Wednesday, April 16, 2008

Use that Cover for Context

Scott raised an interesting question last week with his post about stage directions. At risk of stirring up those now quiet waters, I offer a broader suggestion: prepare the reader for the conventions of your script.

The generally accepted convention of stage directions for plays is that they describe what can be seen by an audience on stage. Whether or not that is "right," that's the trend. When a writer bucks a trend, he or she runs the risk of appearing that they don't know their craft.

In many plays I receive, the title page or the cover letter explains some of the text conventions: "\" for overlapping dialog, special formatting for projected text, italics for text translated into another language. The list goes on.

In the same spirit, a playwright might choose to include a note that said something to the effect of "This script employs literary stage directions which are intended to create an image for the reader. They are not intended to be instructions for directors or actors."

This sort of context helps not only with text conventions, but with the intentions of the script. I've read plays that are either spot on subtle satires, or pale imitations of classic work. A note about the author's intentions in that cover letter would help me figure out which. I've read scripts that are the result of some experimental process - but without any context for what that process is. As a result, I'm unable to properly read the text.

When reading 10 to 15 scripts a week, I simply don't have the time to fully explore a script as one would in preparation for production. So any help the author can give in familiarizing me quickly with his or her conventions and intentions will help me read the script in the appropriate context.

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Thursday, April 10, 2008

Stage Directions, a can of worms

Stage Directions cross to pantry, pick up flashlight, consider how batteries work...

I've been criticized a couple times in the past few months for the amount of stage directions I use. Personally, I don't feel like I use all that many. My plays have a lot of white space, typically. But this happened recently: a theatre in Detroit actually passed one of my scripts up the chain for further development, but then ultimately it got rejected because one reader said that I was trying too hard to tell the director how to direct and the actor how to feel. They called the stage directions "oppressive." Which made me feel like my script was not rejected on basis of its quality, but on some arbitrary argument of principle about what the province of the playwright is and isn't.

I like stage directions. I don't just like stage directions, I like impossible stage directions. My friend Jayita will literally write as a stage direction in a play, right in the middle of a scene with two friends talking in America about eating a hamburger, something like:

(A bomb goes off in Japan, but they only feel it in their pinky toes).

While this is an extreme example, I like the color that stage directions can bring to the reading of a script. I hate the stage directions of Eugene O'Neill, who will spend an entire paragraph describing what's on a table to the tiniest detail; but I love a good stage direction that describes a complicated emotional moment, or even better, an abstract concept.

I like to write something like:

(John stares ahead. His eyes unfocus, everything in front of him blurs together like the letters of a word you've stared at for ten minutes.)

Will that translate to the audience? Maybe not. But I don't think it necessarily needs to, and it's a direct communication with the reader...something that seems to be taboo in playwriting that I don't understand.

I don't like writing whimsically, so I don't try to make my characters describe emotions through poetics or departures from the scene. I like non-verbal communication and utterances, awkward tension, gutteral noises, and stutters. As a writer, sometimes the best way to describe a series of non-verbal moments or a period of silence, is to literally write the intention. The concept of the moment. The give and take.

I also think that stage direction can provide some exposition for directors and actors to consider, without dragging out exposition through forced expository dialogue, which personally I can spot like a blood stain on a doily.

Is the implication somehow that because we've chosen to write plays instead of prose, that we forfeit introspection?

Even as I say this, however, I have a tremendous respect for and faith in directors and actors. Without fail, they find things buried in text and bring them to light, and I'm consistently amazed by that. But it seems like writers are in a tricky spot. If you write no stage directions at all, the play may lose the intended shape, or certain ideas may lose emphasis; worse, a playwright could be called lazy or that they're relying too heavily on the actors to find the scene. If you write too many stage directions, you are controlling and arrogant, and how dare you have an opinion about your own work.

Obviously, if someone picks up “The Cherry Orchard,” they aren’t going to follow every last stage direction. I don’t expect my plays to be hammered out word for word either. Productions are intended to reshape plays, interpret them, and bring a new perspective to them, but that doesn’t mean the playwright should leave a blank slate in my opinion. Stage directions are, I believe, meant to inform, not dictate, the action. To that end I think they can be as specific or abstract as a playwright wants.

“Oppressive” is a pretty harsh word for having an opinion about when one’s own character looks out the window. Or the moment they forget what their son’s face looks like for that matter. Maybe that’s the same moment. It probably is.

