1. Critical Reading & Writing
Fraser, Gregory & Davidson, Chad, Analyze Anything: A Guide to Critical Reading and Writing, (London: Continuum, 2012)
The text delves into the study of semiotics, aiming to deepen analytical skills and teach a reliable method for generating evocative ideas expressed in coherent prose. Semiotics is described as the “study of signs,” where the layers of significance of these signs change based on their cultural and historical contexts. For example, the symbolism behind certain images like long hair or beards varies, and understanding this is key to interpreting their meanings.
Meanings are relational and situational; they depend on the context in which signs appear. A sign doesn’t exist in isolation; it takes on meaning through its relationships with other signs within a system. Semiotics emphasizes that all meaning emerges through these relationships, often subtly reflecting power dynamics. The goal of semiotics is not to discover an ultimate truth behind a cultural or literary sign but to study the various messages conveyed by these signs. A definitive understanding of what a sign represents is difficult to ascertain, as the relationship between surface signals and inner truth is never fully resolved.
The semiotic approach to understanding signs encourages an abundant view of meaning rather than a limiting one. This pluralistic approach requires comfort with multiplicity, ambiguity, paradox, and incomplete comprehension. Overall, semiotics provides a nuanced framework for analysing and understanding the complex layers of significance that signs carry within varying contexts.
The text offers comprehensive guidance on how to improve thinking and writing skills by focusing on the art of specificity and semiotics. It advises readers to aim for specificity in all facets of their thinking and writing, encouraging them to “climb the ladder of specificity.” Strong writers are urged to apply scrutiny and to create inventories of unique and provocative details. These details serve as small semiotic elements that can lead to innovative essays with unanticipated interpretations.
The importance of examining the chronology of a phenomenon is highlighted as a method for selecting strong signs. The text also recommends teasing out peculiar relationships between signs, as these juxtapositions often produce irony and subsequently lead to interesting essay topics. An example is given regarding the absence of mentions about elephant slaughter in Joseph Conrad’s “The Heart of Darkness,” even though the novel critiques the ivory industry.
Further, the text introduces the concept of “fusion,” which entails being both a perceiver and a creator. It involves identifying disparate signs and constructing a unifying term that ties these elements together in a creative way. This approach is termed poetic and provides a method for examining complex themes in literature.
Various tests for the effectiveness of sign selection are presented. A good sign must be “above the waterline,” easily visible and discernible. Other criteria include the sign’s originality and its significance in relation to its cultural and temporal context. Additionally, the “degree of difficulty” of interpreting the sign is considered, advising that signs can be either too simplistic or too complex. A balance is urged, and the sign’s potential energy may stem from how much it resists its surroundings or creates contradiction, paradox, or irony.
The text provides a thorough guide on how to approach the analysis and interpretation of a selected sign, emphasizing the need for a well-laid plan. This plan starts with establishing a “field of inquiry,” a unified set of related theoretical questions aimed at delving into the sign’s meanings and significance. To solidify their analysis, writers are encouraged to create a focused “block” of questions regarding the sign.
Two types of questions are identified: practical and theoretical. While practical questions help pin down the specifics of the sign within its context, theoretical questions are more important for interpreting its broader meanings and significance. Writers should strive for objectivity and scientific rigour in their questions, steering clear of binary constructions that oversimplify complex meanings. The questions should also be open-ended, allowing for multiple answers and interpretations.
The text suggests avoiding a focus on character-driven questions, as this may limit the scope of the analysis. Moving forward, writers should aim to craft prose that invites readers into their analyses and captures the intricacies of the chosen sign.
The concept of “staging” is introduced, borrowing elements from drama like a “star” (the focal sign), a “situation” (the broader cultural and historical context), and a “problem” (the interpretive challenge). This serves to engage the audience better, akin to how dramatists and other creative writers think critically about signs in culture. By focusing on these three aspects—making the sign the “star,” situating it within a specific context, and posing an interpretive “problem”—writers can animate their analysis, making it more compelling for themselves and their readership.
