Alice and Bob's chorus bit. I'm liking the surreal bits... My outsider is a fairy who is observing Alice's attempts to dig a six-foot deep hole in the garden.
A trapdoor is open onstage, out of which bits of earth fly periodically. A projected image of a tiny woman, FAIRY, appears on stage and speaks.
FAIRY: Poor Alice! He was going to tell her properly, but he just didn't have the time. The gold is buried but three feet to the left, and now it will remain there forever, just out of his reach! How terrible! To save everything the way he did! To never spend anything on himself, to keep it all for his precious daughter, and now it is worthless - all that toil and miserdom. Destined to sit three feet from his unlawfully buried corpse, useless to everyone but the worms.
Saturday, 31 March 2007
Activity 4.7
BOB is asleep. At the foot of his bed his FATHER turns up. He is wearing a devil's costume.
FATHER: Good day to you Bob!
BOB shuffles and slowly wakes, sitting up in bed
FATHER: (aside) Lazy bugger - always was. Bob! Bob!
BOB: Bloody hell! Dad! What the...
FATHER: Oh don't worry, you're not getting a visitation from the other side - you're making me up, and I must say, I'm far from impressed by the outfit.
BOB: But Dad!
FATHER: Now shut up and listen, son. This nonsense Alice is spinning out - she's daft in the head that girl! Don't let her go ahead with it! You know what a bloody dreamer she is! It's her wish that I get buried in the garden, not mine. She was waffling on about it and I made the mistake of sort of agreeing with her...
BOB: You did? So how am I supposed/
FATHER: I sort of did - it was no more than an assenting grunt - but by that time it was too late to tell anyone any different, I died the next day!
BOB:/ to convince her otherwise?
FATHER: Anyway, if YOU'D visited the morning of my death like you were supposed to, I could have told you and you'd have saved yourself a whole load of trouble, now, wouldn't you?
BOB: But Dad!
FATHER: (Lights fading on FATHER so he eventually disappears) Ta ra my boy. Just remember - if I don't get buried in cosecrated ground, my spirit will walk the earth FOREVER. (sniggers)
BOB screams.
FATHER: Good day to you Bob!
BOB shuffles and slowly wakes, sitting up in bed
FATHER: (aside) Lazy bugger - always was. Bob! Bob!
BOB: Bloody hell! Dad! What the...
FATHER: Oh don't worry, you're not getting a visitation from the other side - you're making me up, and I must say, I'm far from impressed by the outfit.
BOB: But Dad!
FATHER: Now shut up and listen, son. This nonsense Alice is spinning out - she's daft in the head that girl! Don't let her go ahead with it! You know what a bloody dreamer she is! It's her wish that I get buried in the garden, not mine. She was waffling on about it and I made the mistake of sort of agreeing with her...
BOB: You did? So how am I supposed/
FATHER: I sort of did - it was no more than an assenting grunt - but by that time it was too late to tell anyone any different, I died the next day!
BOB:/ to convince her otherwise?
FATHER: Anyway, if YOU'D visited the morning of my death like you were supposed to, I could have told you and you'd have saved yourself a whole load of trouble, now, wouldn't you?
BOB: But Dad!
FATHER: (Lights fading on FATHER so he eventually disappears) Ta ra my boy. Just remember - if I don't get buried in cosecrated ground, my spirit will walk the earth FOREVER. (sniggers)
BOB screams.
Wednesday, 7 March 2007
ETMA01.3 (roughs) - Bernice
A prison. Present. There are two cages on stage, each containing a camp bed. There is a spotlight on each cell.DANISH is sat on his camp bed in one cell, the other is empty. WOLF enters escorted by the WARDER and is put in it. DANISH stands.
DANISH: Ah, my new neighbour! Hello Frank, how's the wife? Did she enjoy Mexico?
WARDER: Very well thanks, Mr Bacon. You bet! The wife loved Mexico! The hotel was cracking, all inclusive! Beers whenever you want 'em, even brought 'em to you on the beach! Cheers for the tip.
DANISH: (laughs) No problem!
WARDER leaves.
DANISH: So.
WOLF: So.
(pause)
DANISH sits on his camp bed.
DANISH: You killed my brother.
(Pause)
Unneccessary violence the report/
WOLF: Unneccessary violence!
DANISH: /said. But that's not what you're in for, is it? No. You killed your Superintendent didn't you?
(Pause)
Billy told me you'd lost it. He said that you'd gone too far. (laughing) Who would have guessed how far you would go?
(Pause)
We didn't intend to kill the last lad. I expected you to hold yourself responsible for that and leave well alone. But you surprised us all. Do you think I'm threatened by your presence here, Mr John Wolf? Do you think I can't dispatch of you? I could have you flushed down the prison toilets in little pieces. The screws wouldn't even notice you'd gone - especially seeing as I pay them more than their wage. (laughs) And you don't have anyone to come asking after you. No wife, I'm told. Left you, I'm told. I imagine that no one down the station would ever wish to see you again. Who does that leave? Hmm?
WOLF growls. He lies down on his bed and switches off his light. DANISH remains illuminated.
DANISH: Ah, my new neighbour! Hello Frank, how's the wife? Did she enjoy Mexico?
WARDER: Very well thanks, Mr Bacon. You bet! The wife loved Mexico! The hotel was cracking, all inclusive! Beers whenever you want 'em, even brought 'em to you on the beach! Cheers for the tip.
DANISH: (laughs) No problem!
WARDER leaves.
DANISH: So.
WOLF: So.
(pause)
DANISH sits on his camp bed.
DANISH: You killed my brother.
(Pause)
Unneccessary violence the report/
WOLF: Unneccessary violence!
DANISH: /said. But that's not what you're in for, is it? No. You killed your Superintendent didn't you?
(Pause)
Billy told me you'd lost it. He said that you'd gone too far. (laughing) Who would have guessed how far you would go?
(Pause)
We didn't intend to kill the last lad. I expected you to hold yourself responsible for that and leave well alone. But you surprised us all. Do you think I'm threatened by your presence here, Mr John Wolf? Do you think I can't dispatch of you? I could have you flushed down the prison toilets in little pieces. The screws wouldn't even notice you'd gone - especially seeing as I pay them more than their wage. (laughs) And you don't have anyone to come asking after you. No wife, I'm told. Left you, I'm told. I imagine that no one down the station would ever wish to see you again. Who does that leave? Hmm?
WOLF growls. He lies down on his bed and switches off his light. DANISH remains illuminated.
Sunday, 4 March 2007
ETMA01.2 (roughs) - Bernice
Cast list detailing everyone. Short decriptions of the two main characters including bits of backstory. Max 200 words. Use Propp (in semiotics book)
JOHN WOLF: Hero. A dogged policeman. He has been on the trail of the notorious Bacon Bros. for years. He had success capturing STREAKY in his illegal gambling den, but fouled up by accidentally killing CRISPY in a messy raid on a brothel. He was consequently sacked. He has a personal vendetta against Bacon Bros. as his partner was captured and tortured to death by them. He is out to exact revenge.
BERTRAND "DANISH" BACON: Villain. The youngest and most dangerous of the Bacon Bros. He is currently in jail on account of fraud, he is still running the show from inside and his control over the 'family business' has not diminished.
WILLIAM "STREAKY" BACON: The eldest of the Bacon Bros.
ROBERT "CRISPY" BACON: The middle Bacon Brother.
PARTNER: A policeman. The partner of WOLF.
