Theatre Script - (Class-XII) Project Work

 Theatre Script

Project Work (Class-XII)

👉  Front Page

MEMARI V.M. INSTITUTION (UNIT-2)

HATPUKUR * MEMARI *EAST BURDWAN

Project Work

Submitted by

Name of the student: ___________________________

Roll No.: _____________

Section: ______________

Registration No.: ____________________(2019-2020)

In partial fulfillment to category – XII English Course

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Project Work

On

Theatre Script

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Acknowledgement

This project has given us golden chance for learning and self-development through cooperative activities. I want to thank respected Mr. /Mrs.__________________________ to whom I owe especially for preparing this project based on “Theatre Script”

I do want to extend my heartfelt thanks to my friends, parents and others who helped me in various ways to make a final draft of this work and submit the same to our school.

 ………………………………

 Signature of the student

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CERTIFICATE

This is to certify that this Project Report entitled “Theatre Script” submitted by ___________________ Class XII Roll No._______ Registration No. ______________ Year_________ submitted in partial fulfillment to class XII English Course during the academic year 2018-2020 is a bonafide record of project work carried out under my guidance and supervision.

 

 ……………………………

 Signature of the Project Guide

 Name: ……………………....

 Designation: Assistant teacher

 Department: English

 School: Memari V. M. Institution (Unit-2)

 

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1. Introduction

👉  Choosing the project: In our syllabus for Class XII, three topics are included: (a) Theatre Script, (b) Interview of an Eminent Personality and (c) Indianization of the Writing of Some English Writers like Dickens, Hardy, Jane Austin, Oscar Wilde.

After long discussion with our teachers we, a group of 20 students, choose the first topic ‘Theatre Script’ as our project. Our respected teacher Mr. / Mrs. (Write the name of your class teacher) gave us a brief but clear idea of what ‘Theatre Script’ means and how to set dialogues on different characters of the story and include such elements of drama as suspense, conflict, confliction, climax and resolution.

👉  Selecting the topic: when the project was finalized we had a further group discussion with our English teacher for selecting the story from Rabindranath Tagore's work because we enjoyed the all story very much. We felt that though the story is written about a young boy’s dream but the drama would be appealing to people of all age group. Moreover, it would be easier for all of us to create dialogues for the characters as the language of the story would be easily manageable an intelligible to the audience, the majorities of whom are students.

👉  Aims and objectives: the main objectives of our project work are

1. Identification of the characters and their nature, learning the setting an incidence of the story and understanding the plot or design of the story.

2. Transforming situations or events into dialogue forms To suit the characters in order to turn the story into a theatre which is a different genre.

3. Adding elements of drama like suspense, conflict, complication, crisis and resolution.

4. Selecting numbers of scenes and distributing them in proper sequence.

👉  Condition to achieve the target:

Creativity: writing dialogues out of the story element and fitting them in different characters need a great deal of creativity.

Knowledge of the stage: Theatre is a platform to perform the inner arts. So a bit of knowledge for stage is a precondition for writing in trauma which is after all meant to be performed on stage.

Skills of acting: While writing a Theatre Script, the script-writer needs to rehearse the dialogues into his or her minds to make it a good specimen.

👉  Limitation: we had several limitations for getting out such a topic. The first among them was we were never exposed to writing a full length theatre script. Neither did we know how to divide the scenes, right stage direction and insert the narrative boys where necessary. Another important limitation was we were not used to collaborative work for the same project. Initially it proved a limitation as students differed on a great scale about the formation of dialogues and putting them on different mouths. Some of us were not exposed to treat a script as a different literary genre.

