Playwrighting Top Tips: Part One

Last month, Dramatic Writing Masterclasses: Key Advice from the Industry Masters was published, providing access to the leading industry writing training for the first time.
This blog is the first in a series of ‘Tops Tips’ inspired by the book that we’ll be bringing you over the next few months. Part one comes from Fin Kennedy, Artistic Director of Tamasha theatre and founder of Schoolwrights.

Fin Kennedy: It has been a privilege and a pleasure to be one of the ten ‘Masters’. The combination of giving free reign to industry tutors to set vocational tasks alongside academic rigour is unique, while being able to research and develop with students new creative forms in a ‘Lab’ format each and every year is of real practical value to our company. I am delighted that some of this learning is being disseminated further with this book.

 

Can you tell us more about your dramatic writing teaching?

Fin Kennedy: I’m currently putting plans in place for the writers’ group that I’ve started in-house at Tamasha. There will be craft-based training about different aspects of playwriting, but I also want to start to train that group up as artist-producers able to take responsibility for curating, project-managing and particularly fundraising for their own projects.

It’s been a bugbear of mine over the last ten to twelve years that the traditional relationship between writers and organisations renders writers essentially passive. We’re almost entirely excluded from the infrastructure of theatre-making, which is weird given that everything starts with us. We’re where the ideas come from. We decide whose lives are worth putting a frame around.

Outside of the odd residency programme, you don’t get writers running theatre companies. You’re always freelance. You wait for the phone to ring. You wait to somehow come to a literary manager’s attention. When you do get a commission you’re told what the play you’re writing is or ought to be and sent away to write some drafts on your own. It’s disempowering. My experience started with the knockback I got for How To Disappear being rejected by every theatre in London, and having to fall back on my own resources and go “Actually, I can’t make a living out of play commissions, how else am I going to use my skills?” I think writers’ skills are applicable in lots of different contexts, but particularly in a community context. That’s something I’m passionate about training other writers up to do.

Fin Kennedy, photo by Phil Adams

What do you believe writers need to know about working in schools?

Fin Kennedy: I do a whole module on this. Amanda Stewart Fisher is an academic at Central School of Speech & Drama who writes a lot about community applied drama and she talks about the writer in residence role in the community context as being a temporary, shamanistic role. What she means by that is that it’s not about you. When you get a commission from one of the big companies like Soho or the Royal Court, it is about you and your voice and your vision and your name in lights. It’s not like that when you go into schools. This is not only because it’s less glamorous and there is not the same infrastructure but also because the close-up work that you’ll do is very collaborative.

You might have a group of young people for whom you are the workshop leader as well as the writer and gatherer of the material. That involves a channelling kind of process where you’re trying to capture their voices, their concerns, their worldviews and spirit and energy. Then you take all the fragmentary material that they’ll generate with you in sessions, take it away, give it your professional polish but hand it back to them in a form that they’ll recognise.

It’s self-effacing in that respect. I enjoy that process and I enjoy taking myself out of myself. I think it’s made me a better artist – it’s broadened my palate about the kinds of worlds and experiences I can write about with legitimacy. It’s about keeping a stake in real life. It’s easy when you’re a fulltime freelance writer to be holed up in your home/office/garret pontificating about how the world works without actually taking an active part in it.

I’ve not had a ‘proper job’, in terms of being at the office every day from nine to five, for a long time. I’ve got one now with Tamasha but before that I hadn’t had one for ten years and it’s easy to shed a lot of stimulus and experience that way. So I think it’s important for writers to use their skills in a very worldly way.

Thanks to Fin Kennedy and Jennifer Tuckett for their contributions to this blog. For more Top Tips, follow this blog over the coming weeks and months, and pick up a copy of Dramatic Writing Masterclasses: Key Advice from the Industry Masters

Fat Girls Don’t Dance

‘When I grow up, I’m going to be a dancer…and a singer and an actress…I’m going to be on stage…’

These are the opening lines of my one woman show, Fat Girls Don’t Dance. I have always known I wanted to be a performer. I started ballet and tap classes when I was just three years old, I sang everywhere I went and I used to put on plays for my family using a bench in our back garden as a stage.

