PLAY WRITING

There are three parts to any theatrical experience: the audience waiting to be entertained; the actors ready to entertain; and the writers who provide the entertaining material that bring the first two together! This website needs a corner for home-grown writers, where they can be nutured and encouraged to write the plays you want to see.

A place where companies and producers can say: 'I'm looking for a play that would suit young people 15 to 20, older people 50 plus, or middle of the road; one act, or two or more; and goes for 25 minutes, fifty minutes, or more.

A place where writers can say: I write one-act plays with absolute minimum props, suitable for small amateur companies - general drama, comedy, and crime.

A place where publishers can trawl for new material to publish.

A place where companies can find plays to read.

What do you think, dear reader?

Ken Blowers wrote:
> This website
> needs a corner for home-grown writers, where they can be
> nutured and encouraged to write the plays you want to see.

I couldn't agree more, Ken.

There are plenty of great sites for playwrights around the world, but i'm yet to come across one that performs quite the same role of bringing the collaborative forces together in fruitful dialogue that this site does.

In my experience, Australian playwriting sites are particularly light on the ground and often hidden away in little backwaters of the web where they receive relatively little exposure and traffic.

> A place where companies and producers can say: 'I'm looking
> for a play that would suit young people 15 to 20, older
> people 50 plus, or middle of the road; one act, or two or
> more; and goes for 25 minutes, fifty minutes, or more.

That sounds like these message boards. But could be something a bit more like the old library page on this site:

http://www.theatre.asn.au/library.php3

I ran into a couple of problems migrating this page to the new format and the search tools could be vastly improved! But it does allow some searching of plays along the types of lines you're talking of.

> A place where writers can say: I write one-act plays with
> absolute minimum props, suitable for small amateur companies
> - general drama, comedy, and crime.

Once again, this could be these message boards - and they have been used by playwrights for these purposes in the past. Ideally though, i guess you'd be looking for a register of plays with synopses searchable as outlined above that would allow playwrights to make submissions. What else?

> A place where publishers can trawl for new material to publish.

:-)

A nice thought!

> A place where companies can find plays to read.

Allow playwrights to upload a copy of the play if they wish?

> What do you think, dear reader?

Some great ideas. Care to expand on any of the suggestions above?

Cheers
Grant

[%sig%]

I think this is an excellent idea. We (Collective Unconscious) have produced theatre in WA after having seen it performed in other Australian states or overseas (and, obviously felt impassioned by it!!!).
However, when we have seen them performed here, there is less incentive for us to repeat the exercise and it is time consuming trawling through scripts. I also think we should support our own local writers. So how do we find new material? Our last season was plays which we had written ourselves, but it is a mammoth exercise for a small company to write, produce and perform.
I know, I know, Grant, you only have 24 hours a day, and you do need to sleep as well, but you seem to have already done miracles with this site. I would love to be able to find West Aussie scripts through it. So if you have a spare minute or two...

Grant Malcolm wrote:
>
> That sounds like these message boards. But could be something
> a bit more like the old library page on this site:
>
> http://www.theatre.asn.au/library.php3
>
> I ran into a couple of problems migrating this page to the
> new format and the search tools could be vastly improved! But
> it does allow some searching of plays along the types of
> lines you're talking of.


Something like the library page would be ideal.


> Allow playwrights to upload a copy of the play if they wish?


This could get messy if there is a rights dispute. It could expose the ITA to unnecessary legal trauma.


> > What do you think, dear reader?
>
> Some great ideas. Care to expand on any of the suggestions
> above?

Since we're discussing writers:

David Meadows, a month or two back, suggested forming a company, consisting of actors, writers, directors and technicians, to create and produce plays. Now, I personally thought this was a bloody brilliant idea because, as a writer, it would allow me ready access to a group of players. I could experiment with scenes, characters and dialogue, gradually creating a whole that would, in my opinion, have been much stronger than had I created the whole independently, in my little darkened room where I don't see anyone but my wife for months at a time. Unfortuately, David's idea seems to have gained little support and so it has fallen through.

Now, I've tried establishing workshops by myself but I spent more time arranging schedules and meeting people in coffee shops than I did workshopping or re-writing. It defeated the purpose of the entire experiment. I learnt a lot from it and met some incredible people, some very talented actors, but it was far from being dynamic (here's the 90 page play, can we arrange to meet in two weeks? No? Three? How about four?).

If there was some way where writers could gain ready access to players (and directors) for readings and workshops* then local writers, actors, directors and the audiences would all benefit immensely.

Any suggestions?


* I'm aware that Stages (do they still exist? The web page is 3 years out-of-date) runs/ran workshops.

[%sig%]

"If there was some way where writers could gain ready access to players (and directors) for readings and workshops*"

If you ask they will come.

Surely any actor would be happy to spend some time workshopping the next great script to hit Perth stages and I would expect most directors would love the opportunity to find a new script.