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2. Procedure and input

For transforming thoughts into reality and writing out the theatre script finally we worked in groups and sometimes in pairs through a systematic process. Our teacher fixed 10 interventions for carrying out the project. The details of our activities are enumerated below:

First intervention: On the very first day, the teacher selected a few students from us for characters and asked them to read the story aloud making drama where the dialogues are written to teach us voice modulation for different situations. Sometimes the teacher himself told us how to act in certain situations. After the loud reading was complete he asked us to read the text silently for the following activities:

1. Writing the scene of action on the blackboard

2. Counting the number of major characters and minor characters and fighting them on the blackboard

3. Writing the headings of the major incidents on the blackboard

After that the teacher showed how to begin the Theatre Script, putting dialogues in the mouth of a mole and others. He does give an idea of how to write dialogues too. Then he asked us to read the story at home time and again and try to think of the scenes of that could be used in writing a theatre script.

Second intervention: on the second day we were asked to write the scenes on the blackboard. We through group work and with the consultation of the teacher wrote few scenes on the blackboard. Then the teacher asked us to write dialogues for the first scene. For our convenience he gave us starting push by writing the first three dialogues keeping banks in certain places. We were asked to fill in the blanks. The teacher selected the characters from us by turns and asked us to write dialogues for them. The entire class along with the teacher helped the students to write dialogues. Thus the first scene was written. After the scene was written on the blackboard we were asked to do the following:

1. Copying the dialogues in our exercise books

2. Uttering the dialogues one by one in a dramatic tone identifying ourselves with the characters.

Before the teacher called it a day he asked all of us to think of how to write dialogues for the second and third scenes.

Third intervention: under third day we will ask straight dialogues in the same way on the blackboard and the Teacher through discussion with the students corrected the sentences. Then he asked us to act out the situations through the written dialogues. We were told at length to think of the next two scenes of the story for writing speech forms.

Fourth intervention: on the 4^th day we were asked to write dialogues for the 4^th and 5^th since and in the same manner we wrote the dialogues and acted them out.

Fifth intervention: on this day six and seven cents over written in the same manner.

Sixth intervention: on the 6^th day the rest of the scenes were written by us with very little help from the teacher. Through these days we understood how to write dialogues for the story and were greatly elated.

Seventh intervention: on the 7^th day we were already with the entire script and acted the drama in their class. The teacher taught us beautifully as 2 how to put emotions in our voices in different situations. In this class we learned a lot about international, accent and voice modulation more clearly. The script was reviewed and made certain minor changes. We were supposed to remember the dialogues for stage performance.

Eighth intervention: on the eighth day the students acted their assigned roles without the script and the teacher gave us certain valuable instructions how to perform better.

Ninth intervention: the theatre was performed before the students and teachers and you asked to write a review on this.

Tenth intervention: we did our review on the performances and submitted the final project report for assessment and evolution.

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3. Output of the project

Amal's Dream

👉  Dramatic personae:

👉  Madhab (A rich villager);

👉  Amal: a tender aged boy;

👉  Sudha: a flower girl;

👉  Gafur: a watchman in the house where Amal lived

👉  The Doctor;

👉  Village Headman;

👉  King’s Herald;

👉  Royal Physician

👉  Act one

The scene is laid in the House of Madhab, a village person who has saved a huge fortune by the sweat of his brow. Though a miser by nature he spends liberally for the treatment of his adopted child Amal. He has become a victim to an incurable disease. According to the doctor’s instruction he is confined to his room for long.

👉  Scene 1

Storyteller: Now let us listen to the story of a little boy Amal. He has lost his parents at a very early age. Now he is adopted by Madhab who is a rich villager. He takes enough care of treating the boy. The doctor visits him regularly and tries all means to save his life. But all his efforts seem to be of no avail. Amal has heard from someone that the king has had a post office built near his residence. The imaginative boy’s thought takes wings at this. He imagines that the king will send him a letter soon. His imagination takes a rosy hue when Gafur, a watchman in the house confirms his inference.

👉  Scene 2

It’s a bleak late afternoon of spring. Amal, a teenager is found sitting by the window looking blankly through the casement. Gafur in the guise of a Fakir enters the room.

Gafur: (In the guise of a Fakir enters the room.)

Amal: (Sitting on the window ledge) Hey Fakir, would you tell me when the postman of the king comes?

