21M.710  Script Analysis

FREE Tickets to HAND TO GOD this THURSDAY!

Hey Folks!

Come out and see
HAND TO GOD,
with a talkback with
PLAYWRIGHT Robert Askins!

THURSDAY, JANUARY 12 at 7:30 pm

Get your FREE Tickets here:
https://goo.gl/forms/NNzV3B0PMzxKW9W22
First Come, First Served!

David

Announced on 10 January 2017  4:56  p.m. by David R Gammons

Script Analysis: HAND TO GOD!

Hey Gang!

HAPPY NEW YEAR!

You have one final "requirement" for this course:
Come see my production of "Hand to God" at SpeakEasy Stage Company!
January 6 - February 4, 2017

Student Rush Tickets are only $15.00!

Hand to God
By Robert Askins
Directed by David R. Gammons

Featuring:
Marianna Bassham, Josephine Elwood, Eliott Purcell,
Dario Ladani Sanchez, & Lewis Wheeler

Scenic Design by Cristina Todesco
Lighting Design by Jeff Adelberg
Costume Design by Gail Astrid Buckley
Sound Design by Andrew Duncan Will
Puppetry Direction by Roxanna Myrhum
Fight Direction by Ted Hewlett

SpeakEasy Stage Company
ORDER YOUR TICKETS TODAY!
http://www.speakeasystage.com/hand-to-god/

OR:
Student Rush Tickets for all SpeakEasy shows go on sale two hours before curtain in person at the Calderwood Pavilion box-office only, which is located at 527 Tremont Street, between Berkeley and Clarendon Streets, in Boston's South End.

The price is $15 per ticket, and we accept cash or credit. There are no additional fees.

There is a limit of one rush ticket per student, and the student must present a valid student ID at the box-office at the time of purchase.

Rush tickets are subject to availability.

Announced on 04 January 2017  4:30  p.m. by David R Gammons

Script Analysis for Wednesday, December 14

Hey Amazing Script Analysis Gang!

BRAVO! You are almost at the finish line!
Hang in there, team!

For WEDNESDAY:

Each of you will deliver a two-minute informal "Director's Pitch" -- a pithy, specific, and original director's perspective on Tennessee Williams' "A Streetcar Named Desire."

What themes from this powerful poetic tragedy would drive your interpretation? What particular elements of the play would you want to emphasize? How might you think about casting or design? What kind of theatrical venue would work best? How does your individual analysis of the text lead you to concrete choices about staging the play? Why is this play relevant and timely? Why does it matter to you? Why would YOU be the best director for a new production?

We'll hear all of your pitches, and I may ask a question or two. As you listen to the others, think about which proposals are especially compelling or intriguing to YOU!

Then we'll have a group discussion about what we've shared!
I really look forward to hearing your pitches!
Have fun!

David

Announced on 13 December 2016  10:05  a.m. by David R Gammons

Spring Theatre Classes at MIT

Hey Gang!

Several of you have expressed enthusiasm about continuing your study of Theatre at MIT this spring semester or beyond! I could not be more thrilled that you are excited to continue to explore your creativity, exercise your imagination, and express yourself through drama!

Here is a link to the Spring 2017 course list, which shows what courses are offered and when, and who the Professors are. We have a fantastic department: get involved!

http://mta.mit.edu/class-schedule

David

Announced on 09 December 2016  10:58  a.m. by David R Gammons

Script Analysis for Monday, December 13

Hey Script Analysis Team!

Great work this week -- I very much appreciated our discussion and our reading from the play! It is exciting to have the text come alive for us so effectively in class!

For MONDAY, December 12:

+ Please READ the short essay handed out in class by director ELIA KAZAN: "Director's Notebook for A Streetcar Named Desire." You'll see that he focuses on each of the four main characters, analyzing their character, relationships, and "spine" in the play. If you didn't get a copy in class, the essay is posted in the Materials Section of this site.

Make some notes in your journal. Do Kazan's observations match up with your own reading and understanding of the play? Do his notes illuminate aspects of the play you wouldn't think about? Do you see other perspectives or draw different conclusions?

Be prepared to continue to discuss the play through the lens of Kazan's notebook. We'll also read aloud more from the text and conclude our discussion about the climax of the play in Scene 10.

PLEASE NOTE:

+ Upon consideration, we will NOT have a final piece of writing in this class for our unit on Streetcar due next week. INSTEAD, we are going to try something a little different for Wednesday's final class.

Imagine that, inspired by your reading of (and love for!) Tennessee Williams' masterpiece "A Streetcar Named Desire," you decide you really want to direct this play. Based on your fascination with the script and your bold imaginative abilities, what kind of production would you create? What themes would you emphasize? What world would you create? What kind of actors? What kind of design? Why now? Why is it important for you to tell this story? What will the audience experience?

Now, prepare your "Director's Pitch." Imagine that I'm a bigwig Artistic Director, and I'm going to pay to produce a big production, and I'm looking to hire a great director: smart, creative, original, and with a deep but personal understanding of the play. You want me to hire you to direct the show. Prove to me why I should. BUT, you only have TWO MINUTES of my time. Make it count!

So, that's what we will do on Wednesday!

ALSO:

+ The on-line student feedback portal is open. I strongly encourage you to go online to provide your honest (and anonymous) feedback about what worked well for you in this course, and anything that challenged or frustrated you! I take student feedback seriously, and appreciate your thoughtfulness and attention.

Okay Gang! The finish line is in sight. Hang in there: you are going to get there, and you will feel so proud of what you have accomplished this term in ALL your classes!

David

Announced on 09 December 2016  10:47  a.m. by David R Gammons