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During Week #5 we will do Project 5,
plus read The Shape of Things:
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- What’s the significance of the end of Sc. 1, where Evelyn rattles the little ball bearing inside the can (p. 10)?
- What’s the significance Evelyn saying to Adam, "you shouldn't do something you don't want to do (p. 19)?
- What are the hints in the very first scene of where the relationship will go?
- What’s the significance of the title?
- What’s significant about the names Adam and Evelyn?
- At the end we learn that the one possibly true thing about their relationship was the whisper. Significance? (see pp. 38, and 137)
- What’s up with her extreme dislike of Philip? (see pp. 43, 44, 117, and 130)
- What’s the significance of the sequence where Jenny and Evelyn talk about “change?” (see pp. 93-94, and p. 120)
- On p. 94, Jenny says, "he’s Phil…six things away from being amazing…" What might these six things be?
- What’s the significance of Evelyn at the end saying that she’s "more of a stay at home kind of person" (p. 118)?
- What if the situation revolved around a male changing a female; would such a gender reversal make for a more or less interesting story?
- How would you cast this play? What qualities would you look for in casting these four characters? And keeping your casting choices in mind, what suggestions would you give to your costume designer?
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- In Project 5, what is the point of writing one completely true, and one completely false story? What light does this possibly shed on the playwriting process?
- What is the point of having both the true and false stories centered around the same object?
- As audience member, were you fooled more often by the true stories, or by the false ones?
- Did the "true" stories generally prove to be more interesting than the "false" ones. Why? Or was just opposite the case? Why? Were you to have a choice, would you rather experience a play that was primarily based upon a true story, or one that primarily a totally fabricated one?
- Peering into your crystal ball, do you forcast that more true stories are destined to be dramatize, or does your fortune telling favor our so called "false" stories?
- Are plays that show us something inherently more interesting than those that tell us about something? What does this project in playwriting share with the projects we did in acting and directing?
- Do you tend to enjoy plays that are more visually or verbally oriented. Of those performed in class, did the dramatization of the selected scripts tend to be more visual than verbal (or vice versa)?
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