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I dig jazz and single-malt scotch.  I write plays; I direct them too. I love STAR WARS more than is healthy. I walk my dogs every day, unless it's raining or terribly cold.

Monday, February 13, 2012


How often does being stuck inform the dramatic action?  A whole lot, that's what.  In many plots the characters begin stuck. The unsticking can begin the action of the drama just as easily as it is the result of the dramatic action.

In theater, finding interesting ways for the characters to remain stuck is often essential.  A lot of theater relies on acceptable reasons for characters to be stuck together, often in one location or a handful of locations, for the duration of the drama.

Hamlet gets stuck, and mopes around the castle.  Oedipus gets stuck, first in Thebes and then in Colonus. All of those family members are stuck in that big house in August, Osage County... See what I mean.  Think about your favorite couple of plays and ponder what makes them stuck there.

Stuck -- Stuckedness -- Stuckisity -- entails that someone else needs to be there to help.  If not, then a companion can be invented, like Wilson in the movie Castaway, or the audience in the better one-person monodramas.

Inventing stucktivity, the kind of all-or-nothing stuck that defines a human-being, is what a lot of great drama does.

How are you stuck? How can you use that to fuel your work?

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