For your second major writing project of the semester, you and your partner will write and perform a dramatic dialogue at a location somewhere on campus or around the city of Lincoln that serves to enhance your performance. To this extent, it will be beneficial first to consider the parameters of a dramatic monologue. As M.H. Abrams states in his A Glossary of Literary Terms:
Of course, there are other considerations one must take into account as well. First, you should be mindful to include eidetic language within your writing so as to "order" your audience with regard to certain aspects of landscape or imagery they otherwise would not grasp. Take, for instance, my rendition of Tennyson's "Ulysses"; throughout the piece, the poet includes words such as " "there," "this," and "that" (which I supplemented, for dramatic purposes, with hand gestures) followed my vivid imagery to 1) direct audience members' visual attention to certain objects within or around the performance space, and to 2) reinforce the fact that the monologue occurs within a specific location at a specific time.
Your first pre-writing assignment for WP2 will be a three-page, double-spaced paper that you will write collaboratively, which explains 1) who the two speakers are going to be and why you chose them as the subject of your study, 2) what the circumstances of the situation are and how you believe that situation produces a tension between the characters, and 3) how, through the use of language, you intend to reveal the ethos of the characters. With regard to this last point, you will want to consider a) the idiom (i.e. type of language) you intend to employ, b) the form you will use (e.g. prose or poetry), and c) the transitions between characters. To this extent, if you are writing a poem, would speakers alternate speaking roles each stanza, line, or word? Also, how could the tension between speakers be highlighted by actively changing the frequency of such alternations? DUE: Thursday, October 7th @ noon; worth 5 points. NO LATE ASSIGNMENTS ACCEPTED.
Your second pre-writing assignment for WP2 will be, again, a three-page, double spaced paper that you will write collaboratively; this second assignment, though, will concentrate on explaining, using the rhetorical terminology regarding space and context from CDA, your choice of space and location. More specifically, you will want to address a) what aspects of the actual location you selected will aid or enhance your dramatic dialogue, and b) how will actions, gestures, supporting material, and dress can be incorporated so that they function as a bridge or intermediary between the space and your language. DUE Monday, October 11th @ 8:30AM; worth 5 points. NO LATE ASSIGNMENTS ACCEPTED.
As with your previous writing project, the primary component of WP2 will be divided into a script-grade and a performance-grade. To wit, you will want to ask yourself: given your characters, the situation they are involved with, and the genre of the dramatic (dia/mono)logue, what form should you employ? Does blank verse (i.e. unrhymed iambic pentameter), which Browning and Tennyson used, serve your group best? Or does writing the script in a prose format function best? Once you determine this, make sure the moment which you are attempting to capture is relevant to the development of your characters' ethos. To this extent, you do not want to pad the beginning and end of your dramatic dialogue with filler or background information that does not properly generate a productive tension. As such, you should seriously consider the characters you choose; ultimately, they should be figures most everyone is familiar with so excessive time is not spent describing who these people are and what circumstance we find them in (in addition to such material appearing overly contrived). Furthermore, remember, as previously stated, to include eidetic language and make known the auditors' presence. If you write your dialogue in verse, the piece should be approximately 100 lines; if you write in prose, scripts should be approximately four pages, double-spaced. Neither of these page counts include personal notes for stage directions or movements, etc. DUE: October 18th @ noon; worth 5 points. NO LATE ASSIGNMENTS GRADED. The second half of the grade will be the collaboratively performed dialogue. While thinking through the manner in which you will conduct your performance, consider the rhetorical concepts we covered in CDA, chapter 8. How does personal, social, and institutional space factor into your presentation? What about social and institutional contexts, etc.? DUE: Performances will occur on the October 20th, 22nd, and 25th and will be assigned the week before; worth 5 points.
Finally, you will conclude your WP2 with a collaboratively written, three-paged, double-spaced response to your script and performance, engaging either the Austin essay or the Deleuze and Guattari chapter we read earlier this semester. You will want to select a concept from one of these reading assignments and articulate specifically how it manifested itself within your script and your performance. Including quotations from the source material, then demonstrating, explicitly, through examples how this happened would be a solid format to think through. DUE: October 27th @ noon; worth 5 points. NO LATE ASSIGNMENTS ACCEPTED.