The text advocates for a deep, rigorous approach to semiotic analysis, encouraging readers to join the “corps of thought-divers” who delve beneath surface meanings to discover expansive and important underlying significances. It likens the visible aspect of a sign (in literature or culture) to the tip of an iceberg, hinting that its true meaning is vast and largely hidden beneath the surface. The goal of semioticians is to dive beneath the surface and make analytical discoveries.
To generate a compelling idea about meaning, three elements are recommended: identifying the above-the-waterline sign, specifying a below-the-waterline signal it sends out, and articulating why that message matters. The text suggests that meaning is not singular or fixed; it evolves over time and depends on context. Therefore, one is not confined to a single way of understanding reality.
Improving in semiotics, like mastering any skill, requires persistence, patience, and practice. The text advises to think in terms of processes rather than fixed products and to become an “idea machine” capable of offering multiple, persuasive theories. It encourages viewing interpretive writing as a creative activity worth doing for its own sake.
Several “games” or techniques are introduced for generating ideas and stretching creativity. These include the “association game,” which leverages the principle that meanings arise from associations between signs, and the “playing with verbs game,” which focuses on using specific verbs to connect visible signs with their underlying meanings. Another strategy, “the trafficking in ideas game,” encourages borrowing from other sign systems to trigger new interpretations. The “Martian perspective” involves adopting an alien observer’s point of view to refresh our understanding of familiar signs by making unusual comparisons. Lastly, the “frame game” suggests placing the chosen sign in various social, historical, and academic frames to trigger new ideas about its meaning. The text also notes that the process of creating persuasive essays is often nonlinear and pieced together from disparate ideas.
The text provides a robust set of tools and perspectives for deeply engaging with the semiotics of culture and literature, emphasizing the importance of a rigorous, open-minded approach. It outlines the last major phase of analytical writing, focusing on structuring essays to substantiate claims with evidence and logical argumentation. This is often where research comes into play. With a chosen sign and multiple ideas about its meaning, the writer then gathers supportive evidence to convince readers of the validity of their theories. This process is conceptualized as the “Three-’I’ed Monster,” comprising Idea, Illustration, and Interpretation.
The “Idea” is the theoretical claim that needs substantiation. The “Illustration” is the catalogue of hard evidence supporting this idea, and the “Interpretation” is the in-depth reasoning explaining why the idea and illustration make sense. Among these, Interpretation is given the most weight, as it is crucial for persuading the reader.
The monster metaphor is extended to suggest that this analytical approach has “teeth.” These metaphorical teeth encourage the writer to delve into the political and social contexts of the time period and culture for the chosen sign. The aim is to give the essay a “bite,” making it relevant and impactful rather than a mere academic exercise lacking in real-world importance.
The text also advises on the sequence of presenting ideas. In a “five ideas about meaning” approach, it is often effective to move from the most obvious to the most sophisticated ideas for the sake of logical flow and persuasiveness. By first developing multiple ideas about meaning, the writer increases the chances of finding one powerful assertion that can guide an entire study. This collection of ideas can also be mined for a variety of overarching theses. Lastly, the text suggests adopting the “idea-illustration-interpretation” pattern for each of the five major points or movements in the analysis, reinforcing the structure and making the argument more compelling.
The text presents ten different analytical approaches aimed at stimulating thought and discussion. These approaches cover a diverse range of topics: analysing spectacle focuses on the visual or performative aspects of a subject; analysing ads looks at advertising techniques and their implications; analysing metaphor delves into symbolic language and its meanings; analysing gender examines the roles and representations of gender; and analysing slang investigates the cultural and social dimensions of informal language.
Additionally, analysing tomorrow is about examining future trends or possibilities; analysing consumption deals with patterns of consumption and their social or environmental impact; analysing beauty explores the concept and standards of beauty in various contexts; analysing captivity considers issues related to confinement or restriction, whether physical or metaphorical; and analysing disability focuses on the representation and treatment of disabilities. Each approach offers a unique lens through which to view and understand a given subject, allowing for a rich and nuanced analysis.
A multifaceted approach is outlined for the development of better writing and thinking through specificity and semiotics. The text guides the reader in selecting effective signs, scrutinising them closely, and even creating new interpretive avenues through fusion. This methodology encourages the exploration of multiple layers of meaning, stimulating both the writer and the reader to delve deeper into the subject matter.