OFFICER
GAMBLER 1
GAMBLER 2
WARDEN
PROSTITUTE 1
PROSTITUTE 2
PROSTITUTE 3
THUG 1
THUG 2
JOHN WOLF: Hero. A dogged policeman. He has been on the trail of the notorious Bacon Bros. for years. He had success capturing STREAKY in his illegal gambling den, but fouled up by accidentally killing CRISPY in a messy raid on a brothel. He was consequently sacked. He has a personal vendetta against Bacon Bros. as his partner was captured and tortured to death by them. He is out to exact revenge.
BERTRAND "DANISH" BACON: Villain. The youngest and most dangerous of the Bacon Bros. He is currently in jail on account of fraud, he is still running the show from inside and his control over the 'family business' has not diminished.
WILLIAM "STREAKY" BACON: The eldest of the Bacon Bros.
ROBERT "CRISPY" BACON: The middle Bacon Brother.
PARTNER: A policeman. The partner of WOLF.
OFFICER
GAMBLER 1
GAMBLER 2
WARDEN
PROSTITUTE 1
PROSTITUTE 2
PROSTITUTE 3
THUG 1
THUG 2
ETMA01 (roughs) - Bernice
Outline scenario for adaptation of 'The Three Little Pigs'. 300 words. Scenes should be numbered and state location.
1. INSPECTOR's office, present day. INSPECTOR is sat at a desk, WOLF is sat opposite. Office noises in the background. INSPECTOR and WOLF argue. WOLF hands over his ID and badge. WOLF leaves. INSPECTOR remains. Fade to black.
2. A back alley, night, recent past. A door is centre stage. Harsh yellowish light. Sound of traffic and drunk people. WOLF enters from the right, a POLICE OFFICER enters from the left, they both wear uniform. They burst in through the door and pull out STREAKY and some GAMBLERS. STREAKY is escorted off stage by WOLF and the OFFICER. The GAMBLERS flee.
3. Prison, present day. DANISH sits on a camp bed within a cage. CRISPY is escorted in by PRISON WARDEN. He sits next to DANISH. They converse.
4. A brothel, recent past. Black and white effect. WOLF, OFFICER and PROSTITUES are lounging on sofas to the left of the stage facing otuwards and right. PROSTITUTE 1 offers WOLF a drink which he refuses, and an opium pipe which he accepts. The OFFICER is nearly asleep. Suddenly a door creaks open off stage, WOLF and OFFICER leap up and pull out their guns. Gunfire. OFFICER falls, WOLF keeps firing. The lights dim and flashes from two guns can be seen, then only one. The lights go up. CRISPY is dead on the floor.
5. A cellar, past. Lighting is sepia. PARTNER is strapped to a chair and is being interrogated by DANISH and his THUGS. DANISH is torturing PARTNER throughout the scene.
5. Prison, present day. Two cages containing camp beds. DANISH stands up as WOLF is escorted into the second one. They converse. The lights dim.
6. Prison, present day. WOLF in an electric chair. DANISH still in his cage, dead. Spotlights on WOLF and DANISH.
(355 words)
1. INSPECTOR's office, present day. INSPECTOR is sat at a desk, WOLF is sat opposite. Office noises in the background. INSPECTOR and WOLF argue. WOLF hands over his ID and badge. WOLF leaves. INSPECTOR remains. Fade to black.
2. A back alley, night, recent past. A door is centre stage. Harsh yellowish light. Sound of traffic and drunk people. WOLF enters from the right, a POLICE OFFICER enters from the left, they both wear uniform. They burst in through the door and pull out STREAKY and some GAMBLERS. STREAKY is escorted off stage by WOLF and the OFFICER. The GAMBLERS flee.
3. Prison, present day. DANISH sits on a camp bed within a cage. CRISPY is escorted in by PRISON WARDEN. He sits next to DANISH. They converse.
4. A brothel, recent past. Black and white effect. WOLF, OFFICER and PROSTITUES are lounging on sofas to the left of the stage facing otuwards and right. PROSTITUTE 1 offers WOLF a drink which he refuses, and an opium pipe which he accepts. The OFFICER is nearly asleep. Suddenly a door creaks open off stage, WOLF and OFFICER leap up and pull out their guns. Gunfire. OFFICER falls, WOLF keeps firing. The lights dim and flashes from two guns can be seen, then only one. The lights go up. CRISPY is dead on the floor.
5. A cellar, past. Lighting is sepia. PARTNER is strapped to a chair and is being interrogated by DANISH and his THUGS. DANISH is torturing PARTNER throughout the scene.
5. Prison, present day. Two cages containing camp beds. DANISH stands up as WOLF is escorted into the second one. They converse. The lights dim.
6. Prison, present day. WOLF in an electric chair. DANISH still in his cage, dead. Spotlights on WOLF and DANISH.
(355 words)
Saturday, 3 March 2007
Activity 2.20 - Bernice
Here we have to write a short monologue for the mother character when s/he realises LRRH is missing.
MAUD is in the palace kitchens. It is the night of the big ball and around her everyone is bustling. MAUD stands still, oblivious to the activity around her and speaks to herself.
MAUD: Where is that girl? She should have been back ages ago, it's not like her to take so long. She knew the message was important - oh god! What if she were too late and arrived when WOLFF did? Will he know not to harm her? Come on Maud! Pull yourself together. In a few minutes the announcement will be out that the Queen is dead and you'll be
Maud claps her hand over her mouth and looks around her. No one has noticed anything.
MAUD (quieter this time and visibly shaken): And you'll be safe. Yes. you'll be safe. And so will Rosie and she'll never know, and no one will ever know.
MAUD is in the palace kitchens. It is the night of the big ball and around her everyone is bustling. MAUD stands still, oblivious to the activity around her and speaks to herself.
MAUD: Where is that girl? She should have been back ages ago, it's not like her to take so long. She knew the message was important - oh god! What if she were too late and arrived when WOLFF did? Will he know not to harm her? Come on Maud! Pull yourself together. In a few minutes the announcement will be out that the Queen is dead and you'll be
Maud claps her hand over her mouth and looks around her. No one has noticed anything.
MAUD (quieter this time and visibly shaken): And you'll be safe. Yes. you'll be safe. And so will Rosie and she'll never know, and no one will ever know.
Activity 2.18 - Bernice
Ok, this week we have to create a change in our characters, either moral, political, emotional or psychological. We can drift away from the storyline of Little Red Riding Hood now, the characters are in place so we can experiment with their functions.
Here's some ideas:
1. WOLFF is an assassin. He has been sent to kill QUEEN. He is not a likely character for the assassination as he is foppish and a ladies man. He has been made to do it to clear a large gambling debt, he has been given an ultimatum of QUEEN's life versus his own.
2. MAUD is working as a double agent for both the QUEEN and WOLFF's employer. Basic greed drove her to accept payments from both sides, but she now finds herself in an awkward position, both the QUEEN and WOLFF's employer are dangerous people, and is she slips up, she might end up dead.
3. ROSIE is blissfully ignorant of any palace politics, which makes her the ideal runner to carry messages and notes around. She is hopelessly romantic and dreamy and never gets suspicious. Although MAUD takes advantage of this for her dodgy dealings, she cares a lot for ROSIE and is frightened for her safety.
4. The DUKE is WOLFF's employer, unknown to WOLFF. He is a relative of the QUEEN and will be in the running for the monarchy providing there are no direct heirs. DUKE's parents died when he was young, they should have held the monarchy. He sees it as his right to be king and thinks he was robbed of the role by the QUEEN. He is a bit wet behind the ears and knows very little about the assassination, except that he has paid a large sum of money for it to take place. He is secretly hoping it will happen while he is elsewhere.
