Before sending in any scripts or idea submissions, it is very important that you read guidelines on our Your Work page
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Hi all, thanks for the lively discussion of dramaturgs. Keep it coming. I'm trying to pull together all the thoughts to structure a proposed way forward. I'll suggest something on this group in the next week or so to see what you all think. At the moment if feels like it would be worth trying out some kind of 'dramaturgs group' consisting mainly but not solely of writers, to advise NTW, think about what Welsh drama and dramaturgy can be, and provide support and feedback to writers on seed commissions or commissions. As I said at the start I've kept a bit of money in next year's budget towards this - the more we try to do the more thinly that will be spread, but of course I would want anyone involved to be paid for their input. Let me try and shake it down a bit more and keep the thoughts coming in the meantime.
In relation to the separate but linked issue of feedback on scripts sent to theatres for a response or 'readers report'; as some of you will know I've always felt that, since Sherman Cymru was specifically tasked with this role for Welsh playwrights and had a literary department, this wasn't something that NTW should try and duplicate. However, there is currently no literary department and the Sherman, so we need to respond to a changing situation. Of course I am keeping in touch with developments around the Playwrights Studio idea, which I very much support, and am also trying to progress a conversation with Arts Council Wales about this issue. I agree that it can't be left hanging for too long.
Finally, in relation to the current process for submitting ideas and scripts to NTW. There are guidelines you can download here (at the top of this group) or from the website. We accept ideas for all kinds of theatre, backed up by samples of your work - including up to 20 pages of script. We don't do a script report at the moment, but we do discuss your work at our monthly Ideas Meeting and get back to you after the meeting. Louise, I'm sorry your work didn't get a response in a reasonable amount of time last year. I know that Simon did get back to you pretty quickly after you pointed this out and your comment at the time was very helpful as it enabled us to spot a problem with the way we were logging and responding to ideas and scripts. I believe this is all fixed now, but if anyone else has sent in an idea or sample of work and not heard back from us, let me know directly and I'll look into it right away. We do ask that people read the guidelines before sending in your work - it really helps us to respond to you in a useful way. And remember that we also have a strong commitment to seeing work that has been staged. If you give us a month's notice about a new play or project you are staging in Wales we will get someone there to see it, if possible myself or another member of the core staff team. Ok, that's all for now, but thanks again for this helpful discussion.
I have just quickly caught up with this conversation at the invitation from John's comment in 'creatives'. I don't describe myself as a writer - I make devised work and yet sometimes writing is part of this, just not the main focus. Anyway the discussion is fascinating and it would be great to see a facility/model developed at NTW for getting feedback and supporting the development of new work whether script led, devised, concept led ... and the dramaturg can be part of this as someone who is in service to the work and brings specific expertise that's relevant .
There was a model that I was a little bit involved in at Aberystwyth Arts Centre about 7 or 8 years ago for the development of new writing - working with four writers/short scripts at a time with a playwright and director/dramaturg and a group of actors who gave rehearsed readings to an audience at the end of a period of working on the pieces. This may be a commonplace way of working already - as I'm not primarily a writer I'm not sure! Kaite was involved in one of these and might remember better than me the structure - it might be useful as a starting model (not sure that its adaptable to devised work though and it would be ideal to see something that is).
The other thing that seems paramount in all this especially in terms of getting feedback (whether from mentors, dramaturgs or audiences) is how that is managed/facilitated, as works in progress can be very exposing for writers/makers. How questions are posed and answers given can be framed as 'creative response' rather than criticism whilst maintaining the quality of honest and clear feedback. This facilitation is probably a dramaturgical exercise in itself!
Been following this thread it's brilliant and hope am not too late to the party.
I'm interested in where writing and devising bleed together and have been on a bit of a journey that myself while developing a thing, hell a play, with NTW.
I think the whole thing about definitions and validity of approaches to how plays are made is shifting, maybe has already shifted, right now. So I'm all for the discussion about dramaturgy and literary departments and playwrights studios. I'd be really keen John, Tim, to be involved in the thinking about finding a fresh and imaginative way forward for supporting how plays are made, however they're arrived at. (I was involved in a project called The Darkroom at the Arvon many years ago where they tried to make devising companies behave by pairing them with writers - actually it was really transformative). This year I was paired up with Selma Demitrijevic at NT Studio to explore how my practice might be shifting from company devised work to lone writer. She's a dramaturg but rejects that word currently (ah baggage!) - and she really kicked my ass by asking me some big questions about what I wanted from the thing I was noodling around with. I've also got that kind of brilliant, sensitive 'literary dept style' feedback from NTW on the play I'm co-writing with Mark Williams. Where am I going with this...? I think that some Literary Depts are responsible for creating plays that look and sound the same...for decades...and some are more interested in enabling playwrights or theatre-wroughters or whatever to be the best they can be...