I have also always known that my relationship with food is not a straightforward or particularly easy one. I used to hide food and eat in secret, even as a child. I would lie about how much or little I had eaten. I was obsessed with dieting and calories. I can even remember having a conversation with my Year 6 teacher about how I was going to lose weight but do it slowly and sensibly by eating a thousand calories a day, even though I didn’t really know what a calorie was, let alone how many I was consuming.

I was always a ‘chubby’ kid, but a confident and eccentric one. I loved singing and dancing and drama and I was good at it. As I got older I took on more classes. I was training in four types of dancing three days a week. I joined the school choir, the drama club, and attended a performing arts school on weekends.

However, the older I got the more I was aware of my body. I didn’t look like the other girls in my ballet class. They were all much taller and thinner than me. I was the best dancer in the class. I knew that. But they looked like ballerinas and I didn’t, which became painfully more obvious the older I got.

Eventually, this led to me trying to lose weight in very dangerous ways. I became obsessed with dieting and food, and although I lost weight in my late teens I started to binge and comfort eat. I yo-yoed through my early twenties, then steadily got bigger until I was clinically obese and emotionally unstable. It is only in the past few years I have started to accept and understand my relationship with food and made positive changes to make me feel happier and healthier.

Fat Girls Don’t Dance has been a massive part of this. It is an autobiographical account of my relationship with food in parallel with my development as a (pretty sick) dancer. I knew I wanted to write a show about body image after a particularly wine-fuelled Arvon course, but I didn’t know how to approach it. Then one day I was on the phone to my Dad, and out of the blue he asked me if I missed dancing and everything clicked.

Over the next year and a half I wrote down everything I could remember about dance classes and food and diets and losing and gaining weight. The supermarket aisle crises, Christmas binges, drunken dance-offs, nightmare auditions and exercise regimes. I recalled the party where a 14-year-old boy told a 14-year-old me that I didn’t look like a dancer, the casting director that told me I was ‘too fat to play pretty and too pretty to play fat’, and the boyfriend who said I looked like a different person because I’d lost weight.

I wanted the show to be very physical, telling my story not only with my voice but my body. I started dancing again, and choreographing physical work along with the words, including a pretty epic tap dance and what I now believe to be way too many sit ups.

I also wanted to make it funny and, at times at least, enjoyable to watch. I wanted it to be accessible and, although this topic is a very dark and serious one, humour is a great way of breaking down taboos and allowing us to relax and open up to each other.

Whenever I have performed Fat Girls Don’t Dance, whether that be in London or Bristol or the Edinburgh Fringe or in a school or on the glamorous shores of the Isle of Wight (thank you Ventnor) there will always be someone who says,

‘Yes. I get you. I understand. I feel that too.’

Body image is a huge issue that is not talked about openly enough. By performing this show I am sharing my own story in the hope that people will relate to it, or at least get that little bit closer to understanding the importance of positive body image, the struggles that are faced, especially by young girls, in achieving this, the expectations of dancers and performers, and the dangers and realities of eating disorders/disordered eating.

Fat Girls Don’t Dance is like a scrap book of my own experiences and how our perceptions of each other and ourselves can shape who we are and what we achieve.  This little book shows my journey through the bad and the good. A Fat Girl Manifesto, if you will. It explores what I believe are the experiences that have shaped me as a person, be them with friends, family, lovers, haters or strangers. I hope that you like it, reader. I hope it gets you laughing, maybe crying, talking and most importantly, dancing.

Lots of love, 

The Masters at Work

Oberon is delighted to bring you Dramatic Writing Masterclasses: Key Advice from the Industry Masters which brings together for the first time the knowledge of professionals who have led the way in dramatic writing in the UK.
Senior Editor at Oberon Books George Spender, said: “All of us at Oberon are thrilled to be a part of this extremely exciting project that will no doubt have a tremendous influence on the next generation of writers and theatre makers.”
Taken from the introduction to the book, written by its Editor Jennifer Tuckett, this blog will introduce you to the new collection and what you can expect from it. 

