This document provides instructions for a concept project on the play "Memory" by Jonathan Lichtenstein. Students will work in groups to create a concept presentation addressing the play's problems, focus, world, and intentions. The presentation should use visual and audio aids. The document defines these elements and provides examples to consider for each one. It also outlines the process of identifying a play's facts, assumptions, and directorial choices. Finally, it lists the group assignments and presentation dates.

1. CONCEPT PROJECT
Memory, by Jonathan Lictenstein

2. CONCEPT PROJECT
• In groups, you will create a concept presentation for Memory.

3. CONCEPT PROJECT
• In groups, you will create a concept presentation for Memory
• The presentation must address the following 4 elements;
PROBLEMS, FOCUS, WORLD OF THE PLAY, AND INTENTION

4. CONCEPT PROJECT
• In groups, you will create a concept presentation for Memory
• The presentation must address the following 4 elements;
PROBLEMS, FOCUS, WORLD OF THE PLAY, AND INTENTION
• Use visual and aural aids to help us understand what the world
should look and sound like.

5. CREATING CONCEPT

6. CREATING CONCEPT
... Or: Planting That Seed.

7. PROBLEMS

8. PROBLEMS
• After reading, ask yourself the following question:

9. PROBLEMS
• After reading, ask yourself the following question:
• What PROBLEMS does this play present?

10. PROBLEMS
• A PROBLEM can be many things:

11. PROBLEMS
• A PROBLEM can be many things.
• A PROBLEM is loosely defined as a challenge the play
presents to the production, the actors or the audience.

12. PROBLEMS
• Some examples:

13. PROBLEMS
• Some examples:
• A problematic, unlikeable, morally objectionable main character
(“I HATE that guy!”)

14. PROBLEMS
• Some examples:
• A problematic, unlikeable, morally objectionable main character
(“I HATE that guy!”)
• A challenging scenic requirement (“322 different locations??”)

15. PROBLEMS
• Some examples:
• A problematic, unlikeable, morally objectionable main character
(“I HATE that guy!”)
• A challenging scenic requirement (“322 different locations??”)
• Controversial thematic content. (“She really wrote a play about
an incestuous relationship??”)

16. PROBLEMS
• Some examples:
• A problematic, unlikeable, morally objectionable main character
(“I HATE that guy!”)
• A challenging scenic requirement (“322 different locations??”)
• Controversial thematic content. (“She really wrote a play about
an incestuous relationship??”)
• Challenging requirements for actors (“The same actor has to
play a 22 year old AND an 80 year old??”)

17. PROBLEMS
• Some examples:
• A problematic, unlikeable, morally objectionable main character (“I
HATE that guy!”)
• A challenging scenic requirement (“322 different locations??”)
• Controversial thematic content. (“She really wrote a play about an
incestuous relationship??”)
• Challenging requirements for actors (“The same actor has to play a 2
year old AND an 80 year old??”)
• Structural or linear/non-linear intricacies (“This play moves in all
directions at once!”)

18. PROBLEMS
• Three Steps in dealing with problems:

19. PROBLEMS
• Three Steps in dealing with problems:
• IDENTIFY and outline the problems

20. PROBLEMS
• Three Steps in dealing with problems:
• IDENTIFY and outline the problems
• Decide WHY they are there. (A good play contains several
intentional problems.)

21. PROBLEMS
• Three Steps in dealing with problems:
• IDENTIFY and outline the problems
• Decide WHY they are there. (A good play contains several
intentional problems.)
• Decide HOW you will address them in the production.

22. • When dealing with PROBLEMS (and all other elements of concept), a director
MUST understand the differences between

23. • When dealing with PROBLEMS (and all other elements of concept), a director
MUST understand the differences between
• FACTS

24. • When dealing with PROBLEMS (and all other elements of concept), a director
MUST understand the differences between
• FACTS
• ASSUMPTIONS

25. • When dealing with PROBLEMS (and all other elements of concept), a director
MUST understand the differences between
• FACTS
• ASSUMPTIONS
• CHOICES

26. • When dealing with PROBLEMS (and all other elements of concept), a director
MUST understand the differences between
• FACTS
• ASSUMPTIONS
• CHOICES

27. • When dealing with PROBLEMS (and all other elements of concept), a director
MUST understand the differences between
• FACTS – actual things that the play tells us, either in given
circumstances, dialogue, stage directions. These are inarguable.
• ASSUMPTIONS
• CHOICES

28. • When dealing with PROBLEMS (and all other elements of concept), a director
MUST understand the differences between
• FACTS – actual things that the play tells us, either in given
circumstances, dialogue, stage directions. These are inarguable.
• ASSUMPTIONS – things we can INFER, based on the true
understanding of the FACTS of the play. Can be argued, perhaps.
• CHOICES

29. • When dealing with PROBLEMS (and all other elements of concept), a director
MUST understand the differences between
• FACTS – actual things that the play tells us, either in given
circumstances, dialogue, stage directions. These are inarguable.
• ASSUMPTIONS – things we can INFER, based on the true
understanding of the FACTS of the play. Can be argued, perhaps.
• CHOICES – personal decisions directors make
about the play. Good CHOICES always come from a
careful and clear understanding of the FACTS and
ASSUMPTIONS in the play.

30. FOCUS

31. WHAT IS THE STORY HERE?
Allie: Thanks so much for coming by.
Brian: Hey, my pleasure!
Rob: Hey Allie, I’m home! Brian, what’s going on?
Allie: Oh, we’re just talking.
Brian: Yeah, is that okay with you?
Rob: Oh yeah, sure.
Brian: Well, looks like I’d better get going.
Allie: No, you don’t have to.
Rob: Yeah, stick around.
Brian: Actually, I’ve got someplace to be.
Allie: All right, see you later.
Rob: Later.

