Fifty Playwrights on their Craft… and a masterclass at Ty Newydd

It’s a real privilege and pleasure to be one of the playwrights included in this recent anthology from Bloomsbury, Fifty Playwrights on their Craft. I was one of the twenty-five UK-based writers interviewed by Caroline Jester last year, whilst Caridad Svich interviewed a further twenty-five across the pond in the US.

I’ve only recently received my copy, and as I’m on tour with richard iii redux OR Sara Beer [is/not] Richard III, (first five star review here), I have yet to take the required time to settle down, dip and savour. There’s a terrific breadth of voices and experiences included here, and much to learn from the vast array of contributors.

Bloomsbury describes the book as follows:

In a series of interviews with fifty playwrights from the US and UK, this book offers a fascinating study of the voices, thoughts, and opinions of today’s most important dramatists.

Filled with probing questions, Fifty Playwrights on their Craft explores ideas such as how does playwriting help a global dialogue; where do dramatists find the ideas that become the stories and narratives within their plays; how can the stage inform the writer’s creative process; how does crossing boundaries between art forms push the living art form of theatre-making forward; and will there be playwrights in another 50 years? Through these interrogating interviews we come to understand how and why playwrights write what they do and gain insight into their processes and motivations. Together, the interviews provide an inter-generational dialogue between dramatists whose work spans over six decades.

Featuring interviews with playwrights such as Edward Bond, Katori Hall, Chris Goode, David Greig, Willy Russell, David Henry Hwang, Alecky Blythe, Anne Washburn and Simon Stephens, Jester and Svich offer an unprecedented view into the multiple perspectives and approaches of key playwrights on both sides of the Atlantic.

Table of contents

Introduction
Chapter One: Writing that spans nations
Chapter Two: Stories and Narratives
Chapter Three: Structure and Stages
Chapter Four: Writing Across Artforms
Chapter Five: Role and Responsibility

Further information about the book can be found here.

I find the process of making, and the process of teaching, discussing, and sharing endlessly fascinating.I am without doubt a dramaturg geek, and I’m sure this book will provide many happy hours comparing and contrasting perspectives, opinions, and practice.

Ty Newydd

 

I’m looking forward to my annual masterclass intensive at Ty Newydd writers centre, in the beautiful surroundings of Lloyd George’s old home,overlooking the sea in north Wales. Masterclass in Writing for Live Performance, 11 -16 June 2018. It’s a very special time, when eight writers and I make a small creative community, starting new work or developing work-in-progress, with dramaturgical support from me in class and one-to-one tutorials, and practical workshops to stimulate new writing, teach and clarify technique, and basically move along the scripts – whether emerging or being polished – to the next level. It’s a time for writers to develop the idea niggling at the back of their brain, or to try out early drafts, or be supported in completing and polishing a piece of performance writing. There’s skills-based exercises, timed writing exercises to create and develop new material, practical script-workshopping, discussion, laughter, beautiful walks, views, and amazing food from Tony… (Imagine completing a really satisfying three hour session to the growing aroma of cakes baking in the oven, to be gobbled down when still warm with a well-deserved cup of tea on the break… Yes, this actually happens…. no wonder I love going to this remarkable place so much… and Tony also shares his recipes – including a vegan banana cake! – here )

I love doing this work, and the participants seem to enjoy it, too, as we get many returning for guidance and support on their latest work – whether that’s a script, monologue, performance poetry, or something in-betwwen. We still have places for this Summer, so if anyone is interested, please contact Ty Newydd and see further information here

Meanwhile…. it’s back to the theatre and the third night of  richard iii redux OR Sara Beer [is/not] Richard III. We’re on tour until March 23rd, tour dates and venues, below.

TOUR DATES

Chapter Arts Centre,

Cardiff www.chapter.org

8, 9, 10, 16, 17 March: 8pm

17 March: 3pm.

Aberystwyth Art Centre Studio

14 & 15 March [SOLD OUT] 

Theatr Clwyd, Mold

http://www.theatrclwyd.com

19 & 20 March: 7.45pm

The Torch Theatre, Milford Haven

http://www.torchtheatre.co.uk

21 March: 7.30pm

Small World Theatre, Cardigan

http://www.smallworld.org.uk

23 March: 8pm

 

 

4 responses to “Fifty Playwrights on their Craft… and a masterclass at Ty Newydd

  1. Kaite, this is marvelous. I have ordered it!

  2. Fantastic!
    Why don;t you come join us at Ty Newydd, as well?!

  3. Looks like a fascinating book. I’ve read a number of books on the craft of playwriting including The Art of Dramatic Writing by Lajos Egri, The Art & Craft of Playwriting by Jeffrey Hatcher, and Playwriting Seminars 2.0 by Richard Toscan as well as several other books including Story by Robert McKee and I was wondering what this new book might bring to the table that these other books don’t. Certainly having 50 playwrights brings a broad range of experience and knowledge to the subject but I’m wondering are there new insights and ideas presented that some of these other books might not have covered.

    • I really can’t say whether anything will be ‘new’ or not, as I haven’t read all the material available on the subject….but I do think the books you cite are quite traditional and well-established, and the form and theatre languages at play have evolved somewhat beyond the McKee approach (predominantly for moving image and realism/hero’s journey rather than post dramatic theatre, perhaps…..)
      Dramaturgy has also developed – especially the kind working in my area, with multiple languages – projected, spoken and visual/signed languages. Some writers, like me, are not writing character-based naturalism, so there will be material different from the examples you mention.

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