You people want it all on a silver platter! You want this job?!

(A car starts.)

A WOMAN’S VOICE

Very much, sir.

(The car roars off. The warehouse door violently swings open.)

(The woman is Birdie McCauley. She’s a 30-ish African-American woman.)

(As a flashlight beam bathes a bunch of boxes)

Stewgill…take this job and…and…too-bad I’m a God-fearing Christian or I’d tell you what to do with it! Jeez-muh-

(flicking on light)

knees…take that, Stewgill! (kicking a box) That’s what I shoulda done. Do nothing! Say nothing! Miss Birdie McCauley say nothing. Shoulda said, “Listen Stewgill: I don’t need your fat butt! I leave you, Punk! I move out to LA-LA Land to brother Willie! He asked me! I been asked! Who needs you!? I’m goin’. I’m…I’m…”

(recessive—grabbing stomach)

Shoot. Wouldn’t you know this’d happen on a day I’m retaining more water than the Hoover Dam? Men!

(From her flask, she takes a slug.)

Yessss. Now I can breathe again. Stewgill! Stewgill!

(mocking herself)

No! “I’m sorry, Mister Stewgill Boss-man. Take me! Buy me! Brand me!

(smashing down flask on box)

“Bend me over! Bend me over! Bend me–!

(But she stops herself.)

(Contemplates flask-crossing to light.)

Five bucks. K-Mart. That reality That’s a fine flask.

(She switches off the light.)

(Her flashlight darts around the dark stage.)

(She exits.)

(Silence.)

(We hear what sounds like a cough. The door flies open)

Whozat!? Anyone here…anyone! Best be warned. I got a gun! I got a gun!

(to herself)

…back in the office.

(yelling)

Anyone here?

(to herself)

What if someone say “no?”

(She wades into the room.)

Nobody here but us rodents, right? Now listen here….all rats, and mice and rodents…I like you. You quiet-like. But I catch you running around here. I carve off your hairy keisters with a carving knife.

(She turns to go. Turns back.)

I trust we understand each other.

(She turns again, just as Byrd darts out of sight.)

(She turns on MARVIN GAYE’s “Precious Love” on the boom box that she has

been carrying with her.)

(She exits through the warehouse door. “Precious Love” fades into the distance.)

END OF SCENE