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Thursday, April 3, 2008


So I've been having discussions with several writers lately about the process of self-adaptation. That is to say, taking a short story you've written and writing it into a play. Or taking a play and turning it into a screenplay, or a novel. I went to the School of the Art Institute of Chicago for my MFA, and this is a persistent question at that school: how is a work served or disserved by experimenting with different forms within the same story or concept? SAIC's MFA is an interdisciplinary writing program, so people are often doing this at that school, writing something one way, then exploding and diversifying it into all different forms.

While I was there, I focused on plays, but now I'm becoming more and more interested in adaptations of my own work, while I'm still close to it. For part of my thesis project I adapted a short story of mine into a play, and found that suddenly the story worked in a completely new way.

Now, I'm interested in going the other direction, turning one play of mine into a screenplay and another into a novel. In talking with other writers, some people I've found are of the mind that there are countless ways to tell a single story, and so its good practice for any writer, playwright or no, to self-adapt from form to form (like a person changing their perspective over time). Others, I've found, are of the mind that retrofitting a play into prose or broadening a taut stage piece into a sprawling filmscript is just beating a dead horse.

Strangely, novels are turned into films and plays all the time, but the stigma attached to novelized versions of films is that they are a lowest of the low forms of literature. And no one seems to retrofit plays into long fiction, period.

Obviously there are pros and cons and we could argue that all week, but I'm interested specifically to know who else is doing this right now, or who has done it before (self-adaptation) and what the results were.

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Thursday, February 21, 2008

No such thing as zero budget

First off, thanks to Scott Barsotti for breathing some life into this lapsed blog.

A couple of days ago I got an email about Collaboraction's Studio Series project. That series has a lofty goal: creating art not tied to commercial considerations. One line in the call for particpants stuck out to me, however:

"This is a quarterly, process driven-program that lives and breathes in our studio, performs for one weekend, and operates with a $0 budget." (emphasis mine)

Now, I'm not criticising Collaboraction. They've been completely upfront about the goals, process and compensation. If you don't want to play by those rules, you just don't audition.

But it did get me thinking about the cost of making theater. And while that phrase "$0 budget" is true in the sense that there's no money exchanging hands, its not true in the sense that there is no cost.

Even if something is donated, is has a value that one could account for in a budget. Even if people are not paid, their time and energy certainly has a value.

So it strikes me that there are two kinds of budgets possible for any given production - one in which you account for cash flow. And another in which you attempt to account for donated time, materials, and space. Would publishing such "total picture" budgets help people quanitify the true cost of making a piece of theater?

Volunteer time and unpaid/underpaid time are a kind of hidden cost of making theater. And anytime there is a hidden cost, it seems to me that someone in the process has a vested interest in keep that cost hidden. Who benefits from the uncounted costs of production? Is this a product of a broken production model, or is it the neccesary cost of making an art in a form that resists commodification?

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Friday, February 15, 2008

Take Back Genre

I've been working the past couple days with an interesting fellow named Charley Sherman, who's been around the Chicago scene for a long time and spent 8 years in London as well, before returning to the states 5 years ago. He worked a bunch with Steve Pickering as a director and adapter with Organic Theatre and Next, and now runs a company called Wild Claw with a show opening next week at the Athenaeum. We've been talking a lot about horror in specific, something that is very interesting to me lately. It seems that in the glory days of horror (film particularly), atmosphere was much more important than effects. It didn't matter if you saw the violence, saw the apparition, saw anything at all, as long as the suspense was palpable and the story probed some facet of human fear. Texas Chain Saw Massacre, The Exorcist, Halloween, all classic horror films with very little blood on screen, everything is implied. Your imagination fills the gaps.

I think the scariest stories are not about death and dying, or being harmed by someone, but about one's own weaknesses being exposed in the presence of danger. The fear of being lost, or abandoned, or failing miserably (certainly death and harm can be a consequence of these things and often is, especially in horror). Fear drives people to cowardice as well as heroism, to light as well as to dark. These are not things that rely on effects and sensation, but on storytelling. Atmosphere is what sets up horror, so why is it (as an example of genre) virtually absent from stage?

Horror, when done well, is full of subtext, truly a writer's canvas and an actor's medium. So why does film dominate the genre (and most sub-genres) while most stage horror is campy parody or tongue-in-cheek midnight riffs? Not just horror though, why is their such a lack of good, well-crafted genre stories onstage?

Or am I just missing it?

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