by Elizabeth Oosterheert
One of the most magical things about directing middle school theatre…
is inviting students to unwrap the art of stage combat choreography. I love the beauty of the interaction, the sheer grace that is part of learning together, and the way that students use their imaginations to enter the world of the play and make decisions about how each scene, and each combat sequence will evolve as part of the larger story.
As I reflected on the fine art of stage combat, I realized that there are many parallels between spectacular swordplay, and being part of a writing workshop.
Since my students and I will be writing listicles this week, (thanks to @KellyGToGo and ESPN Magazine for the idea!) I thought I would share a listicle with you about the tandem hearts of theatre (combat choreography in particular) and writing workshop.
Six Things I Know About Writing Workshop & Stage Combat Choreography
- Both writing and combat choreography are matters of the heart. Excellent writing, AND masterful choreography begins in a restless heart that simply MUST write, or MUST take to the stage-to be complete.
- Whether one is wielding a pen or an epee (stage combat weapon) risk is involved. Authentic writers and actors embrace risk as part of the journey. What does risk look like for writers in our workshop? It’s everything from playing with mixing genres (last week we looked at mixing poetry and informational text as we studied stories of 9-11–See a list of mentor texts at the end of this post!) to working with a co-author for the first time. On stage, there is inherent risk in crafting a new combat sequence and in trusting one’s partner to memorize every move.
- Both writing and acting involve world building. Eighth grade writers construct worlds built of childhood recollections as we compose our autobiographies together, while 8th Grade Theatre Troupe members are invited to suspend their teenaged, central Iowan existence every day for an hour to become princes, or palace guards.
- Writers and actors need inspiring mentors. Our favorite poetic mentors in writing workshop so far this year for crafting autobiographical texts have been “My Honest Poem” by Rudy Francisco, and “Possibilities” by Wislawa Szymborska. On stage, eighth grade actors are mentored by high school and college students who bring a wealth of stagecraft knowledge to us every day.
- Writing and acting are about surrendering the spotlight so that we can truly grow into the supporting roles we’re meant to play in a story that is larger than we are. I frequently tell students in our writing workshop that writing is about growth and grace, not grades. The same is true about learning the language of combat choreography. Students quickly discern that it takes countless hours of rehearsal to polish even five minutes of finished fight choreography. It is time and effort that elevates a performance (or a piece of writing) from good to great.
- One of the greatest gifts of both theatrical training AND writing workshop is the opportunity to be part of a thriving community that scales the mountains of a great performance and also weathers the valleys of those days when it feels like we’re not “good enough” to write anything of consequence or to tell a story on stage convincingly. Whether we’re in writing workshop or on stage, the invitation is open. Regardless of how discouraging today might have been, tomorrow we can return to the page, or the stage and begin again.
As writers and actors, we’ve been invited on a journey to a place of discovery, harmony and joy. What a privilege it is to write beside the students in our workshops–and in my story I am doubly blessed with opportunities to build worlds with words in notebooks and in auditoriums.
Mentored by Heroes
I thought I would close by sharing links to a few deeply moving mentor texts in honor of the victims of 9-11 and their families. My students and I studied these written and visual texts last week, and used them in crafting narrative snapshots.
The Unusual Courage of Todd Beamer by Brandon Anderson
Anderson beautifully weaves the threads of the loss of his brother into a story that honors the extraordinary courage of Todd Beamer and the other passengers of Flight 93. My students and I noticed that looping is a powerful craft move, and that this is a multi-genre piece that blends narrative, poetry and commentary.
The Man in the Red Bandana courtesy of ESPN.com
This is the story of Welles Crowther, a volunteer firefighter who sacrificed his own life to save the lives of many others.
Beverly Eckert Remembers Sean Rooney courtesy of Storycorps.org
Eckert invites us to know her husband Sean by ushering us into her final conversation with him on September 11th. This is a story of searing loss and enduring love. Ironically, Eckert later died in a fiery crash as she traveled to award a scholarship in Sean’s honor.
The Photos of 9-11 courtesy of The New York Times Insider
This photo journal captures unforgettable images of September 11th and includes captions to draw us into the stories of each photo. My students used this piece as a mentor for constructing our own “Dear Photograph” captions. This piece illustrates not only the power of a photograph, but also the importance of word economy.
What are your deepest convictions about writing workshop?
Share your ideas in the comments, or email me at firstname.lastname@example.org
Elizabeth Oosterheert is a middle school language arts teacher and theatre troupe director in central Iowa. She loves writing, and sharing the stage with seventh and eighth graders. Her favorite stories are Peter Pan, The Outsiders, & Our Town. She recently finished writing an adaptation of Arabian Nights for performance in November 2021.