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.