So all for bringing other theatrical backgrounds into the development of these thoughts in NTW and a Playwrights Studio Wales. Tim - can you add me to your group and maybe we can get a coffee some time when I'm in Cardiff next? (10-15th Mar if yr in town)
Hi all, I'm pretty new to the writing scene having only really been focusing on it in the past three years alongside my acting, so forgive me if I sound naïve or disconnected to what's going on in Wales. I've been reading all the comments and not having had a play produced yet, I'm not sure I can define what a dramaturg is or should be. Not yet anyway. I only know what I need as a writer, who happens to be welsh and often writes about welsh themes, but not always. That need is just some kind of acknowledgement or action when you have taken hours to complete a play whether you live in Wales or not. On a completely personal level, submission windows work well for me where it may be a totally different set of readers from the last time if the literary dept have decided to keep things fresh. I know when I need to send it, when it will be acknowledged, and when, roughly if I haven't heard back not to expect any feedback. What is the worst feeling which I'm sure many of you feel is when things are just left 'hanging'. I guess what I'm saying works well for me is some sort of formality. Is there a means to hire on a rotating system a collection of professional readers/actors/theatre makers etc each submission window with varying talents in the theatrical field ? Can NTW afford this? How about a formal writers group which you are invited to after this submission window larger than the group on a seed commission focused on nurturing new work, like the Royal Court, with regular slots for rehearsed readings. ( sorry again if this has been already happening). Oh I don't know, but I'm passionate about new writing getting a voice. If it's any help I know I would be part of some kind of body that feeds back on scripts. I'm no literary manager but I've read a lot of scripts as an actress and, I hope can hear a line that doesn't sound right. On a positive note, I sent one of my plays to Clwyd, and although not right for them, was given some possible ideas about where to head next with it. I know feed back is hard to every script but a little bit of steering goes a long way. I don't mean to sound rude John about NTW but when I sent my first 20 pages to here it wasn't even acknowledged at first. It can put a writer off doing it again. It's a small detail but important I think. By the way, while everyone is hot on the heels of this conversation and talking of action, any help with North Wales companies/producers/directors up that way would be very helpful. Want to create a community piece with some professional actors up there. Also just to say, loved seeing some dirty protest theatre over the summer at the Almeida Tim. Can we have more stuff this way please. It was brilliant. Cheers and happy writing all!
Good to hear news from the Writers' Meeting. Just a note from me to say that I'm committed to working with you all to find the best way to achieve provision for writers in Wales that is as comprehensive as possible without the wrong sort of duplication. I'm looking forward to hearing more about plans for a playwright-led organisation. I do think that it's important that writers have a way that their work can be read and responded to. If this can happen through an independent group that could be a positive way forward, but if we need to look at the balance of our provision in the national companies, I'm up for that conversation too.
I agree Jonah,
There is a thought that the writing scene needs to be more inclusive and perhaps if as suggested in the meeting we go for a co-op playwright studio run by writers then this could answer this feeling that many writers feel. Over the years I have written many things on this page (which I have removed so don't look for them) and we seem to go round in circles and the same things come up time after time and I am kind of fed up really (perhaps knackered from struggling to get my work on independently) its about time we did:
* some straight talking (sorry if people think I am blunt but I have to say what I heard and the thought of waiting around till I am at least 47 for 'perhaps' things to change makes me head for a plane to emigrate now...
* say 'this is what we want!!!' (please) (we need another focused meeting to do this - I am willing to help Tim and lots of other writers have said too )
* a plan of how we can make it happen and
* this is how it will continue to have longevity (and not end up on the pile of cuts a few years later)
The Sherman is what inspired me at the age of 14 to go into writing and was very happy with the dramaturgy I recieved from there for my writing. I am also happy with the support I have received and continue from NTW and Chapter. If the three could pool ideas together/work together to see a clear vision it would be great - but we need a writers consultation - and we do need a clear vision.
At the end of my tour Saturday a colleague said to me 'Where will you go now?' a blank thought came across my mind... I do have a few things that I will follow which I am really pleased about but I do also have a sense of feeling there is no answer as I feel lost in the writers lonely landscape of Wales right now...but hopeful things will change...put the thought out there and things will happen...but we have to be proactive ...
There are many new theatre companies in Wales taking on new writing and making huge sacrifices but who also feel they are drowning in a sea of confusion as there needs to be a body that looks after small companies, touring, budgeting etc...and that supportive framework - I believe there used to be one...if a 'new writing' company began this should be part of the remit.
anyway enough of my rant
The Wales Arts Review was set up by writers and artists as a critical resource for writers, artists, readers and audiences alike. So we would like to support any initiative by writers and theatre-makers to establish a body that aids and promotes new theatre writing in Wales. We are holding a Critics' Roundtable event at the WMC on Nov 1st and we could organise a panel at which ideas for a body to help new writing development in Wales could be raised and discussed. Any interested speakers please put your hands up, even at this early stage. In the meantime if anyone feels strongly about this please email our Senior Editor Gary Raymond and pitch an opinion piece we might publish.
New writing in Wales? More of the kind of thing Rowena organised. The plays get seen, people get talking. Theatres can continue ignoring the writers while the writers get on with real theatre. As an audience member, I know where I would spend my time.
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