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This week's reading of Spencer explains how to use high and low stakes in a play. If there's nothing at stake, a play may be boring. There's nothing to gain and lose for a character. I feel like in my play my characters don't have anything high at stake. Spencer gave an example of how one of his students made several drafts, and changed a park bench scene with the guy and girl previously being a couple. Before they were strangers, but adding more back story to the characters adds more depth to the play. I have a love hate relation with “Phone Sex and a Dumb Show”. It kind of reminded me of “Scary Movie” and “I Know What You Did Last Summer”. After reading the play it left me thinking. Did Gray murder someone? Is he breaking into someone's place? Also was Peeping Tom part of a phone sex lines? I liked the idea of the play, I'm not sure if it was made before the movies I mentioned. I felt like it needed more humor in it. And better things at Stake. Unless I failed to catch it. The play would have been better if Gray was wearing a red shirt, it would have hinted at blood on him. Or if Peeping Tom ask Gray to do better things than just moving up and down. Possibly what color of shirt he's wearing, and saying like that shirt was white just moments ago.
ReplyDelete-Danny Olivarez
Spencer goes into detail about how there has to be something at stake in order for us, as an audience, to relate to the play at hand. This is something I agree with and even today's modern movies and film usually offer something that the character wants and has to go to great lengths to get what they want or suffer major consequences for not doing so. "Phone Sex and a Dumb Show" is a play where the main character, Gray, is getting accosted by Peeping Tom through the phone.
ReplyDeleteInitially there doesn't seem much at stake here as Gary is more than willing to let Tom off the hook. However Gary repeatedly answers the calls and, towards the end of the play, even calls Tom back. Through the crude dialogue tension is built between the two characters until Tom imparts on Gray, who is lonely due to a implied death of a loved one of his. The play ends with Tom also admitting that he is lonely and then hangs up. The play does a great job building this tension so that, at the end of the play, there IS something at stake.
-Eutimio Longoria-
In Spencer's Chapter 5 on "High Stakes and High Hopes", he speaks of the difference between the two. Which is basically High and Low stakes one can be a life and death situation and the other something minimal. Easily being taken care of, High hopes is of conflict and too much which makes the reader and audience know what is happening. Which in then makes them lose interest all together. Steven Sater's play "Phone Sex and Dumb Show" is an example of Low stakes, we do not know why this Tom (Peeping Tom) is calling. For some reason just wants Gray to be pleased with and by him. The conversation between the two is very weird and uncomfortable to read. Yet, still funny at times. In the end it leads to nowhere which can be an example of High Hopes. Conflict leading to something and ends abruptly without solution.
ReplyDelete-Christina Velasquez
This is another instance in which I much preferred Spencer to the play itself. The concept of high stake vs low stakes is one that I believe we can sometimes take for granted. While it is prevalent in many modern movies and literature, I’m sure that given the time I could give you a large list either form that I only had to see the trailer to immediately know the ending or the “stakes”. The most recent example would have to be Happy Death Day, now as an idea it would otherwise be something that played on my interests, however with the inclusion of a single scene in the trailers I guessed the identity of the killer and could guess at what the killer’s intentions were; while there was definitely a high stake for the protagonist (her life), I as an observer felt no emotional investment in her conflict. Now for the play, I honestly didn’t like it. Perhaps the intent of the play was lost on me but I found myself not understanding why this was happening the way it was, why is this Peeping Tom important, more importantly why is his presence necessary to the conflict of this play? We are aware by the end of the play that Gray has gone without sleep and is worried about his, I assume, lover Frank but what do Peeping Toms persistent, disconcerting calls do for the play, do for Gray as a character. Sure, Peeping Tom is able to get Gray to express these feelings of loneliness and worry, but their conversation ends her and Peeping Tom finally hangs up, couldn’t we have had another character draw these feelings out of Gray with much more involvement. Perhaps Gray and Frank were having this relationship under the wraps, and a family member, or perhaps even Franks other lover, is notified that he has been taken to the hospital and so the relationship between Gray and Frank slowly dawns on this other character.
ReplyDelete- Joaquin Castillo Jr
Chapter five in Spencer’s book talks about high stakes and low stakes in playwriting. In other words the higher the stake more emotion the play delivers because the character has something to fight for, to gain or to lose and the lower the stake the less emotion the play delivers because we ultimately know nothing is going to change. So us as writer aim for a play with high stakes because it entertains the audience. He also talks about how hope makes a play or breaks it. If a play has no hope then what is the message being delivered. If a play has hope we (the audience) will enjoy it because there is a message to understand. So this bring me to “Phone Sex and A Dumb Show” by Steven Sater, the hope we seek depends on Gray being able to overcome his grief and move on with his life? Or was it the fact that we sympathies with the stalker, I for one didn’t. I’m trying to understand how the readings intersect with one another. I’m trying to understand this feeling of hope and redemption and how it was brought on in the play. Did they both lose the same person? Was he trying to say that Frank was having an affair? So many things said and yet not uttered.