A monologue is a lengthy speech by a single person. In a lay, when a character utters a monologue that expresses his or her private thoughts, it is called a soliloquy. A dramatic monologue, however, is not a component in a play, but a type of lyric poem...In its fullest form...the dramatic monologue has the following features: (1) A single person, who is patently not the poet, utters the entire poem in a specific situation at a critical moment...(2) This person addresses and interacts with one or more people; but we know of the auditor's presence and what they say and do only from clues in the discourse of the single speaker. (3) The main principle controlling the poet's choice and organization of what the lyric speaker says is to reveal to the reader, in a way that enhances its interest, the speaker's temperament and character.Abrams goes on to mention that even the most famous and/or canonical dramatic monologues omit certain features listed above. Given such deviations, or "minorizations" of the form, we shouldn't worry too much that we're altering the most evident aspect of this form: the single speaker in favor of two speakers. Otherwise, though, we will want to make sure that the other two components (i.e. acknowledging the auditors' presence via specific articulations and revealing the speakers' ethos) are properly engaged.
Of course, there are other considerations one must take into account as well. First, you should be mindful to include eidetic language within your writing so as to "order" your audience with regard to certain aspects of landscape or imagery they otherwise would not grasp. Take, for instance, my rendition of Tennyson's "Ulysses"; throughout the piece, the poet includes words such as " "there," "this," and "that" (which I supplemented, for dramatic purposes, with hand gestures) followed my vivid imagery to 1) direct audience members' visual attention to certain objects within or around the performance space, and to 2) reinforce the fact that the monologue occurs within a specific location at a specific time.
Your first pre-writing assignment for WP2 will be a three-page, double-spaced paper that you will write collaboratively, which explains 1) who the two speakers are going to be and why you chose them as the subject of your study, 2) what the circumstances of the situation are and how you believe that situation produces a tension between the characters, and 3) how, through the use of language, you intend to reveal the ethos of the characters. With regard to this last point, you will want to consider a) the idiom (i.e. type of language) you intend to employ, b) the form you will use (e.g. prose or poetry), and c) the transitions between characters. To this extent, if you are writing a poem, would speakers alternate speaking roles each stanza, line, or word? Also, how could the tension between speakers be highlighted by actively changing the frequency of such alternations? DUE: Thursday, October 7th @ noon; worth 5 points. NO LATE ASSIGNMENTS ACCEPTED.
Your second pre-writing assignment for WP2 will be, again, a three-page, double spaced paper that you will write collaboratively; this second assignment, though, will concentrate on explaining, using the rhetorical terminology regarding space and context from CDA, your choice of space and location. More specifically, you will want to address a) what aspects of the actual location you selected will aid or enhance your dramatic dialogue, and b) how will actions, gestures, supporting material, and dress can be incorporated so that they function as a bridge or intermediary between the space and your language. DUE Monday, October 11th @ 8:30AM; worth 5 points. NO LATE ASSIGNMENTS ACCEPTED.
As with your previous writing project, the primary component of WP2 will be divided into a script-grade and a performance-grade. To wit, you will want to ask yourself: given your characters, the situation they are involved with, and the genre of the dramatic (dia/mono)logue, what form should you employ? Does blank verse (i.e. unrhymed iambic pentameter), which Browning and Tennyson used, serve your group best? Or does writing the script in a prose format function best? Once you determine this, make sure the moment which you are attempting to capture is relevant to the development of your characters' ethos. To this extent, you do not want to pad the beginning and end of your dramatic dialogue with filler or background information that does not properly generate a productive tension. As such, you should seriously consider the characters you choose; ultimately, they should be figures most everyone is familiar with so excessive time is not spent describing who these people are and what circumstance we find them in (in addition to such material appearing overly contrived). Furthermore, remember, as previously stated, to include eidetic language and make known the auditors' presence. If you write your dialogue in verse, the piece should be approximately 100 lines; if you write in prose, scripts should be approximately four pages, double-spaced. Neither of these page counts include personal notes for stage directions or movements, etc. DUE: October 18th @ noon; worth 5 points. NO LATE ASSIGNMENTS GRADED. The second half of the grade will be the collaboratively performed dialogue. While thinking through the manner in which you will conduct your performance, consider the rhetorical concepts we covered in CDA, chapter 8. How does personal, social, and institutional space factor into your presentation? What about social and institutional contexts, etc.? DUE: Performances will occur on the October 20th, 22nd, and 25th and will be assigned the week before; worth 5 points.
Finally, you will conclude your WP2 with a collaboratively written, three-paged, double-spaced response to your script and performance, engaging either the Austin essay or the Deleuze and Guattari chapter we read earlier this semester. You will want to select a concept from one of these reading assignments and articulate specifically how it manifested itself within your script and your performance. Including quotations from the source material, then demonstrating, explicitly, through examples how this happened would be a solid format to think through. DUE: October 27th @ noon; worth 5 points. NO LATE ASSIGNMENTS ACCEPTED.
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