1) Finish this statement: “This play is the story of …” – In just one paragraph

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1) Finish this statement: “This play is the story of …”
– In just one paragraph, try writing the essential story you wish to tell. This is not the same as a mere plot summary. This is your “story statement” where you express your beliefs about what the core of the play’s story is to you.
– For instance, for the musical Big River you might say the following:
“Big River is the story of a simple, unpretentious boy (Huck Finn) who goes on a journey into unknown territory and discovers his own humanity in the process. It is literally a journey down the Mississippi River just before the Civil War. But, more importantly, it is a spiritual journey into the territory of humanity and morality. Over the course of this journey, Huck and his traveling companion, the runaway slave named Jim, become friends, then brothers, as they share dreams and discover their profound common bond. With no outside authorities to guide him, Huck must decide what to do when given control over Jim’s destiny. Does he follow the statutory laws of his society and enslave Jim in a horrific circumstance, or does he follow his sense of a higher law: true morality? Huck frees Jim and, as a result, is given his own freedom from an immoral society.”
2) “Themes and ideas” of this play
– The story statement will often contain these themes & ideas, but in this section please explicitly articulate the themes and ideas that motivate your play’s story, as you see it.
– Even the silliest show has themes and ideas that guide the story and help an audience connect to it. For Seussical the Musical, for example, you might write the following:
“Seussical is about: Our ability to imagine wonderful worlds. Expanding our narrow consciousness to discover and include other worlds or parts of our world that we never knew – or never bothered to notice. Loyalty, simple integrity, and devotion to friends and those we love and commit to. Discovering our own inner worth, despite being different. Standing up for what we believe in. “
3) “Images and Visual Style” for my production of this play
– How does your version of this play Look and Feel and Sound???
– This is the time to discuss any images, or scenic/lighting/costume design ideas you feel strongly about, or anything else that has to do with the visual experience of the show.
– If you have a general sense of the feeling and visual qualities of the show, take the time to express them here as fully and specifically as you can.
– Also, you can feel free to refer to artists or works of art (of any type – fine art, comic books, graphic novels, even music that evokes useful imagery to you for the show), or specific visual images that connect to how you imagine the world of the show in your version. You may include visual images or even links to audio recordings that inform how your production of this play will look, feel, and sound.
For example, the following statements about Images & Visual Style helped guide a very successful production of the musical West Side Story:
“Claustrophobic city streets
Nowhere for teenagers to do anything
Decaying neighborhoods
Once nice, now downtrodden
Poorly maintained immigrant housing
Bars on windows
Volatile atmosphere
Heat, idle time, end of summer agitation at school about to start
People irritated with each other, no outlet for energy
Scenic changes must be smooth, within the action
Must be set in the correct time period – 1957
Costumes must not be pretty or “preppy,” street clothes!
Design cannot feel like a “musical” – more like realistic drama or film
Gritty, but heightened theatrically
Under highway – rumble
Sounds of strife and violence always present – sometimes close, sometimes in the distance
A cage
A portentous, dangerous place – bad things will happen here
Huge billboard of “optimistic” advertising dwarfs the kids
Fading, tattered, year-old advertising – no one even bothers to update the ads in this neighborhood
Design qualities:
Textured brick
Metal bars
Rusty fire escapes
No beauty in their world – everything is either functional or decaying beauty
Decapitated busts on monuments of long-forgotten public figures – Who is that statue supposed to be? Never heard of ‘em.
Painted-over marble, building ornaments
Bright red floor – BLOOD ON THE STREETS”
4) “State Your Passion” about the play you chose
– All of this work analyzing and dissecting will simply be an academic exercise if you don’t end up finding and articulating YOUR PASSION for the piece in the end.
– For a director to do a credible job, they must find a way to care passionately about the project. Even the slightest script and score, if they are worth doing, reflect something about our common humanity. You must find and hold on to that. You will depend on a connection to the essence of the story to produce a version of the play that genuinely affects your audience. And, as Director/Designer, you will lead that charge. Articulating that basic human connection in your Concept Paper may be the single most important element in it

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