“Ruined” Play Questions
-The playwright does not provide a specific time-period. Therefore, using the study guide and information from some of the scenes, we must determine a year and season on our own. Based on what is presented, when could this play take place? What time-period would have the greatest impact on an audience today?
- Why would the playwright choose to include comic moments in Ruined? Support your answer.
- If Christian wants a better life for Sophie, why does he sell her to Mama? Does he really care for her? Support your answer with specific examples from the script.
- Why did Mama want to finance Sophie’s medical procedure and new life?
- What do you think Mr. Harari does with the raw diamond?
- What is the climax of Ruined? Is it when Salima kills herself or is it when Mama Nadi admits she is Ruined. Are you sure that Salima killing herself is not a false climax created by the playwright to bring about a stronger reveal for the moment Mama Nadi admits she too has been ruined? Isn’t this moment the biggest surprise of all? Doesn’t most of the dramatic action revolve around Mama Nadi and the choices she makes? Don’t those choices affect everything that occurs and how all of the characters behave or are allowed to behave?
- Is there any reason to censor Ruined from being performed. What would refute those reasons?\
MUST USE COLLEGE LEVEL SENTENCES> 3 Sentences EACH QUESTIONPART
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Parts of
the Plot
DRAMATIC STRUCTURE
& ARISTOTLE
D R
A M
A T
IC
C O
N V
E N
T IO
N S
A dramatic convention is a set of rules
created by the playwright which both
the audience and actors are familiar
with and which act as a useful way of
quickly signifying the nature of the
action or of a character.
(en.wikipedia.org)
Each play creates
its own set.
http://en.wiktionary.org/wiki/rulehttp://en.wikipedia.org/wiki/ActorII. PLOT
2/1/2014 3
PLOT Synonymous with “Structure”
photos of various
productions of
Topdog/Underdog
by Suzan-Lori
Parks’
PLOT IS
CHARACTER IN ACTION
Two Categories SIMPLE: Single story line and single set of
characters
COMPLEX: Has subplots with entirely new set of characters
Subplot Secondary lines of action where different conflicts
are developed May be entwined with the main line of action
May develop independently
5
DRAM ATI C STRUCTURE DIAGRAMS
6
LINEAR
NONLINEAR
EPISODIC
LINEAR
Story progresses forward
Sequential in time.
NON-LINEAR
THREE OTHER
CATEGORIES OF PLOTS
Tells a story through a
series of scenes that
show different views of
the central problem of the
play.
Ordered by the exploration
of an idea.
Flashback
Flash forward
EPISODIC
Dramatic structure in which there are many scenes, taking place over a considerable period of time in a number of locations. Many also employ such devices as subplots.
NON-LINEAR EXAM PLES
III. PLOT ELEMENTS
A . C
O N
F L
IC T
10
Make-up
Strongly Opposed
Forces Balance of Forces
(well-matched opponents,
exciting game)
Incentive and
Motivation
(the stakes are high)
What do the characters
have to gain and what do
they have to lose?
EXAMPLES
Two or more characters must want the same thing
Money
Power
Kingdom
Love
Or want different things to happen Escape or Justice
Revolution against or consolidation of power
CONFLICT EXPLO RED
Dialogue: More than one character speaks, so more than one idea is presented
Monologue: Extended speech by one character delivered to another character, characters or the audience
Soliloquy: Extended speech in which the character contemplates or works out what has happened and how to proceed.
Aside: A portion of the dialogue given to the audience out of hearing range of the other characters.
THEATRICAL LANGUAGE REVI EW
B . L
A N
G U
A G
E
13
LANGUAGE
the language used by the characters. How is the dialogue constructed?
Is the language more challenging and intellectual or is it directed toward the masses or “laymen.” Think about the dialogue in a TV drama like CSI versus Desperate
Housewives. One the dialogue is very intellectual and technical
where as Desperate Housewives is very common place .
Do the characters have accent/dialect?
C . In
itia l In
c id
e n
t
15
INITIAL (INCITING)INCIDENT EXPLORED
The first event or action that sets
the plot or story into motion.
Destroys the uneasy balance and
sets off the major conflict of forces
photos from various productions of Death of A Salesman by Arthur Miller
2/1/2014 17
C . P
o in
t o f A
tta c k
The place in the story where the playwrights begins the story
Starts to dramatize the dramatic action
Plays are highly selective in terms of the events that are included in performance ◦ Some choose an early point of
attack in the story
◦ CONTRAST: Late point of attack means most of the events have already happened and we only see the last few or only one episode
POINT OF ATTACK EXPLO RED
photos from various productions of Shakespeare’s Romeo and Juliet
2/1/2014 19
C . R
is in
g A
c tio
n .
The segment of the plot
between the point of
attack and the crisis in
which events complicate
the plot and heighten
suspense
Small units of action
dramatized to build the
emotional intensity of
the action.
RISING ACTION EXPLO RED
photos from various productions of John Patrick Shanley’s Doubt: A Parable
21
C . C
lim a
x
Emotional highpoint of
the action
The moment in the
unfolding of the plot
when a change happens
that leads inevitably to a
resolution of the
dramatic question ◦ The turning point
◦ The point of no return
Outcome is finally
decided
CLIMAX EXPLO RED
photos from various productions
of Tony Kushner’s Angels in America
23
C . D
é n
o u
e m
e n
t
DÉNOUEMENT/
FALLING ACTION E XP LO R E D
The portion of the plot that comes after the climax where the world comes to some sort of resolution
Events from the climax to the end of the play
the resolution ◦ loose ends are tied up for the audience
◦ balance is restored ◦ something is different from before
photos from various productions of Paula Vogel’s How I Learned to Drive