9781783193240Drama Centre London is one of the UK’s best drama schools, having trained many of the most successful theatre and screen artists in the UK, and Central Saint Martins is one of the world’s leading colleges of art and design. The two organisations have recently come together to create the UK’s first MA in Dramatic Writing covering writing for theatre, film, television, radio and digital media.

As part of this new MA, we brought together ten people who have led the way in the training of dramatic writers in the UK. During the course’s first year, with these ten ‘Masters’, we ran The Year of Experimentation to investigate what dramatic writing training can be in the UK – the first time these top industry professionals had ever worked together and pooled their advice.

This book shares the results of this year with you via ten Masterclasses from our Year of Experimentation Festival – the culmination of our first year – and provides access for the first time to the leading industry training. Our ten Masters are:

  • Ola Animashawun, founder of the Royal Court Theatre’s Young Writers Programme
  • Stephen Jeffreys, Literary Associate at the Royal Court Theatre for eleven years and creator of Masterclasses which have led the way in Playwriting training in the UK
  • Caroline Jester, who has been Dramaturg at Birmingham Repertory Theatre, co-author of the book Playwriting Across the Curriculum and has pioneered collaborative and digital playwriting programmes worldwide
  • Fin Kennedy, winner of the first Fringe First award ever awarded to a schools production and co-Artistic Director of Tamasha Theatre Company
  • Kate Rowland, founder of BBC Writersroom
  • Philip Shelley, instigator of the Channel 4 screenwriting course
  • Nina Steiger, Associate Director at the Soho Theatre
  • Jennifer Tuckett, Course Leader for Drama Centre London at Central Saint Martins’ new MA Dramatic Writing Course
  • Steve Winter, Director of the Kevin Spacey Foundation and co-creator of the Old Vic New Voices 24 Hour Plays and TS Eliot US/UK Exchange
  • John Yorke, creator of the BBC Writers Academy and former Head of Channel 4 Drama and Controller of BBC Drama Production

These ten Masterclasses offer a unique opportunity to learn from those creating and running the best dramatic writing training in the UK, whether you are a writer, student, teacher, arts professional or simply interested in writing.

jennifer-tuckett

Jennifer Tuckett

Many of these schemes receive thousands of applications a year but what these people teach or think about dramatic writing and why they created these programmes is often not publicly available. And if it’s not publicly available then how do you know what is being taught or thought about if you’re not a part of these schemes? And how do you become a part of these schemes if you don’t know what is being taught or thought about? It seemed to us this is a potentially vicious cycle that we wanted to address.

Each Masterclass includes an interview providing further insight into who these Masters are and additional tips. Some also include Q&As with or input from the audience from our Year of Experimentation Festival.

We do hope you’ll enjoy the book, and will use the Masterclasses to inspire your own writing.

Have your say in the future of dramatic writing in the UK by taking part in this survey, the results of which will be discussed at London Writers’ Week in summer 2017 – https://www.surveymonkey.com/r/dramaticwriting

Tips for Actors – the Book Fairies are Back!

On Tuesday 8th November, our new pals from last month’s blog – the Books on the Underground fairies – were busy sharing copies of Tips for Actors by Fergus Craig on the London tube network! Were you lucky enough to find a copy? Let us know on Twitter.
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In the most important theatrical book of this or any other decade, moderate twitter sensation @tips4actors (unrestrained by a 140-character limit) gives you all the advice you need to take your acting to the next level.

Topics include upstaging your fellow actors, what to wear on the first day of rehearsals (leather jacket and cowboy boots if you’re male and over 40), and pretending to be an animal.
Individual gems include:

  • ‘Learning to act is like learning to ride a bike. The likelihood of anyone ever paying you to do it is very low.’
  • ‘Never read the script. Would your character read the script? No, of course not. For them the script doesn’t exist.’
  • ‘Posh? Auditioning for a working class role? DON’T take your butler into the casting with you. Tell them to wait outside’

This is an essential tool for any actor. Why? Because nobody else is brave enough to tell the truth like Fergus Craig.