Surely this is one of the reasons we have this site? If you have a script and want some willing bodies to help with it, here is the place. Just ask.

I workshop and dramaturg a lot of scripts for a variety of writers and never have had any problems getting actors to help with the reading stages of this workshopping.

Incidentaly Stages does exist (though in a period of flux as they look for their new director). I wouldn't judge their effectiveness by their website. As a typically underresourced arts organiusation i believe they are far more interested in developing scripts than being totally up to date with their website.

But I'm sure they would be glad to accept any online help offered...

[%sig%]

When we originally formed our Company (Collective Unconscious) we did it for this very reason - our members include actors, playwrights, technicians, directors, and film-maker. However, the group is still small and as a result most people within the group still carry out several roles, and also have second jobs so they can survive. This means people get over-loaded then pull back.

The reason we haven't expanded to make it work better is because we haven't been able to reach enough people to tell them about us. Our mistake. Now that I have found this site I intend to remedy that.
So... a blatant bit of advertising here ... visit our site at www.collectiveunconscious.asn.au to learn about what we do and how to contact us, or email myself and I will bend your ear a bit!

Of course, our group may not include exactly what people are looking for so I would really encourage people to post their wants on this site. I now check it every time I log on. It's the best thing around since sliced bread!!!!! I hope it only continues to gain support.

I highly recommend any one looking for a group of people who whole heartedly work together, all with the aim to improve themselves and produce the best and most interesting theatre to check out Collective Unconscious.

I had the pleasure to have a minor involvement in their fringe show and I have a deep admiration for the way they have a true collective philosophy to their work and also an impresive track history with the work they've put on.

[%sig%]

First an apology: I am not a member and perhaps I should not have barged in and said what I did - on my very first visit too! A bit rude. But I meant no disrespect. And my comments did bring forth some positve and spirited replies! So perhaps some good may come from it after all. I do hope so.

Thank you, Grant Malcolm. Your opening: 'I couldn't agree more, Ken' lifted my spirits. We do tend to focus abnormally on the actors - God Bless Them - don't we? They are the ones in the spotlight, after all. And the writer? Well, the writer is always hidden away in the shadows. We know the actor has it tough - competing with others of the same sex, in the same state and the same country. But the poor writer has it even tougher - competing with other writers of both sexes, in all countries, in all languages, living and dead! They may be too proud to admit they need the occasional leg-up, but by gosh they do - and they deserve it! I'm sure you agree, Grant.

Thank you, Tina. I can see you understand. I hope you find yourself some West Aussie writers. But please, let's not be too parochial here. There is no real place in theatre for interstate rivalries. The poor Aussies writers have it tough enough as it is.

Thank you, Auctor. May I suggest that if we are to exploit this wonderful Internet medium to the advantage of theatre that we allow the writers themselves to decide whether they are comfortable with uploading their plays. My point, you see, is that we are not talking about highly successful playwrights here. On the contrary we are talking of bottom-of-the-heap emerging playwrights - apirants who will happily trade what they have today for a chance to expose themselves to better things to come tomorrow!

Thank you David Ryding. You say 'If you ask they will come' meaning help is always there, I presume. I would like to think it was that easy. But then, if it was , would be having this collective discusion right now?

Thank you all again for your attention. On behalf of all emerging writers I thank you for your interest and concern. Perhaps we can pursue the matter again later?

Ken Blowers

Ken Blowers wrote:

> Thank you, Auctor. May I suggest that if we are to exploit
> this wonderful Internet medium to the advantage of theatre
> that we allow the writers themselves to decide whether they
> are comfortable with uploading their plays.

My comments were aimed at Grant and the ITA. Allowing whole works to be uploaded to their site could make them legally liable. For instance, it would be relatively easy to upload a copy of a script you didn't own the rights to, thus placing the ITA in breach of copyright law and exposing them to damages.

Also, anyone making anything available online needs to be aware that sooner or later it WILL be stolen. I have a friend in the US that several years ago put his movie script online as a demonstration and had it stolen. The thief shopped it around various studios as his own work. Writing is hard enough. You don't need to add that sort of grief. I don't even put my synopsis online anymore because I found them available on websites with someone else's name attached.

> My point, you
> see, is that we are not talking about highly successful
> playwrights here. On the contrary we are talking of
> bottom-of-the-heap emerging playwrights - apirants who will
> happily trade what they have today for a chance to expose
> themselves to better things to come tomorrow!

Too many writers will sell their soul for a sniff of success. I don't know of any other profession where the practitioner will toil for 6-12 months on a single project only to give it away to the first person to show an interest. Value your work, because if you don't nobody else will either and there will never be a better tomorrow. You don't have to be highly successful to be a dedicated professional, but you do need to be a dedicated professional to be highly successful.


> Thank you David Ryding. You say 'If you ask they will come'
> meaning help is always there, I presume. I would like to
> think it was that easy. But then, if it was , would be
> having this collective discusion right now?