5. The QUEEN is not entirely unaware of her present danger. She runs a large network of spies and has figured out that there is a rat in her palace staff. She is very paranoid at present and has stepped up her personal security but is not revealing anything of her plans to her staff.
Scene 1: QUEEN in her office with the Captain of the Guards. QUEEN tells the captain of her suspicions about the rat in the palace. The Guard agrees with QUEEN and they arrange tight security for the following evening, when there will be a huge annual ball. The QUEEN must go ahead as normal until the rat is rooted out.
Scene 2: WOLFF alone travelling towards the palace. WOLFF's monologue about how he ended up in his predicament (gambling debts, loan sharks etc)
Scene 3: ROSIE and MAUD in the kitchens. MAUD gives ROSIE some errands to run, which she does unquestioningly. One is that she has to take a note to the DUKE and it's VERY important that she doesn't stop anywhere or give it to anyone else. While ROSIE is out and about, MAUD goes to make contact with WOLFF. She approaches WOLFF and some coded conversation takes place. MAUD overdoes it a bit as she is very frightened. WOLFF just about realises that MAUD is his contact within the palace but is still not aware of who his employer is.
Scene 4:ROSIE and the DUKE. ROSIE is delivering her message. The DUKE realises that ROSIE is not part of his 'staff' in the Palace and is unaware of what she is delivering. DUKE is rather impressed by MAUD's ingenuity and decides that he quite fancies ROSIE.
not sure what happens in the meantime...
Later: The ball is in full swing and WOLFF sneaks off to locate the QUEEN. He bumps into ROSIE who is running another errand for MAUD and she tells him where she is going. WOLFF watches where ROSIE goes, waits for a while then climbs in through the window.
WOLFF emerges from behind the curtains to find, not QUEEN but ROSIE sat in the QUEEN's chambers. The QUEEN was elsewhere and ROSIE was waiting to deliver her message. She sees WOLFF's gun and figures out what is going on. WOLFF panics and ties ROSIE up to prevent her from raising the alarm.
MAUD is fretting about ROSIE. She should have returned from the QUEEN's chambers by now, she knows WOLFF was on his way and the note was supposed to stall QUEEN. DUKE steams in and reports that the assassination has been a failure - QUEEN has turned up in the main ballroom, alive. MAUD tells DUKE about ROSIE not returning from the QUEEN's chambers and they set off to find out what happened.
ROSIE and WOLFF in the QUEEN's chambers. ROSIE is tied to a chair. WOLFF is clearly unnerved and is pacing up and down. He starts to stuff precious jewels and coins into his pockets. ROSIE is gagged and WOLFF has a monologue about his plans just to steal enough to repay his debtors and escape.
DUKE and MAUD rush in and see ROSIE. They untie her. WOLFF shouts at them. The three conspirators talk aboutt he absence of the QUEEN and what could have gone wrong. ROSIE looks horrified and is unable to speak. WOLFF jujmps out of the window. As a last minute decision, ROSIE decides to take her chances with WOLFF as opposed to staying in the palace with so much deception and plotting and goes with him. They make their escape just as QUEEN appears with an armed guard to arrest MAUD and DUKE.
Here's some ideas:
1. WOLFF is an assassin. He has been sent to kill QUEEN. He is not a likely character for the assassination as he is foppish and a ladies man. He has been made to do it to clear a large gambling debt, he has been given an ultimatum of QUEEN's life versus his own.
2. MAUD is working as a double agent for both the QUEEN and WOLFF's employer. Basic greed drove her to accept payments from both sides, but she now finds herself in an awkward position, both the QUEEN and WOLFF's employer are dangerous people, and is she slips up, she might end up dead.
3. ROSIE is blissfully ignorant of any palace politics, which makes her the ideal runner to carry messages and notes around. She is hopelessly romantic and dreamy and never gets suspicious. Although MAUD takes advantage of this for her dodgy dealings, she cares a lot for ROSIE and is frightened for her safety.
4. The DUKE is WOLFF's employer, unknown to WOLFF. He is a relative of the QUEEN and will be in the running for the monarchy providing there are no direct heirs. DUKE's parents died when he was young, they should have held the monarchy. He sees it as his right to be king and thinks he was robbed of the role by the QUEEN. He is a bit wet behind the ears and knows very little about the assassination, except that he has paid a large sum of money for it to take place. He is secretly hoping it will happen while he is elsewhere.
5. The QUEEN is not entirely unaware of her present danger. She runs a large network of spies and has figured out that there is a rat in her palace staff. She is very paranoid at present and has stepped up her personal security but is not revealing anything of her plans to her staff.
Scene 1: QUEEN in her office with the Captain of the Guards. QUEEN tells the captain of her suspicions about the rat in the palace. The Guard agrees with QUEEN and they arrange tight security for the following evening, when there will be a huge annual ball. The QUEEN must go ahead as normal until the rat is rooted out.
Scene 2: WOLFF alone travelling towards the palace. WOLFF's monologue about how he ended up in his predicament (gambling debts, loan sharks etc)
Scene 3: ROSIE and MAUD in the kitchens. MAUD gives ROSIE some errands to run, which she does unquestioningly. One is that she has to take a note to the DUKE and it's VERY important that she doesn't stop anywhere or give it to anyone else. While ROSIE is out and about, MAUD goes to make contact with WOLFF. She approaches WOLFF and some coded conversation takes place. MAUD overdoes it a bit as she is very frightened. WOLFF just about realises that MAUD is his contact within the palace but is still not aware of who his employer is.
Scene 4:ROSIE and the DUKE. ROSIE is delivering her message. The DUKE realises that ROSIE is not part of his 'staff' in the Palace and is unaware of what she is delivering. DUKE is rather impressed by MAUD's ingenuity and decides that he quite fancies ROSIE.
not sure what happens in the meantime...
Later: The ball is in full swing and WOLFF sneaks off to locate the QUEEN. He bumps into ROSIE who is running another errand for MAUD and she tells him where she is going. WOLFF watches where ROSIE goes, waits for a while then climbs in through the window.
WOLFF emerges from behind the curtains to find, not QUEEN but ROSIE sat in the QUEEN's chambers. The QUEEN was elsewhere and ROSIE was waiting to deliver her message. She sees WOLFF's gun and figures out what is going on. WOLFF panics and ties ROSIE up to prevent her from raising the alarm.
MAUD is fretting about ROSIE. She should have returned from the QUEEN's chambers by now, she knows WOLFF was on his way and the note was supposed to stall QUEEN. DUKE steams in and reports that the assassination has been a failure - QUEEN has turned up in the main ballroom, alive. MAUD tells DUKE about ROSIE not returning from the QUEEN's chambers and they set off to find out what happened.
ROSIE and WOLFF in the QUEEN's chambers. ROSIE is tied to a chair. WOLFF is clearly unnerved and is pacing up and down. He starts to stuff precious jewels and coins into his pockets. ROSIE is gagged and WOLFF has a monologue about his plans just to steal enough to repay his debtors and escape.
DUKE and MAUD rush in and see ROSIE. They untie her. WOLFF shouts at them. The three conspirators talk aboutt he absence of the QUEEN and what could have gone wrong. ROSIE looks horrified and is unable to speak. WOLFF jujmps out of the window. As a last minute decision, ROSIE decides to take her chances with WOLFF as opposed to staying in the palace with so much deception and plotting and goes with him. They make their escape just as QUEEN appears with an armed guard to arrest MAUD and DUKE.
Wednesday, 28 February 2007
Activity 2.13 - Bernice
Now we have to provide a backstory for the characters - it can be in bullet points and doesn't have to be a final piece.