Gafur: Don’t worry boy. He must send a letter to you soon.

Amal: Since the king’s post office I like it more and more being indoors, and as I think I shall get a letter one day, I feel quite happy and then I don’t mind being quiet and alone. I wonder if I shall understand what will be in the king’s letter.

Gafur: Even if you did not understand about the King’s letter, it would be enough that it just had your name on it?

(Madhab enters)

Madhab: Have you any idea of the trouble you have got me into, between you two?

Gafur: What is the matter?

Madhab: I hear you have let it get rumoured about that the King has planted his office here to send message to both of you.

Gafur: Well, what about it?

Madhab: Our headman Panchanan has had it told to the King anonymously.

Gafur: Aren’t we aware that everything reaches the king’s ears?

Madhab: then why don’t you look out? Why take the King’s name in vain? You’ll bring me to ruin if you do.

Amal: Say, Fakir, will the king be cross?

Gafur: Cross, nonsense! And with a child like you and a Fakir such as I am? Let’s see if the King be angry, and then would not I give him a piece of my mind.

Amal: See, Fakir, I have been feeling a sort of darkness coming over my eyes since the morning. Everything seems like a dream. I wish to be quiet. I don’t feel like talking at all. Would not the kings later come? Suppose this room melts away all on a sudden, suppose-

Gafur: (Fanning Amal) the letter’s sure to come today, my boy.

👉  Scene 3

(Doctor enters)

Doctor: And how do you feel today?

Amal: Feel awfully well today, Doctor. All pain seems to have left me.

Doctor: (Aside to Madhab) don’t quite like the look of that smile. Bad sign that, he’s feeling well! Chakradhan has observed –

Madhab: For goodness sake, Doctor, leave Chakradhan home alone. Tell m, what’s going to happen?

Doctor: Can’t hold him in much longer, I fear! I want you before- this looks like a fresh feet.

Madhab: No, I have tried the best I can, never let him out of doors; and the windows have been sat almost all the time.

Doctor: the weather seems to be very strange today. As I came in I found a fearful draught through your front door. That’s most hurtful. Better lock it at once. Would it matter if this kept your visitors off for two or three days? If someone happens to call unexpectedly- there is the back door. You had better shut this window as well; it's letting in the sunset raise only to keep the patient awake.

Madhab: Amal has closed his eyes. I think he is sleeping. His face tells me- Oh, Doctor, I bring in a child who is a stranger and love him as my own, and now I suppose I must lose him!

Doctor: What is that? There is your headman coming in! - What a bother! I must be going, brother. You had better stir about and see to the doors being properly fastened. I will send on a strong dose directly I get home. Try it on him- it may save him at last, if he can be saved at all. (Exeunt Madhab and Doctor)

(The Headman enters)

Headmen: Hello, urchin!

Gafur: (Rising hastily) ‘Sh! be quiet.

Amal: No, Fakir, did you think I was asleep? I was not. I can hear everything; yes, and voices far away. I feel that mother and father are sitting by my pillow and speaking to me.

(Madhab enters)

Headman: I say, Madhab, I hear you hobnob with bigwigs nowadays.

Madhab: Please don’t joke with us, Headman, we are but common people.

Headman: But your child here is expecting a letter from the king.

Madhab: Don’t you take any notice of him, a mere foolish boy!

Headmen: Indeed, why not! It will beat the King hard to find a better family! Don’t you see why the King plants his new post office right before your window? Why there is a letter for you from the King, urchin.

Amal: (Starting up) indeed, really!

Headman: How can it be false? You are the King’s friend. Here is your letter (showing a blank slip of paper.) Ha, ha, ha! This is the letter.

Amal: Please don’t mock me. Say, Fakir, is it so?

Gafur: Yes my dear. I tell you, it is his letter.

Amal: How is it I can’t see? It all looks so blank to me. What is there in the letter, Mr Headman?

Headmen: The King says, “I’m calling on you shortly; You had better arranged puffed rice offerings for me. - Palace dish is quite tasteless to me now. Ha! ha! ha!

