The Principles and Processes of Writing the Prequel for the Stage

dc.contributor.committeeChairBert, Norman A.
dc.contributor.committeeMemberStoune, Michael
dc.contributor.committeeMemberSteele, Brian D.
dc.contributor.committeeMemberGelber, Bill
dc.contributor.committeeMemberMarks, Jonathan
dc.creatorDonahue, Rodney
dc.date.accessioned2016-11-14T23:11:37Z
dc.date.available2011-05-10T20:56:15Z
dc.date.available2016-11-14T23:11:37Z
dc.date.issued2011-05
dc.degree.departmentFine Artsen_US
dc.description.abstractThis study serves as the first in-depth analysis of the prequel. In this professional problem in playwriting, I bring into focus a taxonomy that explains the elements of dramatic structure that define a prequel by examining selected examples from antiquity to the twenty-first century. I explored what attracts individuals to create prequels by analyzing the prequels and the sources from which they are derived; in the cases of contemporary playwrights, I found materials pertaining to why they attempted such endeavors. I want to determine the processes involved in constructing prequels and the measures needed to successfully develop them, including continuity of plot, character, and given circumstances. I wrote a prequel based on one of my original plays in order to creatively explore these processes. My fascination with writing prequels began when I decided to write a play about the back stories of my characters in Red Tape. Having spent a great deal of work on these back stories, I wanted to flesh them out for the stage. This idea resulted in the writing and production of a prequel: Sex, Money, and the Corporate Ladder. This play received a staged reading and a production that allowed reflection upon audience criticism, leading to revisions to the conclusion of the play. This opportunity provided insights into independent and dependent prequels. This study includes a guide to formulating a prequel based on these experiences. My study contends that a play written for the stage, able to serve as a prequel, remains a prequel regardless of audience awareness, authorship, author’s intention, capacity for independent production, critical scholarship, production sequence, and translation. I argue that once the dramaturgical demands constituting a prequel are present, the aforementioned factors do not nullify the play as a prequel.
dc.format.mimetypeapplication/pdf
dc.identifier.urihttp://hdl.handle.net/2346/ETD-TTU-2011-05-1393en_US
dc.language.isoeng
dc.rights.availabilityUnrestricted.
dc.subjectPrequelen_US
dc.subjectRed tapeen_US
dc.subjectSex moneyen_US
dc.subjectCorporate ladderen_US
dc.subjectPlaywritingen_US
dc.titleThe Principles and Processes of Writing the Prequel for the Stage
dc.typeDissertation

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