QUEEN is hosting a huge ball at the Palace in Oslo. Hundreds of guests are expected. Everywhere is bustling and busy. MAUD, the head cook, is going mental. She can't find ROSIE, the queens maid, to find out her instructions for the evening. ROSIE is sciving in her cell, she has taken a new book out of the library and is hiding in her room completely engrossed in the story. She knows she will get into trouble if she gets caught, but she has to find out what happens to the heroine.
Later that evening, ROSIE has emerged, still partly dreaming about knights in shining armour on noble steeds when MAUD collars her to take a message to the QUEEN. ROSIE drifts off with her note, but as she is crossing the courtyard, she sees a man ride in on a black horse. This is WOLFF, a guest at the ball and the prime suspect in a plot against the monarchy (the queen's spies have been watching him for months). ROSIE hovers around near the stables, hoping tocatch a glimpse of the man on the horse. DUKE emerges from the stables and crosses the courtyard, ROSIE hides until he has passed and sneaks a peep through the open door. WOLFF appears from around the back and lounges against the doorpost. He chats up ROSIE, much to ROSIE's embarrassment (she's a good, modest girl) and she scurries off claiming she can't be late with the QUEEN's message. WOLFF follows, now aware of her destination. DUKE appears from the shadows and follows after.
WOLFF arrives at the QUEEN's quarters before ROSIE, having taken a short cut through the window. Luckily for him, the QUEEN is out attending to business and no one is there.WOLFF potters among the QUEEN's belongings, he's particularly taken with the crown and tries it on. A knock at the door - it's ROSIE. WOLFF quickly shoves a handy wig on under the crown and ducks behind a screen. ROSIE enters and the 'what big teeth you have' dialogue ensues. Suddenly the QUEEN's yappy dog starts going and ROSIE becomes suspicious. WOLFF emerges from behind the screen de-wigged full of evil intent. Just then DUKE comes hurtling in through the window and a band of soldiers with the QUEEN in tow arrives at the door. The dog is calmed and WOLFF arrested. DUKE becomes ROSIE's hero of the hour and they all live happily ever after.
THE END
QUEEN is hosting a huge ball at the Palace in Oslo. Hundreds of guests are expected. Everywhere is bustling and busy. MAUD, the head cook, is going mental. She can't find ROSIE, the queens maid, to find out her instructions for the evening. ROSIE is sciving in her cell, she has taken a new book out of the library and is hiding in her room completely engrossed in the story. She knows she will get into trouble if she gets caught, but she has to find out what happens to the heroine.
Later that evening, ROSIE has emerged, still partly dreaming about knights in shining armour on noble steeds when MAUD collars her to take a message to the QUEEN. ROSIE drifts off with her note, but as she is crossing the courtyard, she sees a man ride in on a black horse. This is WOLFF, a guest at the ball and the prime suspect in a plot against the monarchy (the queen's spies have been watching him for months). ROSIE hovers around near the stables, hoping tocatch a glimpse of the man on the horse. DUKE emerges from the stables and crosses the courtyard, ROSIE hides until he has passed and sneaks a peep through the open door. WOLFF appears from around the back and lounges against the doorpost. He chats up ROSIE, much to ROSIE's embarrassment (she's a good, modest girl) and she scurries off claiming she can't be late with the QUEEN's message. WOLFF follows, now aware of her destination. DUKE appears from the shadows and follows after.
WOLFF arrives at the QUEEN's quarters before ROSIE, having taken a short cut through the window. Luckily for him, the QUEEN is out attending to business and no one is there.WOLFF potters among the QUEEN's belongings, he's particularly taken with the crown and tries it on. A knock at the door - it's ROSIE. WOLFF quickly shoves a handy wig on under the crown and ducks behind a screen. ROSIE enters and the 'what big teeth you have' dialogue ensues. Suddenly the QUEEN's yappy dog starts going and ROSIE becomes suspicious. WOLFF emerges from behind the screen de-wigged full of evil intent. Just then DUKE comes hurtling in through the window and a band of soldiers with the QUEEN in tow arrives at the door. The dog is calmed and WOLFF arrested. DUKE becomes ROSIE's hero of the hour and they all live happily ever after.
THE END
Activity 2.12 - Bernice
Write a list of what each of your characters would take with them in the event of a fire:
ROSIE: Her warmest coat, her purse, her romance novels (she has 3... borrowed from the library)
QUEEN: Thor (her small dog) - her servants would carry the rest (crown, chest of top secret spy documents, rifle, wigs)
MAUD: Her warmest coat, her purse, a flask of tea, as much food as she could carry, a cheeky bottle of wine.
WOLFF: His hair pomade, his best suit, his unguents, his comb, hopefully he can grab a pretty blonde serving maid on the way out.
DUKE: First he wold ensure everyone was out of the building (women and children first), then if there was time he would dash back to retrieve his pocket book, his journal, a locket given to him as a child with a picture of his dead parents in, his horse (assuming the stable was alight), and a spare pair of underpants.
ROSIE: Her warmest coat, her purse, her romance novels (she has 3... borrowed from the library)
QUEEN: Thor (her small dog) - her servants would carry the rest (crown, chest of top secret spy documents, rifle, wigs)
MAUD: Her warmest coat, her purse, a flask of tea, as much food as she could carry, a cheeky bottle of wine.
WOLFF: His hair pomade, his best suit, his unguents, his comb, hopefully he can grab a pretty blonde serving maid on the way out.
DUKE: First he wold ensure everyone was out of the building (women and children first), then if there was time he would dash back to retrieve his pocket book, his journal, a locket given to him as a child with a picture of his dead parents in, his horse (assuming the stable was alight), and a spare pair of underpants.
Monday, 26 February 2007
Activity 2.10 - Bernice
Ok this activity is about making our characters more real. You have to list 30 things about them, for example: where they last went on holiday, what their favourite colour is, whether they are vegetarian or not, what car they would like to drive etc. I don't think I can get 30 - but looking on the forum, not many others have bothered with that many either, so here goes...
ROSIE (LRRH) is a 19 year old woman. She is the queens maid at the Royal Palace in Oslo. She is fair haired and pretty in an understated way. Her favourite colour is red although she never gets to wear it. She isn't vegetarian as meat is scarce and considered a rare nutritional commodity. Tofu is unheard of. But she likes animals (especially the fancy horses in the stables) and probably would become a vegetarian if she'd ever heard of such a thing. Although being reasonably intelligent, she is not particularly sharp witted and tends towards being a bit dreamy, but she is extremely good natured most of the time. People tend to take advantage of her sweet temper and disabuse it somewhat, for example they always ask her to do the errands that they should do themselves and off she saunters on her merry way, oblivious to the sniggering idlers who kick off their boots and quaff ales while she does all the dog work. She has never been on holiday. The furthest she has travelled is into the forest to visit her ailing Gran with a basket of grapes but she had a bad experience that time (a wolf pinched her bottom) and never went again. She is able to read and write a little and has been allowed to read some romantic books from the library. She likes sweet things.
