Week One: Memoir vs. Monologue: How Dramatic Writing Makes the Leap from Page to Stage
All kinds of expressive writing, from diary/journal writing to memoir to poetry, foster healing and personal growth. Writing for the stage offers a uniquely imaginative process for healing and transformation as well. We’ll explore how writing for the stage differs from writing a memoir or personal essay. You’ll learn tools for adapting personal story for dramatic writing as a theatrical experience that engages an audience. Elements of dramatic structure will be introduced.
Week Two: The Art of Crafting Set-Up
We’ll explore taking a short piece of memoir and shaping it theatrically, focusing on developing an effective dramatic set-up. Crafting an effective monologue set up involves imagination and immediacy, a distinctive voice, cohesive narrative structure, meaningful theme, and cohesive plot. We’ll explore personal themes of life choices, mistakes, roads taken and not taken, encountering internal and external obstacles, new beginnings, thresholds, rites of passage as the source for crafting dramatic monologues.
Week Three: Conflict – Experiencing Obstacles, Crafting Resilience
Conflict is a universal experience, a fact of life, and a necessary element of dramatic writing. How we meet it, how we shape it, how we share it is the stuff of wise living and great storytelling. We’ll experiment and explore conflict as a personal encounter and literary device and as a necessary stage of any journey toward wholeness. This session will explore how to artistically construct compelling narratives from personal conflicts, shaping the experience of resilience to involve and inspire an audience.
Week Four: Showing Versus Telling – Voice as a Vehicle for Dramatic Action
The memoir writer uses written description and authorial narration to illustrate setting, character, internal thoughts, external actions, feelings, motivations, needs, conflicts and consequences. The dramatic writer of monologue must craft, from the voice of a single character/speaker, compelling speech and gesture to show, rather than tell a story. We’ll explore how monologue presents a speaker’s needs, motivation and conflict in a way that involves the audience by establishing a “willing suspension of disbelief.”
Week Five: Creative Tools for Revising & Fine-Tuning
Focus on how the process of revision moves from page to stage - and stage back to page; additional thematic writing prompts for use with writing already generated in class; discussing strategies for going deeper; dealing with creative blocks and putting it all together – theme, arc, voice, stagecraft.
Week Six: The Art of Collaboration – Presenting Your Monologue
Whether or not you plan on personally performing your dramatic monologue or putting it in the hands of an actor, your writing will take on additional dimension in the journey toward sharing it with an audience. We’ll explore aspects of collaborating with a director, an actor, a designer, producer or publisher in the process of reaching an audience as well as resources for finding potential collaborators.
This class is ideal for people who do word arts–writing, storytelling, spoken word, theater, and other forms of TLA–and are ready to put themselves out there more in the world and in their work. Because of the innovate exercises and engaging discussions, this class would be very appropriate for both new and seasoned word artists who want to learn more, and find greater community together.
This is an online class. Each workshop will present engaging content designed to spark personal reflection, discussion, and dynamic writing prompts. Additionally, because developing voice is an essential element of this class, there will be a group phone conference offered once weekly so participants can read and listen to monologue drafts being read aloud. Students should expect to spend 3 -5 hours or so on suggested readings, reflecting and sharing on a probing question, engaging in creative writing prompts, sharing writing in a phone conference and responding to peers’ work. We’ll create a safe and supportive environment, offering respectful support that inspires the development of every writer’s voice.
Kelly is a poet, playwright and expressive arts workshop facilitator who loves leading new and experienced writers through dynamic writing exercises and meaningful sharing that leave you feeling engaged, intrigued and surprised by the depth of your experience. Kelly’s award winning plays have been produced around the US and Canada, and are published by Brooklyn, Heuer,Youth Plays, and Smith & Kraus Audition Anthologies. She’s also author of a non-fiction book, Before You Forget – The Wisdom of Writing Diaries for Your Children. Kelly’s poems are published in many literary magazines, and her award-winning poetry chapbook, “All These Cures,” was published by Lit House Press in 2014. Kelly has been a leader of new play development in the Boston area for over a decade, and she founded and produces the Our Voices Festival of Women Playwrights at Wellesley College, now in its 10th year. She’s a certified psychodramatist and a playback theatre artist. Kelly is honored to serve on the board of The International Women’s Writing Guild and the TLA Council, and she facilitates Let’s Talk TLA, a bi-monthly teleconference where she interviews a notable TLA practitioner. Her website is KellyDuMar.com
The Transformative Language Arts Network is a 501(c)3 non-profit firstname.lastname@example.org