2. Writing for Performance Overview
Aristotle, Poetics, (London: Penguin, 1996)
Aristotle’s “Poetics” is a seminal work in the field of literary theory and dramatic arts, written in the 4th century BCE. It is among the earliest surviving works that provide a systematic study of literature, particularly the genres of tragedy, epic poetry, and comedy. In “Poetics,” Aristotle aims to discern the principles that make for effective storytelling and emotional impact. The text is both an examination of the elements of narrative and an analysis of the psychological effects of drama on an audience.
The work is divided into sections that deal with different aspects of poetry and drama, including their components, types, and effects. Aristotle begins by outlining the idea of mimesis, which refers to the act of imitation or representation. According to him, all forms of literature are imitations of life, but they differ in the medium used, the objects represented, and the manner of representation.
A significant portion of the work is dedicated to the tragedy genre, which Aristotle considers the highest form of poetry due to its emotional impact and moral significance. He identifies six primary elements of tragedy: plot, character, thought, diction, spectacle, and song. Among these, he gives the greatest importance to plot, considering it the soul of a tragedy. A well-structured plot should contain a clear beginning, middle, and end, and should evoke fear and pity in the audience through a sequence of events that lead to a cathartic emotional release.
Character, while secondary to plot, is essential for making the story believable and the moral undertones accessible. The characters should be well-rounded, and the protagonist should be a person of relative virtue who undergoes a downfall due to a tragic flaw (hamartia) or a lack of judgment.
The concept of the “unity of action” is also crucial in Aristotle’s framework. He argues that a tragedy should revolve around a single, unified plot rather than a complex or episodic structure. This unity facilitates the audience’s emotional engagement and allows for a more profound impact.
Aristotle also touches upon the topic of epic poetry, drawing comparisons and contrasts with tragedy. Both are elevated forms of literature, but they differ in length, scope, and the manner of imitation. While tragedies are performed and include aspects like spectacle and song, epics are narrated and can encompass a broader range of events.
“Poetics” also offers an explanation for why humans are drawn to tragic stories. Aristotle believes that the experience of catharsis, the purging of emotions like pity and fear, is a primary reason people are moved by tragedy. The work also briefly discusses comedy, though that section is largely lost to history.
Aristotle’s “Poetics” is a foundational text that has influenced Western literary theory for millennia. Its analytical approach to the elements of storytelling and the emotional responses they provoke has been a touchstone for scholars, writers, and artists seeking to understand the mechanics and impact of narrative forms.
Esslin, Martin, The field of drama: How the signs of drama create meaning on stage and screen (London: Methuen, 1987).
The Field of Drama is a comprehensive analysis of how various elements—text, actors, stage, lighting, sound, and audience—interact to create meaning in theatrical and cinematic experiences. The book delves into the semiotics of drama, examining the language and signs that contribute to the meaning and emotional impact of a performance. Esslin explores how these signs are not just dialogues or physical actions but extend to lighting, set design, costumes, and even the reaction of the audience. He argues that each of these aspects serves as a ‘sign’ that communicates specific meaning, adding depth and layers to a performance.
The book is structured to provide both a theoretical framework and practical examples, dissecting famous plays and films to demonstrate how these elements interact in creating a holistic experience. Esslin takes into account the historical evolution of drama, giving insights into how different eras have interpreted these signs differently, thereby changing the way meaning is derived. The text also looks at drama from both a writer’s and a director’s perspective, detailing how these roles contribute to the complex system of signs that make up a dramatic production.
In addition to this, Esslin goes beyond Western theories and incorporates ideas from different cultural perspectives, giving the book a more global outlook. He examines the limitations and possibilities of translation and adaptation across different media and cultural contexts. The book is replete with case studies, dissecting scenes from renowned plays and movies to illuminate his arguments.
Overall, Esslin’s work serves as a robust scholarly resource, ideal for those interested in theatre studies, film studies, and cultural studies. It offers readers a new lens through which to understand and appreciate the complexity and intricacy involved in creating meaning on stage and screen. This book is essential reading for anyone interested in delving deeper into the intricate web of elements that contribute to the richness of a dramatic experience.