QUEEN (GRAN) is the queen. She is 48 years old. No one knows the real colour of her hair as she owns a wide variety of wigs and wears the most approprite to the occasion. She is rathe attractive though she looks slightly older than she is. She is extremely intelligent and assists a lot in the ruling of the country. She spends her holidays at a summer retreat somewhere in Norway, she normally only goes abroad on business with her husband, the King. She is bossy and very particular. She is set in her ways. She likes to ride horses and prefers them to a carriage. Her favourite colour is peacock blue. She would never become vegetarian, she likes game too much and often hunts for sport. QUEEN is from the stock of another monarchy and was raised to it. She was educated in Paris and Switzerland as a young lady should, but her mother believed she should be taught the more practical side of ruling. As a result of this parental diligence, she is a keen accountant and is well versed in warfare. She runs a network of spies around Europe to guard against plots. QUEEN has (in the tradition of Royalty) a small pet dog who, it seems, she prefers to most of her family. It's a yappy little thing - a chihuahua or some such. It's called Thor.
MAUD* (MOTHER) is the head cook at the palace. She is around 50 and has silvery grey hair which she constructs in to and iron-hard bun at the nape of her neck. She is kindly but rules her kitchen with a will of steel - no one would wish to get caught with their finger in the chocolate sauce! Her favourite colour is green and she likes to wander around the palace gardens (even though she shouldn't really) during her time off. She hates all modes of transport and has never left the city. To her, Boxing Day (or the Norwegian equivalent) constitutes a holiday as she gets to go see her granddaughter in the city. MAUD would claim anyone who was vegetarian was 'fussy', even though she doesn't really like meat herself and only eats it for the iron. She is a well trusted member of the palace staff and often has secret dealings with the QUEEN. She is well connected in Oslo and knows where to find a dodgy priest/ abortionist/ witch doctor/ opium dealer, whatever you like really. MAUD is one of the few people tolerated by QUEEN's dog Thor - she doesn't share the sentiment.
*ok - I know there is a queen Maud of Norway, but it's also the name of my mate's mum and I think she'd be offended if QUEEN was named after her - She's a fab cook, though I doubt she would approve of this MAUD's dodgy dealings...
ADMIRAL VON WOLFF (WOLF) could be described as 'dashing' or 'rugged' and is probably a mixture of both. He has thick black hair which, despite his best efforts, refuses to lay neatly in pomaded curls, giving him a wild appearance. He has opted to go with the flow on this one and is currently sporting a cracking pair of mutton-chop sideburns. He has a scar over one eye. His favourite colour is black as he thinks it makes him look brooding and irresistible to women. He likes his fast coach which is pulled by four horses and can exceed speeds of 40mph. He has also been on a steam train which he enjoyed immensely. His last holiday was to Venice where he had a wonderful time parading around in a mask and pinching ladies bottoms. He tried it once more when he got back to Norway but received a sound slap on that occasion. He has a penchant for pretty blonde serving maids. He likes to eat meat and will occasionally suffer a salad garnish, but only when he's not already full of meat. WOLFF despises small dogs above all else and sees them as a feeble addition to the noble canine race.
DUKE VON TRAPP (WOODCUTTER) is in his early thirties. He has sandy hair and blue eyes that twinkle when he smiles, which sadly is not often as he is quite a serious man. He is a distant relative of the QUEEN and stays at the palace whenever he is in Norway. No one knows what his eating habits are, as no one has heard him express any opinion on food, he tends to eat in a polite, reserved manner showing neither dislike nor gusto. He broods in the corner at parties, but looks quite handsome doing it. His last holiday was in Austria, he quite enjoyed himself and is vaguely considering going there for a longer period. He likes to ride his horse, alone. He has no opinion on small dogs. The one characteristic he shares with WOLFF, although he is as yet unaware of it's existence, is his (somehow inevitable) penchant for pretty blonde serving maids.
ROSIE (LRRH) is a 19 year old woman. She is the queens maid at the Royal Palace in Oslo. She is fair haired and pretty in an understated way. Her favourite colour is red although she never gets to wear it. She isn't vegetarian as meat is scarce and considered a rare nutritional commodity. Tofu is unheard of. But she likes animals (especially the fancy horses in the stables) and probably would become a vegetarian if she'd ever heard of such a thing. Although being reasonably intelligent, she is not particularly sharp witted and tends towards being a bit dreamy, but she is extremely good natured most of the time. People tend to take advantage of her sweet temper and disabuse it somewhat, for example they always ask her to do the errands that they should do themselves and off she saunters on her merry way, oblivious to the sniggering idlers who kick off their boots and quaff ales while she does all the dog work. She has never been on holiday. The furthest she has travelled is into the forest to visit her ailing Gran with a basket of grapes but she had a bad experience that time (a wolf pinched her bottom) and never went again. She is able to read and write a little and has been allowed to read some romantic books from the library. She likes sweet things.
QUEEN (GRAN) is the queen. She is 48 years old. No one knows the real colour of her hair as she owns a wide variety of wigs and wears the most approprite to the occasion. She is rathe attractive though she looks slightly older than she is. She is extremely intelligent and assists a lot in the ruling of the country. She spends her holidays at a summer retreat somewhere in Norway, she normally only goes abroad on business with her husband, the King. She is bossy and very particular. She is set in her ways. She likes to ride horses and prefers them to a carriage. Her favourite colour is peacock blue. She would never become vegetarian, she likes game too much and often hunts for sport. QUEEN is from the stock of another monarchy and was raised to it. She was educated in Paris and Switzerland as a young lady should, but her mother believed she should be taught the more practical side of ruling. As a result of this parental diligence, she is a keen accountant and is well versed in warfare. She runs a network of spies around Europe to guard against plots. QUEEN has (in the tradition of Royalty) a small pet dog who, it seems, she prefers to most of her family. It's a yappy little thing - a chihuahua or some such. It's called Thor.
MAUD* (MOTHER) is the head cook at the palace. She is around 50 and has silvery grey hair which she constructs in to and iron-hard bun at the nape of her neck. She is kindly but rules her kitchen with a will of steel - no one would wish to get caught with their finger in the chocolate sauce! Her favourite colour is green and she likes to wander around the palace gardens (even though she shouldn't really) during her time off. She hates all modes of transport and has never left the city. To her, Boxing Day (or the Norwegian equivalent) constitutes a holiday as she gets to go see her granddaughter in the city. MAUD would claim anyone who was vegetarian was 'fussy', even though she doesn't really like meat herself and only eats it for the iron. She is a well trusted member of the palace staff and often has secret dealings with the QUEEN. She is well connected in Oslo and knows where to find a dodgy priest/ abortionist/ witch doctor/ opium dealer, whatever you like really. MAUD is one of the few people tolerated by QUEEN's dog Thor - she doesn't share the sentiment.
*ok - I know there is a queen Maud of Norway, but it's also the name of my mate's mum and I think she'd be offended if QUEEN was named after her - She's a fab cook, though I doubt she would approve of this MAUD's dodgy dealings...
ADMIRAL VON WOLFF (WOLF) could be described as 'dashing' or 'rugged' and is probably a mixture of both. He has thick black hair which, despite his best efforts, refuses to lay neatly in pomaded curls, giving him a wild appearance. He has opted to go with the flow on this one and is currently sporting a cracking pair of mutton-chop sideburns. He has a scar over one eye. His favourite colour is black as he thinks it makes him look brooding and irresistible to women. He likes his fast coach which is pulled by four horses and can exceed speeds of 40mph. He has also been on a steam train which he enjoyed immensely. His last holiday was to Venice where he had a wonderful time parading around in a mask and pinching ladies bottoms. He tried it once more when he got back to Norway but received a sound slap on that occasion. He has a penchant for pretty blonde serving maids. He likes to eat meat and will occasionally suffer a salad garnish, but only when he's not already full of meat. WOLFF despises small dogs above all else and sees them as a feeble addition to the noble canine race.
