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Comment by Simon Coates on March 7, 2014 at 5:15

Our WalesLab Summercamp deadline is on the horizon. More info and how to apply here.

Deadline: midday 14th March

Comment by Kelly Page on March 5, 2014 at 18:57

Hi, I've written a blog post seeking interest in collaborating with a playwright in Wales, to work together on writing a script about the life story of Hettie Millicient Mackenzie, the first female professor in the UK who was appointed at Cardiff University in 1904. I'd like to turn her life story into a story of our time. You can read my blog post: http://community.nationaltheatrewales.org/profiles/blogs/call-for-p... Don't hesitate to connect or reach out with any questions. 

Comment by Shane Anderson on February 25, 2014 at 10:37

I am new to the whole playwriting scene in South Wales but I have become increasing aware of the plethora of (script)writing groups throughout the area and no doubt beyond, and was wondering if these could not be a resource that could be harnessed in some way to act as a more focused conduit for new writing and dramaturgy feeding into and from a central NTW core. I suppose I envisage some sort of loose affiliation that would not impinge on a group's individuality but, at the same time, would encourage a cross-pollination in terms dramaturical (??) events and the dissemination of members work beyond the confines of their particular group. As an example of the former, Louise Osborn is joining the group I attend in Pontardawe next month to give a workshop on 'theatricality' - perhaps such an affiliation might help to promote such events to other groups who may in other months have a different practitioner exploring a complimentary area which members of my group might attend. It would certainly help combat any accusations of centralisation.

Beyond my point above. I do think such a playwrights studio and/or network of dramaturgs is a consumation devoutly to be wished.

Comment by National Theatre Wales on February 25, 2014 at 9:50

Hi All. Just a reminder that March 1 is the deadline for this year's George Divine Award.   It's very simple to enter:

The award is worth £15000 and is open to any promising playwright for an original stage play, which need not have been produced.

To enter, applicants must send two copies of the play (and SAE for return of scripts), plus an outline of their work to:

Harriet Devine,
9 Lower Mall,
Hammersmith,
London,
W6 9DJ.

Go on - go for it! 

Comment by National Theatre Wales on February 24, 2014 at 7:58

Hi Gary, Lita and Phil.

Gary - the idea for a group or networks of dramaturgs to work on NTW commissions certainly shares some ground with the emerging proposals for a Playwrights Studio - indeed writers such a Tim have been instrumental in developing both ideas.  But as Phil suggests, I think that ultimately they are quite separate.  With the dramaturgs discussion, my question is about how we can support script development at NTW without having a literary manager on board, and also about how we can discuss dramaturgy in the many different kinds of Welsh theatre. The Playwrights Studio sounds like a much bigger project, and potentially a very exciting one.  I think it will be important, though, that as many theatres as possible continue to develop a range of approaches to supporting new theatre writing:  you would be right to be wary if we passed the buck on that!

Comment by Phil Morris on February 23, 2014 at 1:36

The idea of NTW employing a group of dramaturgs to help with the development of several of their projects in the short to mid-term is, is wholly compatible with that of a PSW being set up to serve the long-term development of Welsh playwrights. The dramaturg project that John seems to be proposing will enable writers to come forward and train, and gain skill/experience in new writing development - some will discover that it's not something they can do, or want to do many others will. Working with a number of dramaturgs (primarily writers) could be an important intermediate step on the way to an effective PSW being established, as a body that is not only well structured but staffed by people with the necessary skills/experience in the new writing development. Many of the playwrights who will emerge in Wales over the next ten years will not know any other writers, nor anyone in the theatre community to guide them through their development. In the absence of a 'network' of fellow artists these writers will require help from people who have a very specific skill set, and while succesful writers would be the most obvious choice of mentor/dramaturg that may not always be the case. I know many writers who couldn't give a damn about anyone elses' career but their own (which of course is their right).

Comment by lita doolan on February 23, 2014 at 1:33

One idea from a resource point of view maybe to talk to academic institutions who have empty spaces at the evening.  They may help with the administration of say an evening of structured readings for colleagues (like ‘Freshworks’ at the Young Vic) that also offers Arts management/marketing work placement for their students.  I understand the need to remain professional but personally my work has gained so much benefit from readings by students at Birmingham University and other institutions.  Probably everyone has a different angle on what 'works' for them but I found closed door readings a good way to move forward with a script towards performance and this was not too hard to set up.

 

A few of the London studio theatres (Soho, Bloomsbury, LOST) have their origins as university institutions so the link with academia is a noble one!

 

The passionate, informative, comments on this thread are inspiring and as a Welsh writer living outside the principality I wish all developments big bags of success.

 

PS still raving about Dirty Protest at the Royal Court!!

Comment by meredydd barker on February 23, 2014 at 1:08

I posted this in the PSW group yesterday. I'm putting it here because it chimes with Gary's thoughts.

Visual artists visit each other's studios and have informally critical chats about work. Both gain from this. The problem lies with the fact that you can form an opinion from a ten second 'glance.' Reading and assimilating a script takes time, the kind of time that makes you wonder about money. That said, if you commit to reading and critiquing one play a month then ten like minded people/ writers would do the job of The Sherman lit dept over a year. I still say that the primary goal of a PS is to get the work in front of an audience.

Comment by Gary Owen on February 23, 2014 at 0:42

Good to know you're behind a Playwrights' Studio, John.  In fact it seems all the Artistic Directors are in favour of it now... something which makes us feel, as you can imagine, somewhat wary about the whole idea <guess which emoticon I'd insert here, if I did such things?>

One thought that seemed to emerge from the meeting was this: when we talk about an artist-led response to the problem of writer support, we're talking about finding structures through which writers can provide dramaturgical support to each other, rather than the creation of a whole new cadre of professional dramaturgs/literary managers. 

Comment by Ailsa Richardson on February 22, 2014 at 9:38

Alex, we must have been posting at the same time last night as I just read your post now. Great to hear your ideas about 'supporting how plays are made, however they're arrived at' except its funny how I have never called my work 'plays'! And so the definitions rear their head again ... and can always shift. I too would like to be part of a further discussion to explore this role of the dramaturg further and how it might specifically function in Wales.

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