Yorke, John, Into the Woods: How Stories Work and Why We Tell Them, (London: Penguin, 2014)
“Into the Woods” by John Yorke is an insightful examination of storytelling, both as an art and a science. The book delves into the architecture of narratives across various media such as literature, film, and television. Yorke builds his analysis on a foundation of existing theories, especially Joseph Campbell’s “The Hero’s Journey,” to dissect the elements that make a story compelling.
The central premise of the book is that all stories share an intrinsic structure, and Yorke goes to great lengths to articulate this commonality through the metaphor of a journey into and out of the woods. The “woods” serve as a representation of chaos or conflict, the crucible in which characters are tested and change occurs. Essentially, the structure of all narratives, according to Yorke, can be broken down into three acts: the journey into the woods (Act I), the confrontation and grappling within it (Act II), and the journey back (Act III). These acts form a cycle of equilibrium, disequilibrium, and a new equilibrium.
Yorke argues that this storytelling structure is not just a cultural construct but is deeply embedded in human psychology. He draws on psychology, philosophy, and even evolutionary biology to make the case that humans are hardwired to understand and interpret their experiences through the lens of story. For instance, he delves into why conflict is essential in stories, tying it to our evolutionary need for problem-solving. The book also tackles the elements that go into character development, emphasizing the importance of want, need, and flaw in shaping characters who are complex and relatable.
One of the strengths of “Into the Woods” is that Yorke provides an extensive array of examples from classic literature, modern films, and television series to substantiate his claims. This lends the book a well-rounded approach that speaks to both the casual reader and the more academically inclined.
Furthermore, Yorke offers practical advice for aspiring storytellers, emphasizing that an understanding of the innate structure of stories can serve as a powerful tool for creating compelling narratives. While he acknowledges that there are always exceptions to the rules, he suggests that breaking them successfully requires an in-depth understanding of why they exist in the first place.
The book is a comprehensive guide that endeavours to explain the universal elements that make stories resonate with us. It draws from a wide range of disciplines and examples to offer a compelling argument for the universality of storytelling structure, making it an invaluable resource for anyone interested in the mechanics of telling compelling stories.
3. Framing theories
Bennett, Susan, Theatre Audiences: A Theory of Production and Reception, 2nd edition, (Routledge, 1997).
Susan Bennett’s “Theatre Audiences” is a seminal work in the field of theatre studies, particularly focusing on the dynamic relationship between the production and reception of theatre. Published in 1997 by Routledge in its second edition, the book aims to analyse the complexities that define how theatre is made and consumed, with a focus on understanding the role of the audience as an integral part of the theatrical experience.
The book delves into the historical evolution of audiences, tracing the socio-cultural shifts that have influenced the role of the audience in theatre. It critically examines the ways in which audiences have been conceptualized, looking at their transition from passive consumers to active participants. Bennett also scrutinizes the frameworks set by theatrical institutions, such as the physical architecture of theatres, pricing, marketing strategies, and even the sociopolitical climate, all of which shape the audience’s reception of a performance.
Moreover, Bennett touches on the diversity of theatre audiences, considering factors such as age, ethnicity, and socioeconomic status. She argues that these variables contribute to how an audience interprets and engages with a performance, thereby affecting the intended meaning and impact of a production. By considering such diversity, Bennett pushes the reader to re-evaluate generalizations about audiences and their experiences.
The book uses several case studies, from classical to contemporary performances, to illustrate how varying elements of a production—such as lighting, set design, and acting styles—interact with the audience’s perceptions and expectations. Bennett employs a multi-disciplinary approach, drawing on theories from psychology, sociology, and semiotics to give a well-rounded view of the relationship between audience and production.
At the core of Bennett’s work is a challenge to the traditional models that relegate audiences to mere passive recipients of a pre-constructed theatrical reality. She presents the audience as co-creators in the theatrical experience, emphasizing that a play is not a complete work of art until it has been received and interpreted by its audience. The dynamic exchange of energy, ideas, and interpretations between the stage and the audience is, according to Bennett, what truly constitutes the unique and ephemeral art form that is theatre.
