Brief 10 – Due 11/02 at 09:59:59am GMT
So… you know this whole thing about cause and effect? And psychological interpretation of dialogue?
As in – someone says something and then someone else says something in reaction
Or someone does something and then something happens as a consequence.
Or someone does/says something because of something that happened before…
or because of something they feel or want. You know… The Uta Haggen questions and all that… Who am I? What do I want? What is getting in my way? bla bla bla…
But logic sounds pretty boring to me! And method feels so dated…
So lets do something else.
Lets write a play without logic… without cause and effect and without reactions.
But can it still make some sort of sense (or is all sense attributed to logic)?
Can it still be dramatically interesting (or is all dramatic interest attributed to reactions)?
Is it even possible to make a good play without psychological interpretation?
Well – that’s for you to figure out.
Don’t give yourselves an easy task and just write a monologue or a one scene dialogue. Don’t make it easy and just write nonsense.
It’s the weekend after all…
Make a well-structured play, with meaning behind it. Say something worth saying. Make it work. Write a play that you would actually want to watch.