Madhab: (With folded palms) I beseech you, headmen; don’t joke about these things -

Gafur: cutting jokes indeed, dare him!

Madhab: Are you out of your mind too, Gafur?

Gafur: Out of my mind well then I am; I can read plainly that the King writes he will come himself to Amal, with the state physician.

Amal: Fokir, Fakir, ‘sh!’ Hear his trumpet! Can’t you hear?

Headman: Ha! ha! ha! I fear he would not until he is a bit more off his head.

Amal: Mr Headman, I thought you were angry with me and did not love me. I never could think you would fetch me the King’s letter. Let me wipe the dust off your feet.

Headman: This little child is full of respect to the elders. Though a little silly, he has a good heart.

Amal: It’s hard on the fourth watch now, I suppose- Hear the gong, “Dong, dong, ding,” Dong, dong, ding,” Is the evening start up? How is it; I can’t see-

Gafur: Oh, the windows are all shut, I’ll open them.

(A knocking outside)

Madhab: What’s that? – Who is it- what a bother!

Voice; (from outside) Open the door.

Headmen: Madhab: Say, Headman- Hope they’re not robbers.

Who is there? - It’s Panchanan, the headman; calls- Are not you afraid of the like of me? Fancy! The noise has ceased! Panchanan’s voice carries far. - Yes, show me the biggest robbers!

Madhab: (Peering out of the window) I should think the noise has ceased. They’ve smashed the door.

(The King’s herald enters)

Herald: Our sovereign King comes tonight!

Headman: My God!

Amal: At what hour of the night, Herald?

Herald: On the second watch.

Amal: When from the city gates my friend, the Watchmen will strike his gong, “Ding Dong Ding, Ding Dong Ding” – then?

Herald: Yes, then. The King sends his greatest physician to attend on his a young friend.

Scene - IV

(State physician enter)

State physician: What’s this? How close it is here! Open wide all the doors and windows. (Feeling Amal’s body)

How do you feel, my child?

Amal: I feel very well, Doctor, very well. All pain is gone. How fresh and free! I can see all the stars now twinkling from the other side of the dark.

Physician: will you feel well enough to leave your bed with the King when he comes in the middle watches of the night?

Amal: Of course, I am dying to be about forever so long. I’ll ask the King to find me the pollstar.- I must have seen it often, but I don’t know exactly which it is.

Physician: He will tell you everything. (To Madhab) Will you go about and arrange flowers through the rooms for the Kings visit? (Indicating the Headman) We can’t have the person in here.

Amal: No, let him be, Doctor. He is a friend. It was he who brought me the King’s letter.

Physician: Very well, my child. He may remain if he is a friend of yours.

Madhab: (whispering into Amal’a ear) My child, the King loves you. He is coming himself. Beg for a gift from him. You know our poor plight.

Amal: Don’t you worry, Uncle - I have made up my mind about it.

Madhab: What is it, my child?

Amal: I’ll ask him to make me one of his postmen that I may wander far and wide, delivering his message from door to door.

Madhab: (slapping his forehead) Alas, is that all?

Amal: What’ll be our offerings to the King, Uncle, when he comes?

Herald: He has commanded puffed rice.

Amal: Puffed rice! Say, Headman, you’re right. You said so earlier. You knew all but we didn’t.

Headmen: If you send someone to my house then I could manage to bring something very nice for the King.

Physician: No need at all. Now be quiet all of you. Sleep is coming over him. I’ll sit by his pillow; He is falling asleep. Blow out the oil lamp. Only let the Starlight steam in. Hush, he is in deep sleep.

Madhab: (Addressing Gafur) What are you standing there for like a statue, folding your palms.- I am nervous.- say, are they good omens? Why are they darkening the room? How will star-light help?

Gafur: silence, unbeliever.

(Sudha enters)

Sudha: Amal!

Physician: he is asleep.

Sudha: I have some flowers for him. Mayn't I give them into his own hand?

Physician: Yes, you may.

