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Comment by meredydd barker on January 27, 2012 at 1:27

I'm in a rush so - a) Beuys was a one man theatre company, including the building - http://another-green-world.blogspot.com/2011/03/i-like-america-and-... b) once 'non-dramatic text' finds itself in the performance-theatre world it ceases to be 'non-dramatic' text I would guess, and c) "Or maybe it's a question of how and whether 'poetry' becomes structured as drama when it enters the world of theatre...." that is the question. See Basil Bunting and his theory that a poem on paper was like sheet music - not fully formed unless sounded and performed. Laters I'm afraid.

Comment by National Theatre Wales on January 27, 2012 at 1:04

@barker!! Thanks for the Beuys reference.  I think Beuys really highlights Richard's distinction between poetry-peformance and theatre-script.  However, if you look at, say, Kantor, then we have a theatre world that relates very directly to Beuys's but is very much a theatre (as opposed to a performance art) world.  So I guess a question becomes how the 'non-dramatic' text exists in the performance-theatre world. Or maybe it's a question of how and whether 'poetry' becomes structured as drama when it enters the world of theatre....

Comment by meredydd barker on January 27, 2012 at 0:42

@mcgrath

http://en.wikipedia.org/wiki/How_to_Explain_Pictures_to_a_Dead_Hare

Comment by Richard Huw Morgan on January 27, 2012 at 0:36

sori, that response of mine is to John's question. Now i understand why people put that @ thing in their messages. I might catch up one day.

Comment by Richard Huw Morgan on January 27, 2012 at 0:33

Obvious, life-changing, example for me was Gododdin, but I was thinking more about the relationship of form between poetry and performance as distinct from that between theatre and script. I know it can be argued that its a question of degree, directorial practice, pedagogy, etc, but I find the distinction useful.

Comment by Tim Price on January 27, 2012 at 0:31

What have been the outstanding examples of new writing in Wales for the past 9 years? 

Comment by National Theatre Wales on January 27, 2012 at 0:23

What do people think have been the outstanding examples of poetry/performance interplay - in Wales and beyond?

Comment by Richard Huw Morgan on January 25, 2012 at 3:23

The relation of poetry to performance and scriptwriting to theatre is just one impetus behind the good cop bad cop / chapter theatre development project which is taking the life and works of R.S Thomas as it's starting point. More will follow.

Comment by National Theatre Wales on January 25, 2012 at 2:23

Thanks for this thoughtful input Carmen.  I think it's important that you point to Persians - one of the range of opportunities we can offer writers is the opportunity to work on new versions of classics.  I also think it's both wonderful and very interesting that Kaite won the Ted Hughs poetry prize for this play.  The connection to poetry in Wales is so important, and worth thinking through in this debate.  The question about readings is also very interesting.  Where we sit, where the Sherman sits, where other companies sit in terms of this kind of write development still needs consideration.  Fantastic input, thanks.

Oh - ps - of course Provincial Life is a new piece of Welsh writing - it's by Peter Gill, from the Chekhov story!

Comment by National Theatre Wales on January 24, 2012 at 3:01

I love John Cage!  That quote is worth a thousand discussions!

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