ReplyDeleteAlejandra Rodriguez
Spencer mentions within chapter 5 the idea of using “high stakes” or “low stakes” (depending on the play) which in turn creates conflict and dramatic tension between the characters. In Spencer's definition, a high ,and or low stakes situation is the scenario in which a character has something to gain or lose in the play. Which then creates it’s own form of conflict in a way. A poor example of this idea is “Phone Sex and A Dumb Show” by Steven Sater. Which seemed to only be (at the most) a low stake situation.
ReplyDelete“Phone Sex and Dumb Show” is about a guy named Gray who is suddenly called by his peeping tom. This play near the end took a sudden turn from the main character being confused and creeped out by the peeping tom, to later confining in him about Frank and his utter loneliness. The only thing about the play that bothered me was the fact that it left so many things unanswered. Such as the possible reason as to why Gray is packing up in the first place. Or how Frank actually died. Oddly enough this peeping tom turns into gray’s confidant as he unwittingly reopens the wound of Frank’s death. Leaving Gray in a sad state of remorse, and pure isolation.
-Kathleen m. Salinas
I liked both the play and the reading. This chapter actually got to the point and had interesting examples for high stakes vs low stakes. I hadn’t thought too much about character having hope in hopeless situations being a contributor to audience interest. I myself like melancholy plays or movies, what have you, which is why I liked the play. Specifically the ending where is revealed that Frank is the hospital, probably with HIV or full blown AIDS, and that’s what gave the Peeping Tom and opportunity to call Gray, but he’s probably only doing it because he’s lonely from losing someone too (to AIDS). In the beginning it's just this fun phone sex call them bam. In the chapter Spencer asks “Did they need to meet this person and enact this moment?” (76) This more pertains to the Peeping Tom. He called Gray because he was lonely and wanted to distract himself from properly grieving. But he can’t escape his situation because Gray has experienced something similar (as in his partner is still alive while Peeping Tom’s isn’t) and maybe now Peeping Tom will let himself reflect on his loss.
ReplyDeleteThis comment has been removed by the author.
DeleteJasmin Grimaldo
DeleteRaising the stakes seems to be Spencer’s theme for this particular set of pages. He talks about the importance of putting something out there to gamble, so to speak, something to question a character’s motives, or add a layer of dexterity to your characters by putting them in a situation that may or may not be comfortable with. Most times it’s putting a character outside of their comfort zone that helps define them, and makes their values shine through. Without that twist, they cannot develop. I only wish we’d reached this chapter prior to the start of our 10 minute plays, as I would have liked to incorporate something like this into mine, but being as how it’s already been through several readings and adjustments, I would not know how to do it.
ReplyDeleteIn regards to, “Phone Sex and the Dumb Show”, I felt that it left much to be answered upon its conclusion. Overall, there’s a feeling of mystery about whether or not Gary in fact murdered someone, and whether or not he was something of an eavesdropper on phone sex lines. As far as the stakes in this play, it really doesn’t seem to have much. A stark contrast to what Spencer advises aspiring playwrights to incorporate into their own material.
- Lucas Zamora
Reading the play made me feel uncomfortable and confused. I'm assuming Frank died while with Gray somewhere, but that's not really clear. Gray is packing an overnight bag that is not his, with clothes and toiletries that are also not his but there is no mention of him going anywhere or an indication of who these items belong to. Are the Frank's items and he's clearing them out of his apartment or are they Ken's? Also, what was the purpose of Peeping Tom stating he's lost somebody too only to hang up on Gray? He doesn't go into detail about the event nor does he offer any console. This instance didn't feel like he was attempting to comfort him so why bother to say anything in the first place?
ReplyDeleteSpencer's section "What Are High Stakes?" specifically the beginning portion, pretty much sums up how I felt about the play - "...I am...left feeling unmoved. I often find it hard to get very involved with scenes like...because there is very little at stake in them." His statement "Stakes are what the character has to gain or to lose." made me wonder, what exactly did Gray have to lose if it seems as those he already lost something?