I agree with Ken here, David. I don't believe it is as easy as you're implying. My wife and I tried posting here to advertise for our workshop and while we were very happy with the result, we were far from overwhelmed by choice. The Collective Unconscious does look very appealing, however.


Now, I've had a few more thunks about this, what might work is the occasional informal meeting. Almost like a writers' workshop but with actors actively involved. Alternatively, a more structured event where the writer-of-the-day provides copies of their script (or scenes), which are then disseminated to the actors, who them perform a (moved?) reading - perhaps with a director involved. There's a group in Sydney that runs something like this. I've forgotten their name. It's getting close to Stages' territory too, I suppose, but without the six week wait. Perhaps all this is just my insecurity showing (I'm disappointed more writers didn't comment), but I believe the key to great writing is to get the writers out of their hovels and engaging more with actors, directors and ultimately with the audience.

Just a few thoughts.

[%sig%]

"I agree with Ken here, David. I don't believe it is as easy as you're implying."

Well i am talking from my own experience and I've never had much problem getting people to help me with any project and have alot of people keen to help in the future.

I don't mean this to sound like bragging, i just mention this as a fact, that i have had no problems getting people to workshop stuff. I am a member of the Blue Room and stages and while I'm not very active with stages, I am very active at the Blue Room (though I've been bad and missed the last three shows). Does this mean anything? Who knows but I can only talk from my experience which has been excellent.

Basically I haven't made this as sweeping generalisations and grand hyperbole, I have spoken from my own experience.

Cheers

[%sig%]

G'day Ken

Welcome to this website. An auspicious introduction! Feel free to barge in at any time, (without the need to apologise!), if you come with such progressive ideas to provoke discussion. That's exactly what it's here for.


"We do tend to focus abnormally on the actors" ... I think I've had this argument before, with a contributor called Glynn...I would agree with you if you strike the word "abnormally". I argue that the very definition of theatre requires performers, a performance, and an audience... so it's hard not to focus on those three elements above all else.
However, the bulk of performances do rely on writing, and I will be the first to proclaim that good writing can make limp theatre tolerable, but nothing can save poor writing. So I take your point that writers are often unsung heroes and we need to encourage and open up opportunities for their development wherever possible.



Auctor makes an excellent point about valuing your work. If you give it away, it becomes worth less. (The same problem happens with "bottom-of-the-heap emerging" actors, so keen to play a part for free that the industry is swamped and nobody makes a viable income.) I understand the counter-argument: that the goal of the entertainer in this industry is often simply his/her OWN entertainment, rather than to make an income; but it's still apparent that even intangible rewards diminish if they are not valued.
Unfortunately, your "apirants who will happily trade what they have today for a chance to expose themselves to better things to come tomorrow" often forget to TRADE. Giving their services away doesn't establish guaranteed trade, only exploitation; and the mere 'chance of exposure to better things to come' is a weak promise to hope for. Far better to negotiate for definite, specific returns. At first they will always be far less than your outlay, but at least you will accumulate assets that will grow with interest and experience.



David may have made a veiled reference to Field of Dreams', "If you build it, they will come", but I think the concept is not such a dream.

You seem doubtful..."I would like to think it was that easy. But then, if it was , would we be having this collective discussion right now?"

The fact that we ARE having this discussion is the first part of the process! You posted a concern, and this website provided you with many avenues of discussion and like-minded thinkers. This is exactly where you're likely to find the help you seek, if you ask.
Continue to define what it is you seek, argue for its existence, and find supporters to collaborate with your ideas, and you are much closer to turning it into a reality.




Bon Chance
crgwllms

[%sig%]

David Ryding wrote:

> Well i am talking from my own experience and I've never had
> much problem getting people to help me with any project and
> have alot of people keen to help in the future.

I dare say, David, that your good reputation preceded you =).

[%sig%]

Three years ago on this website I suggested that new writers need:

"A place where companies and producers can say: 'I'm looking for a play that would suit young people 15 to 20, older people 50 plus, or middle of the road; one act, or two or more; and goes for 25 minutes, fifty minutes, or more.

"A place where writers can say: I write one-act plays with absolute minimum props, suitable for small amateur companies - general drama, comedy, and crime.

"A place where publishers can trawl for new material to publish."

Well, fate has been kind to me and to other new writers like me. And I wish to encourage as-yet undiscovered writers and theatrical companies, producers, and publishers to check out this website kindly presented by Alan Hornby and Gail Chadwick, which I feel sure is going to go a long way towards satisfying that great need:

http://www.armpitplays.com/

While Alan Hornby and Gail Chadwick continue to work hard at establishing Armpit Plays (http://www.armpitplays.com/) - shortly to be relaunched I believe, as Australian Plays (and possibly with a writing competition to boot) - I continue to list my plays elsewhere.

Those looking for good one-act plays can find 32 of mine very easily and very quickly, by simply Googling KEN BLOWERS PLAYS.

Take a look now. You'll be pleased that you did.

Ken Blowers
Brisbane