fandomsecrets | [ SECRET POST #2580 ]

⌈ Secret Post #2580 ⌋

Warning: Some secrets are NOT worksafe and may contain SPOILERS.

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Notes:

Secrets Left to Post: 04 pages, 082 secrets from Secret Submission Post #369.
Secrets Not Posted: [ 0 - broken links ], [ 0 - not!secrets ], [ 0 - not!fandom ], [ 0 - too big ], [ 0 - repeat ].
Current Secret Submissions Post: here.
Suggestions, comments, and concerns should go here.

Flat | Top-Level Comments Only

• I am a professional theatre type person with a degree in theatre history. I know some stuff about how a production is put together. My primary field is 20th century English-language theatre (Tom Stoppard and Tennessee Williams are among my faves), and I can also speak some to major avant-garde theatre movements in that era. I am a dramaturg by training, so I also know a lot about doing research.

• I am NOT an Early Modernist by field, but I can probably answer Shakespeare and Elizabethan/Jacobean theatre-related questions.

• I can also give play recs, theatre nonfiction recs, audition advice, and answer questions about what I've seen.

• I am a Los Angeles native. Got questions about the climate, the food, the architecture, the slang? Ask away!

• And finally, I am a second-generation fan. My parents are professional SF writers and I've been attending conventions since before I was born. Maybe someone wants to ask something about that?

I was in a script workshop at the beginning of 2013, but it was specifically for movie scripts and since I was aiming to learn about dramaturgy it wasn't very useful. Is there any advice you could give to an amatheur theatre person who wants to start writing her own scripts? :3

Hmm, the only play writing class I had was a very bad experience. Let's see... Only have stage directions when you really need them for the plot, like "she loads the revolver and puts it in her purse" or "the spies swap briefcases and exit". You may think things like someone showing someone else a object seems important (and it would be in a screenplay), but in a play that should be clear enough from your dialogue, like "MARY: George, look, can you believe this [tabloid] article? That's not how it happened last night at all!" The story being shared by the characters is the important part, not the object. Obviously it should be established at the beginning of the scene that Mary's reading tabloids, but you can leave the specifics of how she engages George to the director.

Do you have any specific questions about dramaturgy or research?

[ SECRET POST #2580 ]

THEATRE STUFF / Shakespeare / Los Angeles / growing up in fandom

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Re: THEATRE STUFF / Shakespeare / Los Angeles / growing up in fandom