Writing a theater scripts

Share via Email Synopsis or not? Tristram Kenton Write what you know, write what you feel and remember you are writing for the theatre.

Writing a theater scripts

Each story was selected for its dramatic quality, literary value, and appeal to young people. Genres include fantasy, multicultural folktales, and humor. The scripts may be freely copied, shared, and performed for any noncommercial purpose, except they may not be posted online without permission.

Feel free to edit the scripts to serve the needs of your own readers. A wide range of reading levels is included, with a focus on ages 8 to Recommended reading age more or less progresses through the book, from younger to older.

Above all, have fun with the scripts. Let your readers discover that reading is a treat. Also at the beginning of each script is a list of roles. Roles listed in parentheses are unscripted, with no assigned speech, and usually optional.

writing a theater scripts

These roles can be given to surplus readers if your directing style includes stage movement or if you choose to add speeches or sounds for these readers. For performing, some kind of binder will be helpful. Stage here refers simply to your performance area, which could be the front of a classroom, or an open space in a one-room library, or one end of a school gym or cafeteria.

Or a script could be used as a group reading exercise, with no performance area at all. Some scripts may be challenging, and effective modeling will lead to greater benefit and enjoyment. The readers can underline or highlight their own parts in their copies of the script, marking only words to be spoken.

Yellow non-fluorescent marker works well. Any unfamiliar words should be looked up and checked for pronunciation and meaning. Added stage directions can go in the script margins—preferably in pencil, to allow corrections. Your readers might also prepare an introduction to the story, for use in performance.

While an introduction should always mention the title and the author, it could also discuss source, author background, cultural background, theme, or context within a longer work. Notes at the beginning of some scripts will provide starting points. Introductions are most effective when spoken informally, rather than read or memorized exactly.

With many of the scripts, you can produce a lively stereo effect by dividing your narrators between the two ends of your stage. For instance, with four narrators, place Narrators 1 and 2 at far left, and 3 and 4 at far right, as seen from the audience. To preserve this effect with fewer readers, assign the roles of Narrators 1 and 2 to one reader, and 3 and 4 to another.

In some scripts, particular narrators may relate mostly to particular characters. Notes at the start of those scripts will suggest positioning the characters near the corresponding narrators.

In the most traditional style: Readers are arranged in a row or a semicircle, standing up or sitting on high stools. Typically, narrators are placed at one or both ends, and major characters in the center. Scripts can be held in hand or set on music stands. Readers look straight out toward the audience or at an angle, rather than at each other.

Chamber Readers, the group with which I trained and performed for five years, employs a style that is quite different, designed to appeal to young audiences. For more details, see my book Readers on Stage. Characters portray the action described in the story. Where possible, the portrayal is literal, with characters moving around the stage much as in a play.

Though narrators look mostly at the audience, characters look mostly at each other. Scripts in sturdy binders are held in one hand, leaving the other hand free for acting. A set of low stools and perhaps one or more high stools serve as versatile stage scenery or props. These scripts should lend themselves to either approach, or to any other you might choose.

Feel free to create your own! About the Web Site For more resources, please visit my Web site at www.

To help you find what you need, the site includes a comprehensive search function, as well as indexes of all my stories and scripts—online and off—by title, genre, age, theme, country or region, historical period, ethnic group, religion, mythology, holiday, and activity.

This info is for the Second Edition.Shameless Plug Improve students’ reading fluency while providing fun and purposeful practice and performance through Reader’s Theater Scripts. Fluency Reader's Theater Scripts Reader's Theater Scripts. Perform without the need for props, costumes, or a set!

Reader's Theater Scripts adapted from our leveled books and other sources give students essential practice in . Writing Scripts for Theater. The first step in writing a play for the stage is deciding what kind of play you are going to write.

There are a variety of different types of stage productions out there, including minute plays, one-act pays, full-length plays, and musicals. Reader’s Theater I’m from a family of hams. Performing, reading aloud, creating characters was organic to my learning experiences.

The reader’s theater adapt. Unique in the nation, LifeHouse is an independent, interdenominational theater whose plays and musicals are exclusive, original productions seen by over 30, guests each year.

LESSON Play Writing for Readers’ Theatre LESSON DESCRIPTION: Students will work in teams of 3 to 5 to write short plays about helping a younger boy or girl spend less time watching TV.

These plays can be performed within the class or as part of an activity for elementary children.

Writing for the theatre? Be practical | Culture professionals network | The Guardian