“Theatre Audiences” serves as an indispensable resource for understanding the complex relationship between the stage and the spectator. Bennett’s scholarly investigation pushes the boundaries of how we consider the role of audiences, ultimately arguing for a more nuanced and interactive approach to theatre-making.
Butler, Judith, Gender Trouble: Feminism and the Subversion of Identity, (New York and London: Routledge, 1999).
“Gender Trouble: Feminism and the Subversion of Identity” by Judith Butler, first published in 1990 with various editions thereafter, is a seminal work in the fields of gender studies, queer theory, and feminist philosophy. The book challenges traditional notions of gender identity, arguing against the conventional binary understanding of male and female. Butler asserts that gender is not a natural given, but rather a social construct that is continuously performed, enacted, and reenacted through a set of prescribed behaviours and cultural norms.
The book begins by examining the limitations of existing feminist theories. Butler critiques the way that these theories often presuppose a stable, pre-existing category of “woman” as the subject of feminism. Such an assumption, she argues, essentializes gender roles and identities, excluding those who do not fit neatly into these categories. She dismantles the idea that there is a natural link between biological sex, socially constructed gender, and sexual desire, stating that these categories are not as coherent or stable as society posits them to be.
Butler then introduces the concept of “performativity,” drawing from speech act theory, which was originally developed by philosophers like J.L. Austin and further refined by John Searle. She contends that gender is a kind of ongoing social performance, rather than an intrinsic quality derived from biology or some other determinant. Through a complex process of socialization, individuals enact and express gender in a way that is culturally intelligible, thereby reinforcing existing gender norms and structures. However, Butler also suggests that the very nature of performance allows for the possibility of subversion—by deliberately “misperforming” gender, one can disrupt the social norms that uphold gender binaries and hierarchies.
Moreover, Butler explores the politics of this performative act, examining how institutions like the family, the state, and the medical community participate in the construction and policing of gender norms. She also delves into the implications of her theories for sexual politics, examining how a more fluid understanding of gender can empower marginalized communities, including queer and transgender individuals.
The impact of “Gender Trouble” has been immense, shaping academic discourse and activism alike. Its radical rethinking of gender has opened up new avenues for research and political action, providing the theoretical groundwork for a more inclusive and nuanced understanding of gender identity and sexual orientation. However, the book has also been subject to various critiques, including concerns about its dense academic language and the feasibility of its ideas in practical, real-world activism.
The book is a groundbreaking work that disrupts conventional wisdom about gender, sexuality, and identity, offering a transformative lens through which to understand these concepts. By proposing that gender is an ongoing performance, Judith Butler challenges entrenched social norms and offers a more fluid, inclusive way to think about identity, thereby influencing a wide array of disciplines and social movements.
Said, Edward, Culture and Imperialism, (London: Vintage, 1994).
“Culture and Imperialism” is a seminal work by Edward Said that builds on his earlier book “Orientalism.” Published in 1994, the book is a critical exploration of how cultural forms, particularly literature and media, serve as instruments of imperial domination and resistance. Said examines how the West has represented the East and other colonized spaces through various forms of discourse, illustrating how culture is never separate from the power dynamics of imperialism.
The book scrutinizes a variety of Western canonical texts, from classics like Jane Austen’s “Mansfield Park” to Joseph Conrad’s “Heart of Darkness,” to show how these works often reflect and legitimize the colonial enterprise. Said points out that while these works might not overtly glorify imperialism, they nonetheless perpetuate the unequal power relations by portraying the colonized as ‘Other,’ thereby reinforcing their subjugation.
Said also turns his lens on counter-narratives emerging from the colonies and postcolonies. He discusses how native writers like Salman Rushdie, Chinua Achebe, and Frantz Fanon have sought to challenge Western depictions and reclaim their own cultures and histories. These alternative narratives provide not just a form of resistance but also an avenue for dialogues between cultures, paving the way for a more nuanced and mutual understanding.
