Drama Portal

Learn the fundamentals of dialogue, action, and dramatic structure in this introduction to writing for performance. Working within the limits of one set, three actors, and ten minutes, participants in this class will learn the basic building blocks of script-writing by crafting short, stand-alone narratives for the stage. Though we will be looking at a few contemporary short plays as examples, the bulk of this class will focus on writing and workshopping your own original scripts.

It turns out that writing dialogue can be tricky. A writer has to accomplish a lot through the way in which a character speaks, and how that speech is described. How do people talk to one another? Do they orate? Do they exchange fast and witty quips? Do they lecture one another to impart tons of needed exposition material? Does what they say and how they say it tell us anything about who they are?

In this class we will experiment with different ways to write dialogue and incorporate it into a story. We'll explore how details of character diction can change how a reader understands the text of what a character says. We'll do exercises designed to practice achieving particular goals Finally, students will apply what we're working on to their own writing and will receive feedback using our Collaborative Feedback method.

We're going to do a fair bit of writing, some in class, more outside of class as (optional) homework. By the end of the class a student should expect to be able to decide how a character should sound and then write dialogue that meets that goal.

When you think about your favorite stories, chances are you conjure the memory of a scene: the charge of the Rohirim at the coming of the new dawn, Luke turning off his targeting computer as he flies down the trench, or when Ged finally acknowledges the identity of the shadow being that has followed him literally to the land of the dead. Stories are built out of scenes, and scenes like the ones above make stories memorable.

In this class, we'll look at how to build scenes that accomplish specific things, according to the needs of the author and the story. We'll practice achieving specific goals, advancing the plot, expanding a characterization, even providing an opportunity fo exposition. We'll do this through assigned exercises, andby looking at how to apply these skills to the students' own stories.

We'll read each other's scenes and use our Collaborative Feedback method to help one another to sharpen our work. We'll be writers together helping each other's stories thrive.

Storytelling might just be our oldest art, crossing time, cultures, and continents. Crafting a story suitable for telling demands a heightened awareness of audience, medium, and meaning. Telling a story requires fluidity in a register both intimate and stylized. We'll create, practice, and tell our short tales in a month of cooperative fun and work. We will use a collaborative and encouraging mode of feedback to focus both on the construction of your story and on its performance. You will end the month having written an original tale, fiction or memoir or drawn from myth and legend, which has been written specifically to be shared aloud. You will also carry forward a toolkit for exploring this art.
Note: For more information about the Collaborative Feedback Method in SPACE, please check out our video here.

The Dark Crystal, a film directed and created by Jim Henson and Frank Oz, was released at Christmastime in 1982. An attempt at a more mature and decidedly darker direction for Henson, it performed modestly in the box office to mixed reviews. Despite its poor initial beginnings, over the next 42 years, The Dark Crystal became a cult classic. Why the appeal all these years later? In this class we will explore this multifaceted dark fantasy as a stand of world building from the better appreciated “Muppet” canon. Over the course of eight sessions we will discuss the world of Thra through the film itself, seen afresh with the new lenses of various forms of modern criticism. Please join us for a combination of short lectures and lively discussion of this visual and technical masterpiece whether you’re a long-time fan or neophyte.

This module seeks to provide students with a deeper look into aspects of Korean culture which can provide a lens through which to view and appreciate them on a deeper level. Through a series of 8 classes, we will cover topics of Food, Social Structure, History, North-South relations, some aspects of language, and the global impact of K-dramas.

Late medieval English drama brought episodes from The Bible to life in days-long festivals of pomp and pageantry—but what these plays really show us is the day-to-day lives of ordinary men and women of the Middle Ages. With a mixture of lavish spectacle, slapstick comedy, and intimate poignancy, these plays populate the biblical world with familiar figures of the medieval city-life: shrewd workmen and cunning criminals; disgruntled wives and worried husbands; the friends, family, and neighbors of the playwrights and performers.

This course looks at a sampling of plays from the great civic drama cycles of York, Chester, Coventry, and elsewhere, including Noah’s Flood, The Second Shepherd’s Play, Herod’s Slaughter of the Innocents, The Crucifixion, The Harrowing of Hell, and The Last Judgement. The works presented here offer both a grand history of the world from Creation to Doomsday, and locally-rooted, vernacular versions of a text then otherwise available only in Latin. Knowledge of Middle English is not required since this course will use the modern-spelling edition by Prof. A. C. Cawley. Scholarly online Middle English versions, however, will also be made available for students wishing to practice their skills in that area.

This course introduces the basics of Middle English language and literature, including grammar, syntax, and pronunciation. Designed for students new to reading Middle English texts in their original form, the course focuses mainly on the English of London and the south of England in the thirteenth through fifteenth centuries—the language of Chaucer, Gower, Langland and others.

As a language-learning course as well as a literature course, the first half of each meeting will be devoted to reading Middle English aloud and answering questions about pronunciation and comprehension; the second half will focus on the reading’s content, from basics of plot and conventions of genre to the historical context of each text. Course readings include: a selection of lyric poetry, two short poems by Chaucer, the chivalric romance Sir Orfeo, the Chester play of Noah’s Flood, a chronicle of the reign of King Henry V, Chaucer’s Treatise on the Astrolabe, and selections from the first English autobiography by a woman, The Book of Margery Kemp.

This module looks at two late plays frequently overlooked in Shakespeare studies: Pericles, Prince of Tyre and Cymbeline. In Pericles, Shakespeare and collaborator George Wilkins present a medievalist fairy-tale of adventure on the high seas, set in the ancient Mediterranean and narrated by Middle English poet, John Gower. In Cymbeline, a princess’s attempt to rid herself of the suitor she loathes and reunite with the man she loves leads to a tangle of escapes, pursuits, and mistaken identities. Decried by some critics for their eccentric and eclectic plots, both plays feature grand voyages across land and sea, benevolent magic, and the loss and recovery of true love.

This module continues the examination of Shakespeare’s late work with two baffling and beautiful plays. The Winter’s Tale begs the question: where does art end and magic begin? Containing the bard’s most famous stage direction—“Exit, pursued by a bear”—this tale of jealousy and forgiveness transforms from domestic tragedy into pastoral comedy, before finally arriving at one of Shakespeare's strangest endings. The Two Noble Kinsmen, Shakespeare’s final work, gives Chaucer’s Middle English "The Knight’s Tale" a Renaissance rewrite. Co-authored with rising star of the Jacobean stage, John Fletcher, this tragicomedy expands the scope of Chaucer’s female characters while hinting at a range of suppressed, taboo romantic desires. Blending the poignant and the absurd, the playwrights worried that their presumptuous "modern" rewrite would raise Chaucer's angry ghost!

"What art thou that counterfeit’st the person of a king?” This is the question asked (in more ways than one) by Shakespeare’s coming-of-age trilogy about England’s most popular medieval monarch—King Henry V. Beginning with his youth in King Henry IV, Part 1, we see the riotous Prince Hal grow from wastrel, drunkard, and companion of highway robbers into the royal figure his war-torn country needs. After relapsing in Part 2, to the great consternation of his dying father King Henry IV, we finally see Hal lead his subjects on the battlefields of France as the mature king in Henry V. Charting his course between the demands of his kingly father, the peculiar philosophy of his friend and mentor, the exuberant Sir John Falstaff, and the dangers posed by a series of political and military rivals, Prince Hal becomes King Henry V by learning what it means to “act” the part of a king in the ways that matter most.