Before writing a play the author might begin with a summary of what he wants. Many authors choose topics that are contemporary because that draws the viewing public. Others try to invent something new and experimental. Often a short story can be elaborated into scenes where spoken parts become the basis for scenes where the future actors are going to encounter one another. It is a good idea for the writer to do some research on the theme of the play especially if he wants his fictional characters to sound credible.
It is up to the actor to breathe life into a script. Good writing style is important. The playwright shouldn't stifle the play by putting to words what the actor can do through jest. Lines should alter between short and long as one would do in a short story or prose, after conversation is being reproduced and one doesn't expect the play to be loaded with run-on sentences.
If the author is going to be director and producer as is the trend today than the way to start off is with as few materials as possible to get the play in motion and avoid being held back by high costs and delayed schedules due to poor workmanship.
In the making of a play there has to be a thread of thought that unites the different scenes. The play may be tailored to a particular personage or character that the playwright has in mind. This usually means that the writer is familiar with the type of acting the character can do and weaves his plot accordingly. Other writers create a dramatic plot independent of any particular character. If the writer doesn't have much experience in connecting more than a few characters writing a play for many is not suggested. That said, it is not always true that more characters means a weaker play. The playwright might like to have some characters at the wayside while others are more dominant.
Often the writer will begin with a scene and forget to relate it to a larger picture. Many times the writer has to put himself in the position of the characters and ask if they realistic or credible. The direction of the play is usually determined by the direction that the main character takes in the play. The writer should have a strong feeling about the story so that he does not get sidetracked and lose focus on the play direction.
It' s always good for the writer to ask himself how many characters would be required and what the scene breakdown would be. Often enough it's the number of scenes which determines how complex the play would be, that is it gives the writer an idea of where to introduce certain characters and when the climax should be. It is important for the writer to add depth to the script to and add a sub-plot to the main one. Many novices take for granted that all one needs is a main line of action and so many writers are too used to a linear play model. Others think that they have to go avant-garde in order to get their work noticed. Here there is no set rule on the way in which the playwright relates his message; he does stand a better chance of reaching more public if the play is straight-forward and being contemporary does not guarantee a good critique or an audience.
A play with as a simple a setting as possible is easier to budget and work with. It is suggested that for novice productions going minimal as far as scene design, props and costumes are concerned means less work for the play production. It means that the director can concentrate on working more with the actor. If the play revolves around a home setting, simple furniture laid out as a living room would be all right. Some theaters use risers or black boxes that can take the place of chairs and couches. Once the play becomes more elaborate the director may choose to have a set constructed. This may also be modeled after a particular room or front view of a porch. The same director may opt for no furniture at all and decide on the reflection of a filtered light on a black surface taking the shape of different windows. If there is little or no furniture the actor may manoeuvre a chair in different ways to represent different scenes.
Rehearsal with the actors before and after the set is constructed is a key in making sure the play will run properly. One has to work with the delivery that the lines have in the space and how the actors interact with each other. The playwright might have to tighten the script if lines that correspond to a quick action are too long. If a dramaturge is not available for a workshop on the play, one can invite another experienced playwright or director to witness the reading a new play. If the reading goes well
and the play has gelled and can then be performed.
The Making of a Documentary
If there are local issues to bring to light then a documentary can be made. One has visions of a cameraman standing in front of a large unmarked war grave or masses of displaced people startled by
a tsunami. That would be a common misconception. One doesn't even have to interview somebody to get a message across. Guess that's what a documentary has to relate, a message.
If it's on meeting people in a friendly bar, one might want to review the techniques employed to find out how one guy is interested in another. Obviously it helps to have courses in common. It helps to have similar views, like both two people sentimental about holidays. Places of common interest helps
especially ones of cultural impact. Some people would like to meet people who bet on horses although
one can do that on a solitary basis. Then one person shoots names of common visiting places.
The good thing about a doc is that one doesn't have to worry about building a plot with a climax. The fact that people are being interviewed on preferred travel locations doesn't mean that people have to fall into and out of relationships. The doc could combine a survey approach on how many people want to go to Nepal and not India for example. The fact that the former is more remote than the latter would definitely add interest. Ideally the idea behind the filming of the doc should be pressing enough that a person would like to complete it.