One key point that Said makes is that culture is a battlefield where imperial ideas are both propagated and challenged. This complex interplay serves as a key vehicle for understanding historical and contemporary imperial endeavours. Said pushes for a contrapuntal reading of texts, suggesting that one must read them with their imperial context in mind to fully understand their significance. This approach not only adds layers to the interpretation of individual works but also illuminates the dynamics of cultural exchange and conflict.
In a broader sense, the book posits that culture is not a passive repository of artifacts and traditions but a dynamic and evolving entity that is continuously shaped by social, political, and economic forces. The imperial influence on culture is not just a historical artifact but an ongoing process that continues to shape modern global relations.
“Culture and Imperialism” is an intellectually rigorous and deeply insightful analysis that expands the understanding of how culture and power interact. Edward Said meticulously lays out the symbiotic relationship between culture and imperialism, calling for a more nuanced reading and interpretation of cultural products, and advocating for a discourse that can serve as a form of resistance and a bridge between disparate cultures.
Spivak, Gayatri Chakravorty, In Other Worlds: Essays in Cultural Politics, (London: Routledge, 1988).
“In Other Worlds” by Gayatri Chakravorty Spivak, published in 1988 by Routledge, is a seminal collection of essays that delves into various domains of postcolonial studies, feminist criticism, and literary theory. Spivak, an Indian-American scholar, explores the intersections of power, culture, and language to illuminate how marginalized groups are rendered ‘other’ by dominant discourses. The book is noteworthy for its multidisciplinary approach, weaving together insights from philosophy, literature, and social science to critically interrogate issues of representation, voice, and identity.
One of the book’s key contributions is its critique of Western feminism’s ethnocentrism, particularly its tendency to universalize the experiences of women, thereby silencing or erasing the voices of women from the Global South or other marginalized backgrounds. Spivak critiques what she views as a sort of imperialism within feminist discourse, arguing for a more nuanced, culturally sensitive understanding of gender and oppression.
Additionally, the book tackles the problematic aspects of postcolonial discourse, specifically how colonized subjects are often spoken for but rarely get the opportunity to speak for themselves. This resonates with her famous question, “Can the Subaltern Speak?”, which she elaborates on in other works but is a recurring theme in “In Other Worlds” as well. Here, the ‘subaltern’ refers to marginalized individuals who exist outside the hegemonic power structures and whose voices are often suppressed or ignored.
Spivak also delves into the complexities of translation, not just in the literal sense of translating words from one language to another, but also in the figurative sense of translating cultures, ideologies, and experiences. She discusses the perils and potentials of ‘translating’ the experiences and struggles of one culture or group into terms that another culture or group can understand. In doing so, she navigates the challenges of essentialism, the act of reducing complex identities into simplistic categories, and offers a more nuanced, deconstructive approach.
Furthermore, the book reflects on the role of intellectuals and scholars in shaping cultural politics. Spivak emphasizes the importance of self-reflexivity among intellectuals, urging them to be aware of their own positions of privilege and power and how these may impact their interpretations and representations of the ‘other’.
The work serves as a rigorous critique and interrogation of the complex relationships between culture, power, and representation. By challenging conventional discourses in feminism and postcolonial studies, Spivak offers new avenues for thinking about and engaging with issues of marginalization and otherness. Her work remains an influential resource for anyone interested in exploring the intricate dynamics that shape cultural and social relations in our increasingly interconnected world.
4. Craft
Writing Theatre
Ayckbourn, Alan, The Crafty Art of Playmaking, (London: Faber & Faber, 2002).
“The Crafty Art of Playmaking” by British playwright Alan Ayckbourn is an instructive manual that delves into the creative and technical aspects of writing and staging a play. Published by Faber & Faber in 2002, the book serves as a comprehensive guide for aspiring playwrights, directors, and theatre enthusiasts alike. Ayckbourn, who has a wealth of experience in theatre, demystifies the process by breaking it down into its core elements.
The book is generally divided into two main parts: the art of writing a play and the art of producing it. In the first part, Ayckbourn goes into great detail about the essentials of dramatic writing. He covers the nuances of developing compelling characters, constructing a gripping plot, and creating authentic dialogue. Ayckbourn also discusses the thematic considerations that can enrich a narrative and make it resonate with audiences. He emphasizes the importance of creating emotional stakes for the characters and bringing tension into the narrative to keep the audience engaged.