DUKE VON TRAPP (WOODCUTTER) is in his early thirties. He has sandy hair and blue eyes that twinkle when he smiles, which sadly is not often as he is quite a serious man. He is a distant relative of the QUEEN and stays at the palace whenever he is in Norway. No one knows what his eating habits are, as no one has heard him express any opinion on food, he tends to eat in a polite, reserved manner showing neither dislike nor gusto. He broods in the corner at parties, but looks quite handsome doing it. His last holiday was in Austria, he quite enjoyed himself and is vaguely considering going there for a longer period. He likes to ride his horse, alone. He has no opinion on small dogs. The one characteristic he shares with WOLFF, although he is as yet unaware of it's existence, is his (somehow inevitable) penchant for pretty blonde serving maids.
Activity 2.7/ 2.8 - Bernice
This is an exercise where we have to nick the story of Little Red Riding Hood and change it into a different time and setting. The first activity in this string is to set out tables stating who, what and where. The second is to look at the location and see what other possible storylines could emerge from them.
My version is set in the Palace in Oslo in the late 19th century (I warn you - I know nothing of Norwegian monarchy - but the palace is pretty so I'm choosing that).
ROSIE (LRRH) works in the kitchens with MAUD (MOTHER). MAUD is not ROSIE's mother, ROSIE is an orphan but MAUD looks after her. MAUD sends ROSIE to with a parcel of food to the elderly GROOM (grandma) and warns her not to dawdle. ROSIE sees a parade approaching the palace and stops to watch the horses and soldiers. The kindly GENERAL stops to talk to her and she tells him where she is going. She is overheard by the sinister Captain WOLFF who gets to the stables first, disposes of the old GROOM and waits in his place to have his evil way. The GENERAL (woodcutter) follows ROSIE with the intent of giving her a message to deliver and interrupts WOLFF mid-pounce. The GENERAL sees off WOLFF and all live happily ever after.
I know this is in the wrong format but these are my characters and setting. In a way, I'm being led by the setting on this... Should Rosie be a little girl, given a precious object to deliver which Wolff wants to steal? Or should she be an attractive young woman who Wolff wants to seduce/ rape? I wanted the General to be an elderly man, but maybe he is young and handsome and marries Rosie after rescuing her? Hmmmm. Decisions, decisions...
Another thought is that Rosie could work inside the palace as the queens maid. That way she is likely to have access to precious objects which Wolff might want to steal if he is a guest (the evil Admiral Von Wolff) at the palace. But then who would be the woodcutter? Maybe the king, just for extra drama, or maybe the butler wielding a candlestick or poker instead of an axe? I Like this game...
My version is set in the Palace in Oslo in the late 19th century (I warn you - I know nothing of Norwegian monarchy - but the palace is pretty so I'm choosing that).
ROSIE (LRRH) works in the kitchens with MAUD (MOTHER). MAUD is not ROSIE's mother, ROSIE is an orphan but MAUD looks after her. MAUD sends ROSIE to with a parcel of food to the elderly GROOM (grandma) and warns her not to dawdle. ROSIE sees a parade approaching the palace and stops to watch the horses and soldiers. The kindly GENERAL stops to talk to her and she tells him where she is going. She is overheard by the sinister Captain WOLFF who gets to the stables first, disposes of the old GROOM and waits in his place to have his evil way. The GENERAL (woodcutter) follows ROSIE with the intent of giving her a message to deliver and interrupts WOLFF mid-pounce. The GENERAL sees off WOLFF and all live happily ever after.
I know this is in the wrong format but these are my characters and setting. In a way, I'm being led by the setting on this... Should Rosie be a little girl, given a precious object to deliver which Wolff wants to steal? Or should she be an attractive young woman who Wolff wants to seduce/ rape? I wanted the General to be an elderly man, but maybe he is young and handsome and marries Rosie after rescuing her? Hmmmm. Decisions, decisions...
Another thought is that Rosie could work inside the palace as the queens maid. That way she is likely to have access to precious objects which Wolff might want to steal if he is a guest (the evil Admiral Von Wolff) at the palace. But then who would be the woodcutter? Maybe the king, just for extra drama, or maybe the butler wielding a candlestick or poker instead of an axe? I Like this game...
Tuesday, 13 February 2007
Activity 1.21 - Bernice
Choose 1 location from the three you used in 1.20 and write a short scene between 2 characters trying to have a private conversation.
A gym. CLAIRE and PAULA centre stage doing star jumps on exercise mats facing the audience. Weights bench and dumbbells behind to the right. Loud dance music plays. Bright fluorescent lighting.
CLAIRE: I need to talk to you about you know who.
CLAIRE looks around nervously. PAULA continues to jump. PAULA grunts in reply.
CLAIRE: He hasn't been in for a couple of days, what do you think?
PAULA: (Gasps) About what?
CLAIRE: About the fact he's not been here after what happened the last time.
A buzzer sounds and the girls pick up a swiss ball each and sit on it. They start to do sit ups. Each girl speaks in turn as they come up.
PAULA: What is there to think?
CLAIRE: Well... (Stops abruptly)
A man walks past towards the weights bench and sits down. He picks up a dumbbell and starts to exercise. CLAIRE watches. The man gets engrossed in his workout. CLAIRE turns back to PAULA and continues in a lowered voice.
CLAIRE: You know what I told you last time about the, you know... sauna.
PAULA: Hmmnn.
CLAIRE: Well it's about that! Last time I saw him he said that, when... you know...
A voice shouts instructions from off stage
VOICE: Come on! Connect those bellies and fifteen, and sixteen...
The girls are quiet and struggle to finish their sit ups. They finish and stand up to move the balls. PAULA gets some small weights.
PAULA: (Clearly not listening): Hmmmnn
CLAIRE: Are you listening to me?
VOICE: We are all listening Claire! Now hurry up, where are your weights for the squats?
CLAIRE:(to PAULA) Oh, I'll tell you outside.
A gym. CLAIRE and PAULA centre stage doing star jumps on exercise mats facing the audience. Weights bench and dumbbells behind to the right. Loud dance music plays. Bright fluorescent lighting.
CLAIRE: I need to talk to you about you know who.
CLAIRE looks around nervously. PAULA continues to jump. PAULA grunts in reply.
CLAIRE: He hasn't been in for a couple of days, what do you think?
PAULA: (Gasps) About what?
CLAIRE: About the fact he's not been here after what happened the last time.
A buzzer sounds and the girls pick up a swiss ball each and sit on it. They start to do sit ups. Each girl speaks in turn as they come up.
PAULA: What is there to think?
CLAIRE: Well... (Stops abruptly)
A man walks past towards the weights bench and sits down. He picks up a dumbbell and starts to exercise. CLAIRE watches. The man gets engrossed in his workout. CLAIRE turns back to PAULA and continues in a lowered voice.
CLAIRE: You know what I told you last time about the, you know... sauna.
PAULA: Hmmnn.
CLAIRE: Well it's about that! Last time I saw him he said that, when... you know...
A voice shouts instructions from off stage
VOICE: Come on! Connect those bellies and fifteen, and sixteen...
The girls are quiet and struggle to finish their sit ups. They finish and stand up to move the balls. PAULA gets some small weights.
PAULA: (Clearly not listening): Hmmmnn
CLAIRE: Are you listening to me?
VOICE: We are all listening Claire! Now hurry up, where are your weights for the squats?
CLAIRE:(to PAULA) Oh, I'll tell you outside.
Monday, 12 February 2007
Activity 1.20 - Bernice
Describe 3 locations
1. A park. Wooden bench in bad repair, an overflowing litter bin. Sounds of birdsong and wind in the trees. Dappled lighting, indicating sunshine through trees.
