Replies to This Discussion

Permalink Reply by National Theatre Wales on July 3, 2009 at 7:36

Yes, that's the kind of approach I was trying to express, far less eloquently, in my opening post Gary. I do understand that without a clear statement explaining how we will work with writers, and be open to new writing, there will be a fear of us becoming closed to everyone but an inner circle. But, as has come up clearly in a lot of the discussions around script reading - it's actually no defence against that cliquey-ness (not sure how to spell that). We need an approach that is as flexible as you suggest, while never appearing mysterious.

One thought that came up in Castle Arcade recently; what about a policy that focusses on a 'go-see' promise rather than a reading promise, i.e. if we promised that we would send someone to see every piece of new writing that anyone actually managed to stage in some level of production or showcase. This would encourage indie productions and more live try-outs, and responses could be blogged on here to encourage debate and honest input...

Permalink Reply by Peter Cox MBE on July 3, 2009 at 10:52

That idea has something of an 'elegance' to it John and definitely deserves some further thought and discussion.

What it actually does it put a certain amount of responsibility back onto the writer to become an active theatre maker. This is in fact what they should be striving to do anyway rather than just being a words on paper writer.

For the far less experienced writer NTW could produce a few simple guidelines on how to go about staging a reading etc or even publish links to individuals / groups that might be interested in supporting such activity.

Permalink Reply by Tim Price on July 3, 2009 at 12:51

The go-see idea is really good idea. Up until the existence of NTW there has been absolutely no incentive for a fringe culture to exist. There was no organisation to show-off to, or any serious critics. I like that idea very much.

Taking that we can agree there's lots of non-conventional ways of finding emerging writers other than reading plays (I take Gary's fantastic point)...

Can I suggest a commissioning idea?

For every major commission, there should be a minor companion commission related. The major commission would be your fully produced play by your star writer. And the minor commission would be an emerging writer, who could write a rapid-response play, or a shadow play on the same subject matter. He/she could be offered the same R and D support and dramaturgical support but without the pressure of a full-production and full financial investment from NTW and could be mentored by the star writer.

If development can't lead to production it should be as near to a production as possible and this would be pretty close.

I think this could fit lots of the things Lucy talked about. A minor companion commission would give a playwright all the experience of a commission but crucially allow them to retain their licence to fail.

The audience and theatre community would get used to the existence of pairs of plays with a 'junior' writer's bash at the same challenge.

Imagine if there was a Black Watch written by a 22-year old female writer?

...I'm sure that policy of not commissioning anyone called Tim is employed by the Royal Court, the Bush, the Soho, Hampstead....

Permalink Reply by Gary Owen on July 3, 2009 at 20:47

For every major commission, there should be a minor companion commission related.

Oh, that's a nice idea, Tim.

Permalink Reply by National Theatre Wales on July 4, 2009 at 2:15

The 'minor commission' idea is really interesting, though the word 'minor' also betrays some dangers. While we've been working on the overall programme, and thinking about writers guidelines, we have also been moving forward with the Rapid Response programme too, which is being informed my all of this discussion, and this may be a place (though not the only place) where we can offer a number of the elements mentioned by Tim and Adele. The good thing about Rapid Response is that its result isn't a minor chord to the full production's major chord, but rather a fast 3 minute piece of radio urgency to the larger piece's symphony or concept album...

Adele, I completely agree with you about this feeling like a moment when the indie scene can suddenly come alive with new work and new kinds of work. The fact that directors like yourself are basing themselves here and forming inivigorating relationships with writers, actors, acrobats and more is going to be a big factor in this taking off.

I remember that back in the early days of this social network (actually, believe it or not, just five weeks ago!) Gary Owen posted a blog about a possible fringe theatre festival in Cardiff. This might be an interesting part of the picture too in the longer run.

Permalink Reply by Kama Roberts on July 7, 2009 at 10:36

I completely agree that script in hand play reading have big limitations. Perhaps we can learn from the classics in the development of new writing.

Shakespearean actors would learn the lines turn up and do the play; with little or no rehearsal. We had Tim Caroll's company The Factory at the Willow Theatre last week. They learned the lines for A Mid Summer Nights Dream and did the play in this way. It was a fantastic team of actors and a mind blowing performance. It was dangerous and exciting with neither the company or the audience knowing what would come next (also an unplanned promenade). It gave them an amazing opportunity to play and wow did they make use of it- many said it was the best play they had seen. What a way to delve into new writing as well as encouraging a whole new level of listening amongst performers.

Permalink Reply by Gwyneth Lewis on August 26, 2009 at 3:11

I'm joining this discussion shamefully late, but I move slowly online, being a poet. That's my excuse! I loved the discussion, full of great ideas about how to get writers writing well. I'd love to take part in a lot of the opportunities being discussed. This online forum is already a huge asset. I'm a poet who's starting to write plays for the first time, so I have hopes that this forum and the discussions that stem from it can help educate me in the form. I firmly believe that we can't write as well as we're capable in isolation, that we need each other.

But it struck me that there was a huge omission in the discussion, which focussed on means rather than ends. I'd like to ask: What kind of writing should a National Theatre be producing (as opposed to a regional theatre)? Is there a quality threshold, if so, what is it? Is it a matter of relevance to the mass of the people in Wales's experience? Should it be local in subject/ address, or assume a British/ international stance? Or should it, in different projects, address all these levels?

I have a little experience of this, having been Wales's National Poet for a while. Remembering the N-word was a useful way of deciding what I, as opposed to other people, should do. Now that I'm back in the ranks, I'm much more free from that consideration. But it was useful, if taking a bit of thought at the beginning.

This is the first online forum I've ever taken part in, so I'd be grateful if somebody would answer, just so that I know that you're out there!

Permalink Reply by Peter Cox MBE on August 26, 2009 at 7:04

Hi Gwyneth

Great to have you onboard. Welcome to the forum. (Sorry, came over all Frankie Howerd there!) I'm simply replying to let you know that, yes, there are real people out there interested in following discussion threads. However, having just come out of a brainslicing seven hour pitch meeting I don't quite feel up to responding to the very relevant questions you raise! However, I will, I promise... once the synapses have re-engaged.

Permalink Reply by National Theatre Wales on August 29, 2009 at 21:55

Hi Gwyneth, you are right that so far the discussion has focused on what National Theatre Wales can do to support and work with writers, as opposed to what kind of writing should we be producing. As you point out, the title 'National' attached to someone or something begs a question as to responsibility, theme, ambition. So in looking at a writing policy we inevitably, and appropriately, ask the question of how and whether we should write the national. I've tried to grapple with this a bit in an article I've just done for New Welsh Review, and if you, or anyone else on the forum get a chance to look at this, I'd be grateful to hear people's comments and thoughts.

The other thing you point towards is this forum itself as a place of support and input for writers, and the quality of debate so far, particularly in relation to this forum topic, would seem to indicate that there are rich possibilities for this kind of online group support - not as a substitute for anything more one-to-one or face-to-face, but as a useful supplement.

I'm going to try and get a draft writers policy, largely based on these discussions, done by some point in October, and post it here for feedback/improvement; I hope that we can continue to explore these questions as we try to put a concrete proposition in place.

Permalink Reply by John Torrie on October 7, 2009 at 6:25

The policy should be aimed at a range of new writers whose styles may differ dramatically. It is important for those just beginning to write to understand the wonderful diversity of writing approaches open to them. It should of course actively encourage positive new writing trends as they emerge and serve as a platform for regional, national and even global talent who deserve to have their work seen by a respectful and responsive audience.

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