This past Monday evening, Iwas a guest lecturer at the CCNY Program in Educational Theater Teaching Literacy Through Drama graduate course. One of the assignments is The Diary Project; wherein, classmates creatediary entries from their childhood and adapt them as monologues and/or scenesculminating in a devised performance.
To get them started on thisproject, I selected a playwriting icebreaker exercise from Young Playwrights Inc.’s Write A Play Curriculum calledWhat’s In A Name? Each participant introducedthemselves by substituting their last name with a new one that reflected eitheran aspect of their personality of which they are particularly proud, orsomething they recently accomplished. For example, I became Fran Dream Reaper; others included SobhaSeedplanter, Marissa Laughter, Laura Lunacy, Joe Bridgemaker, EricSilkscreener, and so forth. The groupselected Amy Jazzhands as the name they found to be the most evocative. Delineating the difference between the REALAmy and the one that the group would create, the character evolved as aseven-year-old girl who wore red sequined tap shoes with bows, a neon greentutu with yellow suspenders, had bright red-curly pigtails that bounced whenshe walked. She carried a journal in herdoggy bag pack and spoke with a froggy voice. She left her home in Staten Island to tell the group something that made thisday different than any other. She said, “I am leaving home.” Another response, “I have jazzy hands and Ineed your help.” Another had her announce,“A crime has been committed and I’m here to solve it.” Each participant was instructed to choose oneof the prompts and write a monologue clarifying Amy Jazzhands’ Need To Tell. The renditions were read aloud and the groupdiscussed how the character communicated WHAT she needed to tell, WHO sheneeded to tell and WHY this day was different from all other days? Tofacilitate the lesson further, the class deconstructed the exercise: the power of choices, how names tell ussomething about the character, how selections impact characterization,etc. In addition, a discussion ensued onhow the exercise could be integrated into their professional praxis. During the hands-on demonstration, I stepped outof role to note “teachable moments”; for example, how it applied to a COREstandard, literacy goals, classroom management strategy, etc.
The Paper Airplane exercise was used as an assessment tool: every member “flew” their paper airplane andshared what they learned. We exploredhow that same urgency for feedback can be applied to playwriting. To learn more about how these exercises andothers are used as playwriting tools, the class was encouraged to attend Young Playwrights Inc.’s Teacher Training Institute.
To further assess theefficacy of the demonstration, participants were encouraged to imagine possibilities, integrate the lesson into theirprograms, and share their implementationthrough their testimonies on my website. Ultimately, my goal was to INSPIRE them to take these new tools outinto the field as theater education practitioners and encourage them to putthem to use!
Thank you, Professor Sobha K. Paredes and theCCNY Program in Educational Theater!
How do you use playwriting as ateaching tool?