2. An office. A partition with two office chairs, one sticking out of either side. Telephones ringing quietly, tapping of keyboards and noises from printers and photocopiers. Bright lighting.
3. A gym. Treadmills, weights bench, floor mats. Loud dance music. Bright fluorescent lighting.
1. A park. Wooden bench in bad repair, an overflowing litter bin. Sounds of birdsong and wind in the trees. Dappled lighting, indicating sunshine through trees.
2. An office. A partition with two office chairs, one sticking out of either side. Telephones ringing quietly, tapping of keyboards and noises from printers and photocopiers. Bright lighting.
3. A gym. Treadmills, weights bench, floor mats. Loud dance music. Bright fluorescent lighting.
Sunday, 11 February 2007
Activity 1.2
Write a list of 3 public locations you are familiar with. Then write a short description to establish the atmosphere of each of your locations.
A dark draughty tube platform late at night – silent except for the rats scuttling on the track
A local supermarket in the early evening alive with a flurry of convenience food shoppers
A quiet restaurant intimate with couples
A dark draughty tube platform late at night – silent except for the rats scuttling on the track
A local supermarket in the early evening alive with a flurry of convenience food shoppers
A quiet restaurant intimate with couples
Activity 1.2
Write a list of 3 public locations you are familiar with. Then write a short description to establish the atmosphere of each of your locations.
A dark draughty tube platform late at night – silent except for the rats scuttling on the track
A local supermarket in the early evening alive with a flurry of convenience food shoppers
A quiet restaurant intimate with couples
A dark draughty tube platform late at night – silent except for the rats scuttling on the track
A local supermarket in the early evening alive with a flurry of convenience food shoppers
A quiet restaurant intimate with couples
Saturday, 10 February 2007
Mel and Tig's Oslo Stickup
Spotlight on a bunk bed centre stage. MEL sits on the top bunk swinging her legs languidly. TIG lurks on the bottom bunk. There is the noise of water dripping and the girls look cold, damp and bedraggled.
TIG: What on earth made us do it? I mean, I was on about going to Svalbard for god's sake! What did I think we were going to do? Swank off the plane in our pretty wool coats and elegant hat/scarf combos, snap a few pictures of Polar Bears gambolling in the snow? Find a cosy hostelry and quaff a few tankards or whatever viking types have, then pop on our topshop gloves and head back to the landing strip?
MEL: Well you did pack a fancy strapless number for Venice and it was bloody baltic there...
TIG: We really should check the weather forecast. Well no, we DID check the weather forecast - we just didn't understand what minus seventeen really meant... Or what Expensive meant for that matter.
MEL: At least we brought enough beer to keep us going for a while... But we need food! and caffeine!
TIG: I know! I can't believe they confiscated our herbal teabags at customs - I'd do anything for a pie and a brew!
Lights fade out.
Lights fade in. A busy cafe, people sitting round tables with floral tea sets eating in a civilised manner. MEL and TIG explode through the door. MEL is brandishing what at first looks like a gun, but is in fact a travel hairdryer wrapped in a pashmina. The cord slips out thoughout the scene. TIG wields a bottle of hairspray which she sprays in the eyes of the customers nearest the door. The sprayed customers scream and fall to the ground clutching their faces. This alarms the rest of the customers.
TIG: (Still wielding) Get down on the floor - this is robbery! I mean a robbery.
The customers get on the floor. MEL strides purposefully towards the counter where a woman is cowering. TIG darts from table to table shoving all the bread rolls in her satchel.
MEL: (to woman behind counter) Get me the coffee satchets. Now!
The woman hurries to grab all the sachets out of the dispenser.
MEL: In the handbag!
TIG: Get some sugar too! There's some of that brown cheese over here, should I grab it to go with the rolls? Ooh, and I think there's some packets of seal scratchings...
MEL: (To TIG ) Grab the cheese, no scratchings for me. (To the woman) And the de-caff, sister!
The woman shoves more satchets into MEL's handbag
TIG: Go! Go!
MEL and TIG make for the door. MEL trailing her hairdryer cord and TIG with what appears to be a chocolate croissant stuffed in her mouth. Fade to black.
TIG: What on earth made us do it? I mean, I was on about going to Svalbard for god's sake! What did I think we were going to do? Swank off the plane in our pretty wool coats and elegant hat/scarf combos, snap a few pictures of Polar Bears gambolling in the snow? Find a cosy hostelry and quaff a few tankards or whatever viking types have, then pop on our topshop gloves and head back to the landing strip?
MEL: Well you did pack a fancy strapless number for Venice and it was bloody baltic there...
TIG: We really should check the weather forecast. Well no, we DID check the weather forecast - we just didn't understand what minus seventeen really meant... Or what Expensive meant for that matter.
MEL: At least we brought enough beer to keep us going for a while... But we need food! and caffeine!
TIG: I know! I can't believe they confiscated our herbal teabags at customs - I'd do anything for a pie and a brew!
Lights fade out.
Lights fade in. A busy cafe, people sitting round tables with floral tea sets eating in a civilised manner. MEL and TIG explode through the door. MEL is brandishing what at first looks like a gun, but is in fact a travel hairdryer wrapped in a pashmina. The cord slips out thoughout the scene. TIG wields a bottle of hairspray which she sprays in the eyes of the customers nearest the door. The sprayed customers scream and fall to the ground clutching their faces. This alarms the rest of the customers.
TIG: (Still wielding) Get down on the floor - this is robbery! I mean a robbery.
The customers get on the floor. MEL strides purposefully towards the counter where a woman is cowering. TIG darts from table to table shoving all the bread rolls in her satchel.
MEL: (to woman behind counter) Get me the coffee satchets. Now!
The woman hurries to grab all the sachets out of the dispenser.
MEL: In the handbag!
TIG: Get some sugar too! There's some of that brown cheese over here, should I grab it to go with the rolls? Ooh, and I think there's some packets of seal scratchings...
MEL: (To TIG ) Grab the cheese, no scratchings for me. (To the woman) And the de-caff, sister!
The woman shoves more satchets into MEL's handbag
TIG: Go! Go!
MEL and TIG make for the door. MEL trailing her hairdryer cord and TIG with what appears to be a chocolate croissant stuffed in her mouth. Fade to black.
Tuesday, 6 February 2007
Activity 1.11 - Bernice
On a new blank page, turn actions into dialogue - dialogue will depend on actions. The more indirect the dialogue, the more intriguing (goody). Name the characters. to make it more interesting.
AMY enters from the left and finds a letter in the centre of the stage. She opens the letter, reads it and tears it into pieces, then exits to the right through a door.
IAN enters through the door and sees a scrap of the letter nearby. He picks it up.
IAN (mumbling): What's this...
IAN casts about the floor until he sees the rest of the letter. He hurries over to the letter and picks up another piece, he tries to fit them together to read them.
IAN: Oh no! Amy!
IAN drops the letter and dashes out of the door. After a beat, IAN returns through the door holding a mobile phone to his ear.
IAN: ...If so we're in real trouble. Yes, she's been here alright, but she can't have got the message. OK, will do.
IAN hangs up and puts the phone in his pocket and marches over to the scraps of letter. He bends down, gathers them up hurriedly and stuffs them in his pockets. He glances around to make sure he's not missed any pieces then leaves again through the door.
AMY reenters hesitantly through the door, then runs to where the letter was. On finding it missing she sinks to her knees with her head in her hands.
AMY: Shit! Shit, Shit, Shit!
IAN returns through the door and walks swiftly over to AMY. He bends down to her and helps her up.
