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From Issue #14, Fall
2006
The
Challenges of Scripting Material Written in the First Person Point of
View
by Lucy Rioux
Scripting literature using the readers
theatre format is more flexible
and easier to accomplish when the chosen material is written in the
third person point of view. This is so because the narration can more
readily be divided to reflect the various characters' point of view,
thus providing us with script variety more conducive to dramatic performance.
Pieces written in the first person
point of view, on the other hand, present us with greater difficulties
and more challenges in that the possible script proportions are already
somewhat compromised by the fact that most of the entire piece will
reflect the onecharacter's narration and dialogue. Therefore, scripting
from a first person point of view is difficult, no doubt, but can an
effective and powerful script be produced from this point of view? Without
a doubt!
When looking back at the articles
that I have written for this Digest, I noticed that I had used a first
person piece in Issue #2, Autumn 2003, entitled "Students Learning
to Script Material". I had used the last section of President Kennedy's
Inaugural Address of January 20, 1961. It had been scripted for three
voices by eighth grade students and presented as part of their social
studies unit which focused on people who had greatly impacted our American
society, especially in government. Although the speech was certainly
written from the first person point of view, the power and impact of
the words were increased and enhanced by the effective scripting technique
used by these students.
When preparing to script a first
person point of view piece, it is important to first realize the "purpose"
or "intent" of the material being considered. Are we looking
to primarily entertain or educate? Usually the context of the literature
being considered will provide you with a fairly obvious answer to this
question. President Kennedy's speech, for example, was chosen primarily
for education. Keeping the audience "engaged" was secondary
to the intent of the presenters. Once your piece has been chosen and
the intent is clear, you are well on your way to begin the process of
scripting.
Analyze the material. Who is speaking?
What is he or she saying? Are they talking about the past, the present,
or the future, or any combination of these? How many voices should you
script for to achieve your desired result? Look at the mechanics being
used in the written piece. You will probably find very natural "break"
areas provided by the punctuation being used.
To demonstrate, I have chosen one
of my favorite first person pieces from Edgar Lee Masters' Spoon River
Anthology. The character speaking is Lucinda Matlock and the entire
piece is presented as follows:
I went to the dances at Chandlerville,
And played snap-out at Winchester.
One time we changed partners,
Driving home in the moonlight of middle June,
And then I found Davis.
We were married and lived together for seventy
years,
Enjoying, working, raising the twelve children,
Eight of whom we lost
Ere I had reached the age of sixty.
I spun, I wove, I kept the house, I nursed the sick,
I made the garden, and for holiday
Rambled over the fields where sang the larks,
And by Spoon River gathering many a shell,
And many a flower and medicinal weed-
Shouting to the wooded hills, singing to the green
Valleys.
At ninety-six I had lived enough, that is all,
And passed to a sweet repose.
What is this I hear of sorrow and weariness,
Anger, discontent and drooping hopes?
Degenerate sons and daughters,
Life is too strong for you-
It takes life to love Life.
When analyzing the piece, I know
that an old woman is speaking, one who has had a very full life, some
sadness, some difficulties, but also much happiness and love. She talks
about her past and where she is now, having died at the age of 96. I
have decided to script this piece for three voices to represent Lucinda
as a young woman (voice 1), in her middle years (voice 2), and then
as she is now (voice 3). Using the natural punctuation breaks as provided
as well as my own interpretation of the words, this is how the scripting
turned out:
Voice 3: I went to the dances at
Chandlerville,
Voice 1: And played snap-out at Winchester.
Voice 3: One time we changed partners,
Voice 1: Driving home in the moonlight of middle June,
All Voices: And then I found Davis.
Voice 2: We were married
Voice 3: and lived together for seventy years,
Voice 1: Enjoying,
Voice 2: working,
Voice 3: raising the twelve children,
Voice 2: Eight of whom we lost
Voice 3: Ere I had reached the age of sixty.
Voice 1: I spun,
Voice 2: I wove,
Voice 3: I kept the house,
Voice 2: I nursed the sick,
Voice 1: I made the garden,
All Voices: and for holiday
Voice 1: Rambled over the fields where sang the larks,
Voice 2: And by Spoon River gathering many a shell,
Voice 3: And many a flower and medicinal weed-
All Voices: Shouting to the wooded hills,
Voice 1 & 2: singing to the green valleys.
Voice 3: At ninety-six I had lived enough,
All Voices: that is all,
Voice 3: And passed to a sweet repose.
All Voices: What is this I hear to sorrow and weariness,
Voice 1: Anger,
Voice 2: Discontent and drooping hopes?
Voice 3: Degenerate sons and daughters,
Voices 1 & 2: Life is too strong for you-
Voice 3: It takes life to love Life.
All Voices: It takes life to love Life.
This piece was written to represent
one woman, one voice written in the first person. But scripted for three
voices representing the same person at different times during her life,
perhaps the final message can be stronger, more powerful, depending
upon the direction and purpose. In any case, try it out. Let me know
what you think. The piece could certainly be scripted in other ways.
Make suggestions and send them along…would love to hear from you!
The next topic will focus on "sound
effectors" and how this is used in readers theatre…
/lr
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