One of the notable aspects of this section is Ayckbourn’s guidance on how to work through creative challenges such as writer’s block. He offers practical tips, drawing from his own experiences, about how to navigate these common pitfalls. Ayckbourn stresses the need for revision, arguing that the initial draft is just a starting point that must undergo significant editing and fine-tuning to achieve a polished final product.
The second part of the book transitions from the realm of writing to the practicalities of bringing a play to life on stage. Ayckbourn explores the roles of the director, actors, and crew, highlighting how each contributes to the success of a production. He provides insights into the intricacies of casting, rehearsing, and staging, including the effective use of props, lighting, and sound to enhance the theatrical experience.
One of the valuable aspects of this section is its focus on collaboration. Ayckbourn emphasizes the importance of communication and teamwork among the various stakeholders involved in a production. He shares anecdotes and case studies from his own career to illustrate how effective collaboration can solve problems and elevate the quality of a production.
Throughout the book, Ayckbourn’s wit and personal anecdotes enliven the text, making it not just an educational read but also an entertaining one. His style is conversational and approachable, making the book accessible even for those who are new to the world of theatre.
“The Crafty Art of Playmaking” serves as a holistic guide that tackles both the creative and logistical aspects of playmaking. It is an invaluable resource for anyone interested in the theatre, offering a blend of theoretical knowledge and practical wisdom honed from years of experience in the field.
Waters, Steve, The Secret Life of Plays, (London: Nick Hern, 2009).
The book is generally a guide on the art of playwriting, focusing on the hidden aspects that give plays their life and vitality. Waters delves deep into the craft, revealing the secret ingredients that make plays compelling and resonant. He goes beyond the basics of plot, character, and dialogue to explore the subtle elements that often go unnoticed but are crucial for a play’s success.
The book offers a comprehensive overview of the complexities involved in constructing a play, covering everything from the initial concept to the nuances of language and pacing. Waters includes examples from a wide range of plays and playwrights, dissecting their components to give a clearer understanding of how great works are made. It serves as both a textbook for aspiring playwrights and a behind-the-scenes look for theatre enthusiasts. Waters draws on his own experience as a playwright and educator, providing insights that are practical, applicable, and deeply rooted in the real-world challenges and rewards of theatrical storytelling.
Through a series of chapters, the book often investigates the ‘invisible’ aspects of a play, such as tone, rhythm, and thematic coherence. Waters argues that these hidden elements are what truly connect with the audience, making the difference between a good play and a great one. It is as much about the intentionality of the writer as it is about the craftsmanship, focusing on the questions a playwright must ask themselves throughout the creative process. Whether discussing the critical importance of the first ten minutes of a play, or examining the dynamics of conflict within the narrative, Waters provides a holistic approach to understanding what makes plays tick.
“The Secret Life of Plays” is not just a manual for creating effective theatre; it’s also an argument for the significance and vitality of the art form itself. In a world where the immediacy of film and television dominates, Waters makes a passionate case for the enduring relevance of live theatre and its unique ability to communicate nuance, complexity, and human emotion.
The book provides an in-depth look at the intricacies of playwriting, shedding light on both the visible and invisible elements that contribute to the effectiveness of a play. Waters combines scholarly analysis with practical advice, making it a valuable resource for anyone interested in the art of creating or understanding theatre.
Writing Comedy
Double, Oliver, Getting the Joke: The Inner Workings of Stand-Up Comedy (London: Methuen Drama Performance Books, 2014).
“Getting the Joke” by Oliver Double delves into the intricate and multifaceted world of stand-up comedy, examining its various elements and the mechanics that underpin its performance. The book, which is part of the Methuen Drama Performance Books series, serves as a comprehensive resource for understanding what makes stand-up comedy a unique and compelling form of entertainment and art.
One of the book’s major strengths is its focus on the origins and history of stand-up comedy, tracing it back to its roots in various performance traditions. This allows the reader to appreciate how the genre has evolved over time and how it connects with societal changes and developments. Oliver Double explores the influences of iconic comedians and draws from numerous interviews with professionals in the field to offer insights into their techniques and perspectives.
