It's a long hard slog, but we're getting there. I'm seeing some similar issues in every class.
1. We should know who the tragic hero is, and what their flaw is, by the prologue.
2. The play should focus on the tragic hero, not on telling the story. The audience already knows the story. Our job is to tell it in a tragic way. So even if you are retelling, for example, Snow White, you would spend more time with the Queen as tragic hero than you would following Snow White around through the forest.
3. Choose the late point of attack carefully and jump right into it in the prologue. It's right before the climax of the story, at the most convoluted and tense part of the rising action.
4. The second episode should occur after the climax and should depict, through dialogue and monologue, the suffering of the tragic hero.
5. Only the chorus speaks during the stasimons.
6. Please, please please don't script "valley girl" characters with snotty attitudes. It's really not funny, and it's an easy answer that's far below your abilities.
7. Break up the writing tasks - have a few people work on episodes, while the chorus members write their stasimons.
On the other hand, I'm also seeing, in every class, some great things:
1. Good teamwork and collaboration on coming up with lines.
2. Teams are being responsible about working steadily for the entire period.
3. Everyone has a good grasp of the structure of tragedy and seems to understand what kind of action belongs in the different parts of the play.
4. Your work on developing personality traits for the different characters and making connections to other stories (for example, other Greek myths or fairy tales) has been well thought-out and original.
5. All the groups are doing a good job of imagining how their masks and costumes will look.
Tomorrow: 2nd draft.
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