HOW DO I GET MY SCRIPT READ?
Sat, 3 Mar 2001, 08:41 amJenny12 posts in thread
HOW DO I GET MY SCRIPT READ?
Sat, 3 Mar 2001, 08:41 amDear Theatregoers,
I'm eager to have my script read by just about ANY theatre company that's willing. It's a finished, polished work - that has even had a public, rehearsed reading in a recent drama exhibition in Sydney.
I am now eager for it to go further.
Does anyone know of any innovative, flexible theatre companies that would read such a script. Or pehaps any competitions that I could enter.
Just for the record; - it is a short 2 ACT play, averaging 45 - 55mins performance length. And the genre is black comedy.
Please e-mail me with any info you may have - it is greatly appreciated.
Jenny.
I'm eager to have my script read by just about ANY theatre company that's willing. It's a finished, polished work - that has even had a public, rehearsed reading in a recent drama exhibition in Sydney.
I am now eager for it to go further.
Does anyone know of any innovative, flexible theatre companies that would read such a script. Or pehaps any competitions that I could enter.
Just for the record; - it is a short 2 ACT play, averaging 45 - 55mins performance length. And the genre is black comedy.
Please e-mail me with any info you may have - it is greatly appreciated.
Jenny.
RE: Local writing
Mon, 5 Mar 2001, 06:47 pmHi Julia and David
julia wrote:
-------------------------------
> I think the idea of having the State Dramafest dedicated solely
> to local playwriting is a wonderful one.
I disagree.
:-)
I would like to see local writing given more than just some cursory encouragement, but i don't believe that's obtained by turning over what is currently a festival demonstrating the diversity of available one act writing to exclusively performing local work. We learn little about what constitutes good writing and good theatre by turning our backs on centuries of work and trying to reinvent the wheel from scratch. There's a great deal to be said and learnt from placing local work side by side on stage with the best (and worst!) writing from around the world.
In this context, i hope there is always a place for a one act festival that demonstrates the diversity of what is available. Sure, think about including sections or awards that highlight the achievements of local writers, but i believe it would be a mistake to do so to the exclusion of the wealth of other writing available.
I'm also concerned that the artificial limitations of a one act festival don't necessarily provide the best showcase for new writing. I'd much rather see a programme of full-length, full-scale productions staged throughout the year, as i took Dave's suggestion to mean.
I think if we're serious about supporting new and local writers, it's important to recognise that the commercial market for one act seasons has all but disappeared. Local writers are finding a voice at one act festivals, what i believe they need is more opportunities to extend their writing beyond the limitations of that form. How often do we see full length, locally written plays premiering on our stages?
> Just a final observation. At the series of playwriting workshops
> that I attended at Wembley, a limit of 15 mins and 3 actors
> was set for each play. While this limit seemed harsh to some
> and was not adhered to by many, the plays that were edited
> down to 15 mins and workshopped extensively were by far the
> most effective.
So often it's not a matter of the dialogue that's written, but what passes unsaid, that strengthens a play. Big red pen: playwright's best friend.
:-)
Cheers
Grant
julia wrote:
-------------------------------
> I think the idea of having the State Dramafest dedicated solely
> to local playwriting is a wonderful one.
I disagree.
:-)
I would like to see local writing given more than just some cursory encouragement, but i don't believe that's obtained by turning over what is currently a festival demonstrating the diversity of available one act writing to exclusively performing local work. We learn little about what constitutes good writing and good theatre by turning our backs on centuries of work and trying to reinvent the wheel from scratch. There's a great deal to be said and learnt from placing local work side by side on stage with the best (and worst!) writing from around the world.
In this context, i hope there is always a place for a one act festival that demonstrates the diversity of what is available. Sure, think about including sections or awards that highlight the achievements of local writers, but i believe it would be a mistake to do so to the exclusion of the wealth of other writing available.
I'm also concerned that the artificial limitations of a one act festival don't necessarily provide the best showcase for new writing. I'd much rather see a programme of full-length, full-scale productions staged throughout the year, as i took Dave's suggestion to mean.
I think if we're serious about supporting new and local writers, it's important to recognise that the commercial market for one act seasons has all but disappeared. Local writers are finding a voice at one act festivals, what i believe they need is more opportunities to extend their writing beyond the limitations of that form. How often do we see full length, locally written plays premiering on our stages?
> Just a final observation. At the series of playwriting workshops
> that I attended at Wembley, a limit of 15 mins and 3 actors
> was set for each play. While this limit seemed harsh to some
> and was not adhered to by many, the plays that were edited
> down to 15 mins and workshopped extensively were by far the
> most effective.
So often it's not a matter of the dialogue that's written, but what passes unsaid, that strengthens a play. Big red pen: playwright's best friend.
:-)
Cheers
Grant
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