The book also delves into the nuts and bolts of creating a stand-up routine, from the initial concept to its execution on stage. Here, aspects like timing, delivery, and audience interaction are scrutinized to understand what makes a joke land or fail. The book deals with the specifics of joke construction and comedic storytelling, using examples to explain the nuances of comedic timing, set-up, and punchline. Moreover, it covers different styles and genres within stand-up comedy, like observational humour, one-liners, and social commentary, helping to elucidate how different artists use different methods to achieve comedic impact.
Another critical area of focus is the psychological and emotional dimensions of stand-up comedy. The book explores how comedy can serve as a coping mechanism, a tool for social critique, or a means of personal expression. The relationship between comedian and audience is dissected to reveal how the dynamics of laughter, applause, and even heckling play into the overall experience. Double also takes the time to discuss the complexities and challenges faced by minorities and women in the stand-up comedy world, shedding light on the importance of representation and diversity in the genre.
One notable feature of the book is its scholarly approach to a subject often considered to be ‘light’ or ‘frivolous.’ Double employs rigorous research methods, fusing academic perspectives with the experiential knowledge of practitioners. He not only provides a rich tapestry of the genre’s history but also engages in its ongoing debates and discussions, thereby adding a level of depth that is not commonly found in literature about comedy.
“Getting the Joke” serves as both a theoretical and practical guide to the realm of stand-up comedy. By dissecting the various elements that contribute to a successful routine and providing historical and sociological context, Oliver Double offers an invaluable resource for both aspiring comedians and anyone interested in understanding the intricacies of this art form. The book contributes significantly to the scholarly literature on comedy while also offering practical advice and insights that could benefit practitioners and aficionados alike.
Writing Film
Seger, Linda, Making a Good Script Great, 3rd Edition, (Beverley Hills, CA: Silman-James Press, 2010).
The book “Making a Good Script Great” by Linda Seger focuses on the art and craft of screenwriting, offering both budding and seasoned writers the tools and techniques needed to elevate a good script into a great one. Now in its 3rd edition, this seminal work continues to be a go-to resource for screenwriters and industry professionals alike, reflecting decades of research and practical experience by the author.
The book is structured around the key elements that make up a great script: structure, characters, theme, visuals, dialogue, and general storytelling. By dissecting each of these aspects and providing illustrative examples, Seger gives readers a comprehensive understanding of how to optimize every facet of their script. She often employs case studies, breaking down popular movies to highlight their strengths and weaknesses and demonstrate how a script can evolve from good to great through diligent rewriting and insightful revisions.
In the realm of structure, the book outlines the essential elements of plot, subplots, and timing, emphasizing how these can be harmonized to create a compelling narrative. Seger discusses how to handle three-act structures, and even delves into alternative structural paradigms, all the while driving home the need for an engaging and escalating conflict.
When it comes to character development, the book showcases the importance of well-rounded, believable characters. Seger explains that the reader or audience should feel emotionally invested in the characters, which only happens when these figures are portrayed as multi-dimensional beings. She delves into the psychological mechanisms that allow an audience to connect with characters and provides exercises that help writers flesh out their characters’ backstories, motivations, and arcs.
The book also dedicates considerable attention to theme. According to Seger, a powerful theme can be the cornerstone of a great script. She guides readers through identifying and developing themes that are not just meaningful but are also intricately woven into the narrative, so they resonate throughout the script.
On a more technical note, Seger tackles dialogue and visuals. She argues that great dialogue should be both realistic and functional, serving to advance the plot while revealing character. Additionally, Seger highlights the importance of visual storytelling, reminding writers that cinema is a visual medium and encouraging them to think in terms of visual metaphors and symbolic imagery.
“Making a Good Script Great” doesn’t merely provide a theoretical
understanding but also gives practical tips and exercises that writers can
apply immediately to their work. Whether you’re working on your first script or
have several under your belt, Linda Seger’s book serves as a comprehensive
manual, designed to hone your skills and transform your good scripts into great
ones.