Karla Olvera
In this week’s edition of assigned readings we begin with Spencer’s views on stakes and hopes. Similar to conflict, stakes are what a character has to gain or lose. The higher the stakes, the more that character has to gain or lose. I thought these were important points that I felt we had touched on in earlier readings but this pertained more to the intrinsic value a character feels for their choices. Whereas conflict is what a character wants/desires, the stakes are just how important these desires may be. Again Spencer shows us some great examples. A student of his wrote a scene that evolves from two strangers flirting, both with relatively nothing to lose or gain, to a scene where two former lovers reunite with one begging to be taken back. That character begging to be taken back has much to lose as does the other depending on the choices they make. To tie into that, Spencer also touches on the hopes characters (and audience) might have. If a character is absolutely hopeless and the audience knows this, then that element weakens the scene removing that element of drama. Keeping hope helps keep the play interesting. To briefly touch on “Phone Sex and a Dumb Show” by Steven Sater, I felt that this was a low stakes scene. There seems to be some sort of stakes that both character has. Gray has lost a friend, possible lover, and is in a lonely place while Peeping Tom is a lustful admirer. As the stakes get raised (Peeping Tom learns of Gray’s loss) the rest of the scene seems to flounder with the Peeping Tom shying away and Gray seemingly embracing his hopelessness. I thought the scene had some good potential but the second half falls short.
ReplyDelete-Mark Peña
♫
This chapter is starting to hit close for me and my play. The term stakes is defined as, “what the character has to gain or to lose” (74). This reminds me of what the professor always states during every workshop, “what do your characters want?” in this case, Stretch needs money, he doesn’t have any other source of income besides slanging drugs in the streets. So, when he travels to the rich hoods, he states that he makes more in one day than in a week of slanging. Thus, he is losing a lot of money if he decides to stop. However, if he keeps doing it, he realizes he is losing the respect of Jaiden and even his own dignity since the folk from the Northgate suburbs call him “boy”. At first, I didn’t know that there was much at stake, but after examining my play through these weeks, there’s an issue that is more than money. My first draft was essentially the “two strangers meet on a park bench” as Spencer describes it. There was frustration from the two characters but nothing was solved. Thankfully the complications have added more risk and stake for my cast. I also thought it was interesting when Hatcher talks about what matters to your characters. He states, “That’s how it works. Not because it’s right or wrong. But because you believe that your character believes” (75). This hits close also since we can’t always rescue our characters. For me, I want Stretch to stand up for himself and now bow down, it’s the same with Jaiden. Jaiden looks up to Stretch and wants him to stop making a fool of himself by dressing as a clown. Stretch wants the coin, but he doesn’t want to be humiliated anymore. And to me, that’s the most believable aspect.
ReplyDeleteWith the play in mind, I thought it was interesting. Although I’m not seeing it played out in front of me, I thought the dialogue was written to where I can distinguish both characters. In regards to stakes, the tension seems to pick up when Gray says, “On a stretcher. He couldn’t breath” (259). Now, to me, this is pivotal since if the play would’ve went on without this, then I feel both characters would’ve stayed the same and not changed one bit, which goes back to the two characters on a bench example. The fact that a peeping tom is willing to put his desires away to really speak to Gray is unique since he quickly dropped the act and wanted to talk about the people they lost.
Patricio Hernandez (P.J.)
DeleteAfter reading this week’s section for Spencer I am completely lost and terrified that what I have written so far has no conflict and does not stir interest. I fear that perhaps I have focused too much on writing for myself and wanting to create something I can be proud of that I have disregarded the fact that I will have an audience and that this audience will no problem with tearing apart something I worked so hard to create I have come to the conclusion that my play has no hope. This step is important, acceptance is key. As for the play, it was painful to read to say the least. I don’t think it fit well with what Spencer discussed in the chapter. There does not appear to be a real connection between the two. I didn’t expect the peeping tom to be 40 and Gray to be in his late 20s. I understood that Gray’s partner was in the hospital and that that was the reason he was packing a bag but seeing as how Gray’s partner is still alive the ending of the play does not make much sense. Lastly, Gray did not demonstrate an appropriate nor realistic response to being harassed over the phone.
ReplyDelete-Maria Romero
I really liked how the play correlates with the reading! When I read about the High and Low stakes, it made me realize how an audience can be moved and intrigued when they are left with an ending that doesn't provide a solution. One of my favorite movies, although has a bright and clear ending, it ends very abruptly; which is a refreshing way to end a powerful story. As an audience member, at times I feel like I need to see a story end with a solution, however I do at times feel that it is because I did not feel intrigued throughout the 'High Stakes' of the story, which leaves me wanting a more clear panorama.
