Playwright Discovery Award Teacher's Guide - The John F. Kennedy ...
Playwright Discovery Award Teacher's Guide - The John F. Kennedy ...
Playwright Discovery Award Teacher's Guide - The John F. Kennedy ...
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PLAYWRITING EXERCISE 5 continued<br />
DIRECTOR<br />
Look at you—you look more like a young man already. Young men don’t need stuffed<br />
toys, now do they? Shall we begin again, young man?<br />
Good. Morning. Good morning. Director.<br />
MICHAEL<br />
DIRECTOR<br />
Good morning, to you, Michael. Please—there’s no need to be afraid. I know an<br />
orphanage can be a scary place, but everyone here cares about you and only<br />
wants the best for you. Would you like a glass of water? Marjorie! A glass<br />
of water for the boy! Marjorie…<br />
4 <strong>The</strong> moment the Director pulls the door closed behind him, Michael leaps to his feet as<br />
quietly as possible and listens at the door. Satisfied, he first searches the desk drawers, then<br />
listens at the door again before opening the closet door.<br />
Now, think about what the dialogue might be when the Director re-enters the office. Take the<br />
characters created in PLAYWRITING EXERCISE 2 and imagine at least two with a disability.<br />
PART 3 Combine Action and Dialogue<br />
Review the scene and add additional stage directions to help frame the new dialogue. Feel free to<br />
add a few additional lines or characters. For example:<br />
4 <strong>The</strong> Director, already seated behind his imposing desk, gestures for Michael to sit in a<br />
chair in front of it.<br />
Why can’t I have it back?<br />
MICHAEL<br />
DIRECTOR<br />
No, no—this is much better. Trust me, this will be better. You trust me, don’t you,<br />
Michael?<br />
I guess.<br />
MICHAEL<br />
4 Michael sits.<br />
>><br />
36 ACT II: PLAYWRITING