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Writers

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Writers who want to be part of National Theatre Wales, share ideas, get feedback from each other, and hear about opportunities

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Latest Activity: Jan 30, 2023

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Looking for Welsh Playwrights for Scratch Night in London.

Started by CHIPPY LANE PRODUCTIONS LTD. Aug 7, 2016.

Collaborators Needed! 2 Replies

Started by Camille Naylor. Last reply by sean donovan Dec 1, 2015.

Looking for a writer to collaborate on an idea. 2 Replies

Started by Caley Powell. Last reply by Catrin Fflur Huws Mar 3, 2015.

NTW Dramaturgy Project - Beginnings

Started by Richard Hurford Oct 20, 2014.

ONiiiT: The Power of Words

Started by Sophie Chei Hickson Aug 21, 2014.

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Comment by Greg Cullen on July 4, 2011 at 8:52
I don't really understand Meredydd's point about Sherman and Clywd both doing Measure For Measure within two years of one another.  I really don't know of anyone who makes the journey from South Wales to Theatr Clwyd for a night out. As it happens I did because friends were in it and we were able to stay overnight for free. Otherwise it's simply out of the question.  Besides which the interpretations of what is arguably Shakespeare's most relevant play for today were very different and that can be the purpose of going to see the same play many times.  In fact I also went to  see Theatre d'Complicite's version at the National and would bite someone's hand off to get the chance to direct it myself, partly because I don think Theatr Clwyd or the Sherman really got the play. Its strangely parochial to say that the Welsh can only have one version of one Classic every few years. Whilst you're right there are many classic texts to choose from it is not desirable to have some kind of overall artistic  programming for the whole of Wales where Chris Ricketts has to phone Terry Hands, who then phones  Peter Doran etc to make sure no one is duplicating output within a agreed time frame. God save us from another Welsh pseudo-egalitarian committee stifling spontaneity, individuality, anarchy, artistic enterprise, vision and the courage to make a decision, see it through and take responsibility for it.   We had two really interesting productions of a work of genius within two years of one another and what? We moan instead of celebrate?
Comment by Tim Price on July 4, 2011 at 2:39

I think Arwel and Amy make really great points about the importance of the Sherman touring and working in Welsh. Thanks for engaging with the community on these issues.

 

This still leaves us with the wider issue which I think nearly everyone in the group feels is that - we want more from the Sherman. More new plays, and more opportunities to work, in whatever shape they come. If the Welsh commissioning policy argument has been won (and I think it has) and the touring policy, isn't a detrimental cost, what is the SC going to do in the new building, that will be make that building more of a hive of activity, more of a place of urgency, if you haven't any more money?

 

I understand the temptation to just tell us your plans for the future, but it would be great if you could frame those plans in the context of what has gone before. As in; what are you going to do more of? What are you going to do less of?

 


Comment by meredydd barker on July 3, 2011 at 21:17
Just a point about A-levels and theatre before I really must get on with some work. Do the people who set the A-level syllabus surreptitiously program for theatres as well? I think the A-level syllabus should be based on what theatre's decide is relevant, not the other way round. Probably out on my own there though.
Comment by meredydd barker on July 3, 2011 at 21:09
Comment by meredydd barker on July 3, 2011 at 21:07
I'm probably overestimating the amount of people who regularly see work in both Clwyd and Cardiff. But I still think that if you list the classics produced by professional theatre in Wales over the last five years you'll find that it's a pity to see Measure twice in what is a relatively short list. There was also only a two year gap between The Torch and Clwyd staging On Flew Over the Cuckoo's Nest. This was about eight years ago. I take your point about touring though. And since posting my point about Measure the other day it's been pointed out to me that there's more than a few professional theatre practitioners in Cardiff who've never even been to Mold. That staggers me to be honest.
Comment by Lisa Parry on July 3, 2011 at 21:01

Have to say, I agree with Amy on the Measure for Measure point. Plus, I think if different directors are drawn to the same text around the same time, there's often a current social reason which is quite interesting to explore. On the other hand, I am incapable of sitting through another Hamlet now for at least three years!