ReplyDeleteEven though I know that not all stories end with a solved conflict, I do have to feel compelled about something in the story, or else I will just loose interest. Despite not having a solution to a story that faces dilemma, that doesn't mean the story should lack meaning. It is a life lesson that we do not have the answer (hence solution) to many aspects that life brings about us, however that does not discard the fact that we need and hold a responsibility to finding the meaning behind everything solved and unsolved. And I believe that many people leave this fact out. Part of being an audience member is having to look for something in a story that moves our souls, the smallest detail can be a figurative figure that represents something so immense that it holds within itself a valuable meaning. As an audience, we show up to crave that need, and realize that the story was written with higher understanding to something that society has become blind to seeing.
-Andrea Castaneda
Isaac J McCoy
ReplyDeleteFor the play, what in the world? don't get me wrong, it's an interesting concet and appears to be going smoothly. But honestly, when they start to add, what I assume they meant as a humanization, to the stalker at the end; it just got really dumb. If you're gonna stalk someone then do it right. Rephrase, research actual stalkers (not saying anything about myself here FYI) in order to understand how this might actually play out in real life. Furthermore, I am confused as to what scared Gray so much as to not call the police upon learning about the peeping tom. I haven't the faintest clue as to what he and Frank were up to, it's very boring to read something that you don't understand.
As for Spencer, I am beginning to see where Moreira gets his "raise the stakes" mentality. As usual, I do not agree with Spencer. I do agree that stakes are a relative term, and personally when it comes to someone else's play, who has an intention with the piece, Spencer should just keep his nose in his own work. What one person says is low stakes, is going to be high stakes to another person. If I were to make a play about a superhero with moral dilemma, Spencer would probably say something like "mput him in a position where he or she is at risk of the world finding out their past crimes" or something like that, whereas I would say that the inner turmoil in an ethical problem is to an individual a personal and high stake in of itself. If Spencer wants to make a high stakes play, then he can go on right ahead, I am sure it will be quite entertaining for most audiences. I however prefer to make my stories with a point at the end of them, I am not here to entertain anyone. I am here to say by showing, not distract by playing around.
Spencer's takes on high stakes and low stakes brings another important idea one has to consider when writing a play. High stakes makes stories interesting, they are the reason that makes events and characters in plays believable. If a character had no consequences for their actions, or inaction, and/or didn't care much about the situation they were in they would be rather dull and thus uninteresting. High stakes give us a reason to care about what happens to them. Even if you don't like a character, the fact they feel so strongly about something, and they have room to fail, makes you want to see whether to do succeed or fail.
ReplyDelete"What we don't want is indifference. We want the characters to matter to one another."
Phone Sex and a Dumb Show in regards to the lesson seems rather low stakes until the end. Though I enjoyed the sort of "twist" at the end of Gray confiding into Tom, the rest of the play just seemed to linger on Tom's creepiness. Didn't feel like much happened.
-Rafael Avila
In Spencer's reading he begins to talk about high and low stakes and how our play should have something at stake. Personally I find this to be true because that's what our audiences want to see. When the stakes are high it makes it interesting and engages the audience's attention, and leaves room for the theme and a message/lesson to be explored. I found this high stake in "Phone Sex and a Dumb Show." We see Gary being called while packing by a "peeping Tom." I found it weird and I'm undecided if I like it or not. I think the idea of a peeping Tom as extremely erie and scares me to the death. I found it really odd as to why Gary kept answering. And I didn't like how he wasn't more freaked out when the pepping Tom could see him and Gary didn't freak out. If it were me I would have lost it and would have never answered, but I do feel like it raises the stakes when he does keep answering.
ReplyDelete-Joy Perez
Spencer talks about stakes in this chapter, how high stakes are not equal with high emotion and that they can captivate the audience more, whereas low stakes are hard to keep interest in because there’s not much for any character to lose or gain. Personally, I do not agree because I have enjoyed a lot of plays we’ve read that have “low stakes”. Obviously, plays with high stakes are exciting, but I think there are many other factors that determine if I like the play or not.
ReplyDeleteFor example, the play assigned for today, “Phone Sex and a Dumb Show”, did not have high stakes. Gray could either talk to The Peeping Tom or not and that would be the end of the decision as far as the audience could tell; this play is more like a low stakes play as it reveals information we didn’t know and changes the mood of the play (I think that’s enough for a play to do). It was mysterious and emotional and interesting. It still gave me a lot to think about after I finished reading it. So to judge a play solely based on how high the stakes are is not completely accurate and very shortsighted.
Mayanin Rosa