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From Issue #15 - Spring -
2007
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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