I can see the A-level syllabus point too. Not sure how many people have heard of the 'dead writers' tax' though on this one? Idea is that the commission money for Shakespeare etc goes into the new writing kitty. Theatres are always going to want to stage set texts. It's great for the kids, but it also guarantees box office. I think it's a neat way of doing Shakespeare whilst being true to the spirit of Shakespeare - new writer of his day, experimental etc etc. 

Comment by Amy Hodge on July 3, 2011 at 20:52

I love the idea that Welsh theatre is a place for reinvention, in all its facets, and long may that continue!

Mereddydd I’m afraid I don’t agree about Clwyd and Sherman not staging the same classic a few years apart – there 150 miles away and there is virtually no audience cross over so staging a completely different productions of a seminal text, that remains on the A Level syllabus is justified. For me it would be different discussion if either production had toured - yet I do agree it is one of many plays that could be staged and reappraised.

There is a really important point your thoughts raise, which Arwel also touches on, about organisation in Wales working together. This is essential with new writing in particular, especially from the Sherman’s pov, as we are often the first point of call for new writers and we want to maximise the opportunities available to them. So sharing knowledge and information about writers is crucial and is something the Sherman, NTW, Theatr Gen and other companies do and must continue to do over the coming years. It’s important to foster an environment of collaboration while still allowing each company to hold its own identity 

 

Comment by Arwel Gruffydd on July 3, 2011 at 5:18

A couple of thoughts re. the recent interesting discussion triggered by questions on new writing and hopes for Sherman Cymru. As a former Associate Director with Sherman Cymru and in my role as the relatively new AD of Theatre Genedlaethol Cymru, I just wanted to add:

On ‘touring new writing’; new writing is a national endeavour, and new plays should not be restricted to the capital. However location should feature in any strategy, and some plays or showings fit better as part of the creative outputs of the capital, where there is a willing and hungry audience for theatrical experiment more so than in other parts of the country perhaps.

As for Sherman Cymru’s creative engagement in the two languages (brought up early in the discussion); I’m all for having one company with a writer development brief to work in both languages. For one thing (and there are numerous others), many of our writers are bilingual, and were it not for their work being known to the company in one language, the development of a play in the other language may not happen at all; e.g. it was only because Dafydd James sent in an unsolicited English-language play to Sgript Cymru that a relationship developed between Dafydd and the company (then with Sherman Cymru), which eventually lead to Sherman Cymru producing Dafydd’s first full-scale production, “Llwyth” (in Welsh, of course). And as for a theatre venue in our capital city with a distinct and dedicated new writing agenda; should this be confined only to the English language? I think not, and obviously think both languages should share equally in its fruits. We should embrace the fact that our nation has two tongues; it’s one of a number of wonderful things that defines us. To always separate or compartmentalise elements of our shared cultural richness and diversity not only unnecessarily over simplifies who we are, but also denies an essential element of what sets us out from other nations. The future sustainability of the Welsh language requires that certain elements of Welsh-language cultural activity needs to happen purely in Welsh, but writer development in the theatre and a commitment to producing new writing in the nation’s capital is not one of those. Sherman Cymru is the latest, and to my mind successful incarnation of the evolution of a shared writer development and new writing programme. I look forward to a continued and strengthened relationship between Theatr Genedlaethol Cymru and Sherman Cymru in the years to come. Look out for two particularly exciting collaborations in the ever so near future! 

As for a writers’ library, I will look into this and seek to work with the Drama Association of Wales, The National Library at Aberystwyth and Sherman Cymru to see if we can find ways and means of moving forward this idea, as a resource in the Welsh-language too.

Comment by Jenni Derrick on July 2, 2011 at 6:24
The template is great, at least I have a starting point now! Thanks a lot.
Comment by meredydd barker on July 2, 2011 at 6:01

Hi Jenni,

Excellent advice from Carmen; keep reading, keep going to shows, but I wouldn't buy Final Draft just yet. It's a great bit of software and you can trial it without spending money, but you don't need it for plays. Microsoft Word is fine. You'll see that the format for a play is far simpler than a screenplay. A screenwriter friend of mine who wrote Spielberg's President Lincoln film and so is doing very well uses Microsoft Word and this template.

http://office.microsoft.com/en-us/templates/screenplay-TC001018636....

Spend the money on plays and going to shows. The very best of luck.

 

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