Sudha: When will he be awake?

Physician: Just the King comes and calls him.

Sudha: Will you whisper a word for me in his ear?

Physician: What do you want me to whisper?

Sudha: Please tell him Sudha has not forgotten him.

Physician: looks at heart in wonder feels his pulse; Oh! God! It’s over. It’s all over. (He sheds tears silently, curtain drops and the curtain falls.)

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4. Conclusion

Through the process of writing Theatre Script, we enjoyed the group activities and pair work very much. We also learned a lot of things. We learnt how to write a script out of a story. We learnt how to give stage direction and add narrative voice. We learnt how to divide the scenes and make arrangements for changing situations. We also learnt as to how to modulate the voice in varying situation and how to identify ourselves with the characters while writing dialogues and acting out them on the stage.

Through this project we can be benefited in the long run in the following ways:

1. We can write script for films or theatre.

2. We can edit scripts and take it as a profession.

3. We can convert stories into Theatre Script and publish books.

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5. References:

👉  A.S. Hornby: Oxford Advanced Learner’s Dictionary. (8th Edition),OUP, 2010

👉  N. Ramanujan: Project Work to Promote English Language Learning. British Council, 2011

👉  Boulton Marjorie: The Anatomy of Drama, Kalyani Publishers, 1985

👉  Hedge, Tricia: Writing, Oxford University Press, 1998

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6. Questions & Answer regarding Theater Script

1. What is a theater script?

Theater script is a part of writing in the form of drama. Drama writing differs from prose forms, such as novels and short stories, because it takes place on stage, radio, television, or film.

2. What is a script?

A physical manuscript, especially one that is prepared for use by actors in rehearsals, is called a script.

3. What are the main components of a theater script?

A script consists of discourses (what the characters say to each other), stage directions, and instructions from the actors and the director. However, the main elements of a theater script include:

Title: This is the name of the play.

Script Writer: He is the author of the whole script for the characters performed on the theater.

Characters: They are different people who take part in the story.

Acting: Actors and actresses in a play.

Setting: It tells the time and place where the play takes place.

Stage direction: They tell the actors / actresses what to do on stage and where to go, how to move and how to tell their dialogue.

Dialogue: They line; the characters talk while performing on the stage of the theater.

4. What are the benefits of theater script?

While playing a role in a theater by keeping an eye on the script, it teaches empathy, builds strong communicators, demands creative thinking and problem solving, builds teamwork and collaboration, relieves stress and much more. Details are analyzed below:

Teaches empathy

Theater techniques and activities ask students to walk a mile in someone else's shoes, take a new character's position, and see things from a different perspective. This is a great way to work with empathy skills (yes skills!) in the classroom. This is a particularly valuable skill to teach at elementary level and will be with students throughout life.

Makes powerful communicators

Many exercises require eye contact (a challenge for many students) and clear communication that has countless advantages over other classroom activities, not to mention any future careers.

Demands creative thinking and problem solving

Since we cannot predict the future that our students will live in, it is becoming increasingly difficult for them to be educated. However, what we do know here is that we need creative thinkers and excellent problem solvers. This is what theater can help students in any field end up in their careers.

Creates teamwork and collaboration

Theatrical activities are not like group games forcing students to collaborate and work together. It is beneficial for every student, especially those who are not interested in sports.

Relieves stress

Stress is becoming very common even at a young age. It is an excellent tool for dealing with stress. Allowing students to take a break from the real world and imagine themselves in a different situation can make all the difference not only in your classroom but in their lives as well.

Ridiculously low cost

Unlike other art programming, theater requires zero supply. Imagine and a clean floor space you need for most exercises.

Easy to integrate

As I will show in future posts (stay tuned!), you can integrate theatrical activities with virtually anything you already teach. This can be a great way to get your kin-esthetic students involved and keep those regal worms engaged.

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👉 Fictitious Interview of Smriti Srinivas Mandhana - Class XII: Project

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👉  An Interview of an Eminent Person (Sourav Ganguly)