Playwriting: Forms

ENGL72111 Playwriting: Forms 30 Semester 1 Postgraduate Taught Level 7 Chloe Moss Unit coordinator 1 FHEQ level (Framework for Higher Education Qualifications) ' Masters/Integrated Masters P4 ' European Credit Transfer & Accumulation System Rating : 15.0 <div> <div> This module will explore how a playwright might work with the relationship between form and content when writing a play. During the module, you will engage with both popular and innovative formal conventions and devices found in a range of plays, starting with the naturalistic genre and extending from here to consider farce, postdramatic and experimental plays. You will develop a technical language for describing formal innovation in plays, working from a baseline of naturalism, and then learning in a controlled way, how to disrupt the formal conventions of naturalism. The module explores narrative, character, speech and dialogue, and will equip you with a suite of tools to help you find the right form for the content of the original plays you want to write. This module will be taught via a combination of study of existing plays and practical writing exercises.</div> </div>   <div> <div> This module will explore how a playwright might work with the relationship between form and content when writing a play. During the module, you will engage with both popular and innovative formal conventions and devices found in a range of plays, starting with the naturalistic genre and extending from here to consider farce, postdramatic and experimental plays. You will develop a technical language for describing formal innovation in plays, working from a baseline of naturalism, and then learning in a controlled way, how to disrupt the formal conventions of naturalism. The module explores narrative, character, speech and dialogue, and will equip you with a suite of tools to help you find the right form for the content of the original plays you want to write. This module will be taught via a combination of study of existing plays and practical writing exercises.</div> </div>   <div> <div> The unit aims to:  <ul> <li> develop your understanding of the relationship between form and content when writing a play</li> <li> develop your knowledge of the comprehensive range of forms in use in plays, drawing on examples of significance from contemporary and historical playwriting</li> <li> equip you with a systematic range of tools and techniques to help you find the right form for the content of the original plays you want to write</li> </ul> </div> </div>   Demonstrate a sophisticated understanding of the significance of the formal decisions writers make, and be able to articulate the impact of form in/on the building, shaping and meaning of a range of plays.Articulate a detailed and thorough understanding of a range of key formal conventions along with a critical awareness of both historical and contemporary formal innovations in the field of playwriting. Demonstrate their understanding of theatre form and use this as a diagnostic tool to feedback on peers’ work and their own to develop a resilient drafting process.Articulate the ways in which playwrights draw on a developed theatrical imagination in their writing. Critically analyse, interpret and judge the work of leading playwrights and to comment effectively on their use of form, and the relationships between form, story, plot, character and genre.Demonstrate a sophisticated understanding of a range of theatre forms, and be able execute control over the application of conventions and the use of formal devices in their own work.Use a real or adopted professional perspective throughout to frame their discussions and reflections. Evaluate, critique, and develop their own work, with reference to conventions of theatre form and identify appropriate creative solutions and possibilities in their writing.Develop transferrable dramaturgical skills, applicable to all kinds of story-telling and play-making.Use e-tools to collaborate with peers. Students should have worked to develop their skills in offering well-informed and supportive critique in response to the work of fellow students.Control, develop and hone the form of their playwriting, utilising formal devices in their own way, and for their own ends. Communicate their ideas effectively both verbally and in writing.Develop a sophisticated language when talking about playwriting and story design that is of professional and industry standard.Collaborate constructively in group situations with peers to develop ideas and understanding and find solutions and creative possibilities with a shared language.Manage their time and workload effectively in order to meet deadlines. <div>  </div>   0 Other 100%  <table border="0" cellpadding="0" cellspacing="0" style="width:247px;" width="245"> <tbody> <tr height="66"> <td height="66" style="height:66px;width:155px;">1 One-act play and 1 Reflective piece</td> <td align="right" style="width:92px;">100%</td> </tr> </tbody></table>  Verbal and written formative feedback provided via individual tutorials x 2 during the module.Written summative feedback. <table border="1" cellpadding="0" cellspacing="0" width="0"> <tbody> <tr> <td style="width:203px;"> Co-requisite units</td> <td style="width:417px;"> Playwriting and Structure</td> </tr> </tbody></table>  N See indicative reading list for ‘The Dissertation Play’ module. Plays explored on this module may include:Travis Alabanza, BurgerzAnnie Baker, The FlickMike Bartlett, My ChildAlice Birch, Anatomy of a SuicidePhoebe Waller Bridge, FleabagJez Butterworth, JerusalemCaryl Churchill, Escaped Alone Martin Crimp, Attempts on Her LifeClaire Dowie, Why is John Lennon Wearing a Skirt?Chris Goode, Men in the Cities (or, Mirabel)James Graham, This HouseDavid Greig, The EventsMichael Frayn, CopenhagenJon Fosse, I am the WindNatasha Gordon, Nine Nightdebbie tucker green, ear for eyeDavid Greig, San DiegoInua Elams, Barbershop ChroniclesElfriede Jelinek, BambilandKatori Hall, The MountaintopLorraine Hansberry, A Raisin in the SunElla Hickson, The WriterSarah Kane, BlastedDennis Kelly, Love and MoneyYoung Jean Lee, Straight White MenDuncan Macmillan, LungsAlistair McDowall, PomonaPhyllis Nagy, Butterfly KissAnthony Nielson, The Wonderful World of DissociaJoe Orton, What the Butler SawGary Owen, Iphigenia in SplottNick Payne, ConstellationsHarold Pinter, The Birthday PartyTim Price, The Radicalisation of Bradley ManningMark Ravenhill, Shoot/Get Treasure/RepeatWallace Shawn, Aunt Dan and LemonSleepwalk Collective, DomesticaAndy Smith, SummitSimon Stephens, PornographyChris Thorpe, Victory ConditionEnda Walsh, The Walworth FarceLaura Wade, Home, I’m DarlingAnne Washburn, Mr BurnsTennessee Williams, The Glass MenagerieThornton Wilder, Our Town Lectures 33 Tutorials 2 0 265