IAN: Come on, it's not too late, hurry.
AMY and IAN hug quickly, then run out of the door.
The light dims. VINCE enters from the left carrying a gun. He begins to walk slowly towards the door. The light dims to black.
AMY enters from the left and finds a letter in the centre of the stage. She opens the letter, reads it and tears it into pieces, then exits to the right through a door.
IAN enters through the door and sees a scrap of the letter nearby. He picks it up.
IAN (mumbling): What's this...
IAN casts about the floor until he sees the rest of the letter. He hurries over to the letter and picks up another piece, he tries to fit them together to read them.
IAN: Oh no! Amy!
IAN drops the letter and dashes out of the door. After a beat, IAN returns through the door holding a mobile phone to his ear.
IAN: ...If so we're in real trouble. Yes, she's been here alright, but she can't have got the message. OK, will do.
IAN hangs up and puts the phone in his pocket and marches over to the scraps of letter. He bends down, gathers them up hurriedly and stuffs them in his pockets. He glances around to make sure he's not missed any pieces then leaves again through the door.
AMY reenters hesitantly through the door, then runs to where the letter was. On finding it missing she sinks to her knees with her head in her hands.
AMY: Shit! Shit, Shit, Shit!
IAN returns through the door and walks swiftly over to AMY. He bends down to her and helps her up.
IAN: Come on, it's not too late, hurry.
AMY and IAN hug quickly, then run out of the door.
The light dims. VINCE enters from the left carrying a gun. He begins to walk slowly towards the door. The light dims to black.
Activity 1.10 - Bernice
Consider the scenes in 1.8. Start developing them into a short scenario (outline). Write the bare essentials, don't describe anything or anyone, state what the situation is and what happens but no speech. Max 3 performers, objects can be used other than the letter but avoid furniture.
Ok - here goes!
1. AMY enters left and finds the letter in the centre of the stage. She opens the letter, reads it and tears it into pieces, then exits to the right, through a door.
2. IAN enters right from the door and sees a scrap of letter. He picks it up, looks at it then casts about until he finds the rest. He hurries to the letter and picks up another piece. He tries to fit them together to read them. Suddenly, he drops the pieces of letter and runs back out of the door.
3. After a beat, IAN reenters through the door. He is holding a mobile phone which he puts in his pocket. He marches purposefully over to the letter and gathers the pieces together. He stuffs them in his pocket, checks around to see if there are any left and leaves through the door.
4. AMY reenters hesitantly, then runs to the place where she initially dropped the letter, on finding it missing she falls onto her knees with her head in her hands.
5. IAN returns through the door and goes straight to AMY. He stoops to help her stand and says something into her ear, they hug. They look around the room then hurry out through the door.
6. The light dims and there is silence. VINCE enters from the left walking slowly towards the door, he is carrying a gun. Before he reached the door the lights dim to black.
Ok - here goes!
1. AMY enters left and finds the letter in the centre of the stage. She opens the letter, reads it and tears it into pieces, then exits to the right, through a door.
2. IAN enters right from the door and sees a scrap of letter. He picks it up, looks at it then casts about until he finds the rest. He hurries to the letter and picks up another piece. He tries to fit them together to read them. Suddenly, he drops the pieces of letter and runs back out of the door.
3. After a beat, IAN reenters through the door. He is holding a mobile phone which he puts in his pocket. He marches purposefully over to the letter and gathers the pieces together. He stuffs them in his pocket, checks around to see if there are any left and leaves through the door.
4. AMY reenters hesitantly, then runs to the place where she initially dropped the letter, on finding it missing she falls onto her knees with her head in her hands.
5. IAN returns through the door and goes straight to AMY. He stoops to help her stand and says something into her ear, they hug. They look around the room then hurry out through the door.
6. The light dims and there is silence. VINCE enters from the left walking slowly towards the door, he is carrying a gun. Before he reached the door the lights dim to black.
Activity 1.8 - Bernice
Follow 1.7 with what might happen next, just a line or two for each section. Use italics only and only spend a few minutes on each.
Consider:
1. Are your scenes a sequence?
2. Does something connect each one?
3. Is your person male or female?
4. What response might they provoke?
(This is going to be awkward - especially as I'm using italics for the questions....)
HE quickly reappears, marches over to the letter and gathers the pieces together. HE stuffs them in his pockets, checks to make sure none are left and leaves again.
SHE reenters hesitantly, then runs to where the letter was. On finding no remains SHE falls to her knees with her head in her hands.
HE reenters and walks over to SHE. HE drops down beside SHE and helps her up from the floor. They both look around and hurry off together.
A third character follows at a distance.
Consideration bits.
My little scenes are intended to be a sequence. At first the link is provided by the letter. Both HE and SHE have direct dealings with it, and that links them together. Then they meet and leave together, clearly establishing a relationship. The mystery third character is following them, this may or may not have something to do with the letter.
The sex of my characters don't really have any bearing on the action, initially I made one HE and one SHE to distinguish them. When I give them names this will be pretty much irrelevant.
I hope the response provoked by the scenes would be intrigue - at least that was what was intended - I'd want the audience to be wondering what was in the letter as I have tried to make it the catalyst for all the movements on stage, including the shadowy third figure who follows HE and SHE off stage.
Consider:
1. Are your scenes a sequence?
2. Does something connect each one?
3. Is your person male or female?
4. What response might they provoke?
(This is going to be awkward - especially as I'm using italics for the questions....)
HE quickly reappears, marches over to the letter and gathers the pieces together. HE stuffs them in his pockets, checks to make sure none are left and leaves again.
SHE reenters hesitantly, then runs to where the letter was. On finding no remains SHE falls to her knees with her head in her hands.
HE reenters and walks over to SHE. HE drops down beside SHE and helps her up from the floor. They both look around and hurry off together.
A third character follows at a distance.
Consideration bits.
My little scenes are intended to be a sequence. At first the link is provided by the letter. Both HE and SHE have direct dealings with it, and that links them together. Then they meet and leave together, clearly establishing a relationship. The mystery third character is following them, this may or may not have something to do with the letter.
The sex of my characters don't really have any bearing on the action, initially I made one HE and one SHE to distinguish them. When I give them names this will be pretty much irrelevant.
I hope the response provoked by the scenes would be intrigue - at least that was what was intended - I'd want the audience to be wondering what was in the letter as I have tried to make it the catalyst for all the movements on stage, including the shadowy third figure who follows HE and SHE off stage.
Activity 1.7 - Bernice
Imagine looking at an empty stage. A character enters & finds a letter. He or she opens the letter, reads it & tears it into little pieces, then leaves. Write dow the physical action of what might happen next.
A character enters and finds a letter. She opens the letter, reads it and tears it into little pieces, then leaves. A second character enters. He finds a fragment of letter, picks it up and looks at it. He sees the other pieces and moves over to them. He picks up another piece and looks at it, trying to fit it together with the first. He suddenly drops the pieces exits at a run.
A character enters and finds a letter. She opens the letter, reads it and tears it into little pieces, then leaves. A second character enters. He finds a fragment of letter, picks it up and looks at it. He sees the other pieces and moves over to them. He picks up another piece and looks at it, trying to fit it together with the first. He suddenly drops the pieces exits at a run.
Started!
Hello any lovely people who are helping us with our homework... Our Play Writing course has now started and we'll be posting activities on here. Any comments will be welcome (well, within reason). I'm going to direct my new course mates to this blog if they have time to comment on the workings-out bits, hence the titles named after the activities. The questions are from the OU 'Start Writing Plays' course, I've put these in italics at the top of my posts.
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