32. WHAT STORY DO YOU WISH TO
TELL?
• Director’s Concept, Rob Comes Home Early
Rob Comes Home Early is a brief and intense study in the perils of
human relationships. What unfolds in two short minutes is an
entirely realistic, straightforward story of how a simple
misunderstanding nearly results in disaster for all parties involved.
The coincidence of Rob’s early arrival is a metaphor for the frailty
that plagues all human interaction. Fortunately, however, true
catastrophe is averted as calmer heads prevail. Thus, hope exists
that misunderstandings can be overcome, and peace can be found.

33. FOCUS
• What is the STORY you (in collaboration with the playwright,
living or dead) wish to tell?

34. FOCUS
• What is the STORY you (in collaboration with the playwright,
living or dead) wish to tell?
• Whose story is it? (or, getting around the Antagonist/Protagonist
dilemma)

35. THE WORLD OF THE PLAY

36. THE WORLD OF THE PLAY
• Where/when does the play take place?

37. THE WORLD OF THE PLAY
• Where/when does the play take place?
• FACTS – time, place, era, social, socio-economic realities

38. THE WORLD OF THE PLAY
• Where/when does the play take place?
• FACTS – time, place, era, social, socio-economic realities
• When you think of the FACTS of the play, what images come to
mind?

39. THE WORLD OF THE PLAY
• Where/when does the play take place?
• FACTS – time, place, era, social, socio-economic realities
• When you think of the FACTS of the play, what images come to
mind?
• What does the world LOOK like? What might we see onstage?

40. THE WORLD OF THE PLAY
• Where/when does the play take place?
• FACTS – time, place, era, social, socio-economic realities
• When you think of the FACTS of the play, what images come to
mind?
• What does the world LOOK like? What might we see onstage?
• What does the world SOUND like? What might we hear onstage?

41. THE WORLD OF THE PLAY
• Where/when does the play take place?
• FACTS – time, place, era, social, socio-economic realities
• When you think of the FACTS of the play, what images come to
mind?
• What does the world LOOK like? What might we see onstage?
• What does the world SOUND like? What might we hear onstage?
• What does the world FEEL like?

42. CENTRAL QUESTION
• What is the most important moment in the play? And
WHY?

43. THE WORLD OF THE PLAY
• What is the STASIS at the beginning of the play?

44. THE WORLD OF THE PLAY
• What is the STASIS at the beginning of the play?
• What is the INTRUSION?

45. THE WORLD OF THE PLAY
• What is the STASIS at the beginning of the play?
• What is the INTRUSION?
• What is the Battle for New Stasis?

46. THE WORLD OF THE PLAY
• What is the STASIS at the beginning of the play?
• What is the INTRUSION?
• What is the Battle for New Stasis?
• What ”forces” are invested in the battle?

47. THE WORLD OF THE PLAY
• What is the STASIS at the beginning of the play?
• What is the INTRUSION?
• What is the Battle for New Stasis?
• What ”forces” are invested in the battle?
• Why are they opposed?

48. THE WORLD OF THE PLAY
• What is the STASIS at the beginning of the play?
• What is the INTRUSION?
• What is the Battle for New Stasis?
• What ”forces” are invested in the battle?
• Why are they opposed?
• What is at stake??

49. THE WORLD OF THE PLAY
• What is the STASIS at the beginning of the play?
• What is the INTRUSION?
• What is the Battle for New Stasis?
• What ”forces” are invested in the battle?
• Why are they opposed?
• What is at stake??
• After the battle, what is the New Stasis?

50. INTENTION

51. INTENTION
• Why this play, why now?

52. INTENTION
• Why this play, why now?
• Why does the world need this story?

53. INTENTION
• Why this play, why now?
• Why does the world need this story?
• What excites you about this play?

54. INTENTION
• Why this play, why now?
• Why does the world need this story?
• What excites you about this play?
• As a director

55. INTENTION
• Why this play, why now?
• Why does the world need this story?
• What excites you about this play?
• As a director
• An an audience member

56. INTENTION
• Why this play, why now?
• What is the audience experience?

57. INTENTION
• Why this play, why now?
• What is the audience experience?
• What do you want them to experience when they enter the space?
While they are waiting for the show to start? While they are
experiencing the story?

58. INTENTION
• Why this play, why now?
• What is the audience experience?
• What do you want them to experience when they enter the space?
While they are waiting for the show to start? While they are
experiencing the story?
• What is the Drive Home Effect?

59. INTENTION
• Why this play, why now?
• What is the audience experience?
• What do you want them to experience when they enter the space?
While they are waiting for the show to start? While they are
experiencing the story?
• What is the Drive Home Effect?
• What do you hope your audience will think/talk about after the
play?

60. CONCEPT PROJECT
GROUPS
• Group 1: Sandy, Maggie, Zoe, Riley, Johnny
• Group 2: Katie, Rebecca, Nate, Abby, Allie
• Presenting 9/22
• Group 3: Jessie, Will, Daniel, Casey, Kelly
• Group 4: Emily E, Emma, Tyler, Ray, Kaitlyn,
• Presenting 9/25
• Group 5: Ale, Emily P, Nick, Amber, Jenna
• Group 6: Sarah Anne, Carly, Kambria, Sommer
• Presenting 9/27