Fergus Craig is an actor who’s been a regular on a number of TV series on BBC and Channel 4, and has written for Channel 4’s Cardinal Burns (Best Sketch Show at the British Comedy Awards) and a number of BBC Radio shows including Colin and Fergus’s Digi Radio. Most recently, Fergus has starred alongside David Hasslehodd in the Emmy-nominated Hoff the Record.

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Watch Fergus recording his Audiobook

You can get Tips for Actors from OberonBooks.com

Why is Removal Men at The Yard Theatre?

Removal Men is a new play with songs written by M. J. Harding with Jay Miller and published by Oberon Books. Set in an immigration detention centre, which makes for dark and unsettling comedy, Removal Men tells the story of Mo, a detention officer, who falls in love with Didi, a Druze detainee.
In this post, Jay Miller, Founder and Artistic Director of The Yard Theatre, where the play runs Tues 8th Nov – Sat 10th Dec, explains why they have made Removal Men.

Removal Men follows a short but determined tradition at The Yard Theatre of making work which allows us to look contemporary western culture straight in the eye. And what Removal Men sees there is our inability to love in a world of wire fences. A system of inequality that has left us brutalised and confused. A crisis of compassion.

removal-men

All this has been intensified by that other crisis, the one whose name has become so familiar as to be horrifyingly mundane: the migration crisis. In Removal Men, we set out to make a show which used an IRC and the broader context of the migration crisis to explore the idea of a systemic cultural ‘removal’.

This removal runs deep. It affects all of our collective decisions, creating indecision and confusion. And yet it does not seem to form part of a contemporary conversation. There are too few people examining the causes and consequences of a world where it has never been easier to communicate and yet we still cannot connect; a world where we are bombarded with images of suffering, numbing our empathy; a world in which hierarchies seem so entrenched that they render love (in whatever form that may take) almost powerless.

removal-2

Removal Men may at times be uncompromising, but it is not without hope. It is at The Yard Theatre because it attempts to look at the world we find ourselves in today, a world that is divided and scared, where love is distorted, confused – and confusing. And in this attempt, we hope to create conversation and feelings that may lead to a change.

Is this naïve idealism?

Probably.

But that is what is needed right now.

removal-trailer

Watch the trailer

You can buy tickets for Removal Men from The Yard Theatre’s website. you can buy the book from Oberon Books’ website.

The Student Guide to Writing: Playwriting: Part Three

Jennifer Tuckett, Course Leader for the MA Dramatic Writing at Central St Martins, and head of the new ‘The Student Guide to Writing: Playwriting’ competition, has kindly come back as a guest blogger for Oberon Books to update us on the next stage of the competition, what’s coming up for the winning playwrights, and how you can get your hands on the lesson plans and the wonderful writing they inspired… 

I’m pleased to be writing to let you know that The Student Guide to Writing: Playwriting, the new competition from the Bush Theatre, Oberon Books, MA Dramatic Writing at Drama Centre London at Central Saint Martins and Writers at Work Productions has announced the production of the winners’ play.

The winners’ play will be on the theme of what it means to be a student in the UK today, drawing inspiration from the Cultural Learning Alliance’s recent figures showing a decline in the number of students studying the arts at school level, the announcement of the end of the Creative Writing A level last year and the forthcoming debate on whether arts subject should be part of the EBACC, scheduled for July 4th in the Houses of Parliament.

The winners, hard at work on their play

The winners, hard at work on their play

The production will take place as part of a Student Guide to Writing: Playwriting day at this year’s London Writers’ Week, and the day will also feature free workshops with Associate Dramaturg at the Bush Theatre Rob Drummer on how we can create a more diverse theatre industry and Senior Editor of Oberon Books George Spender on how theatre publishing works, continuing the competition’s aim to provide access to the leading training coming out of the industry for writers everywhere to benefit form.

Winners include Vee Tames, a 17 year old student from Colchester who used the lesson plans from the competition to write her first play, Titilola Ige, a MA student from Croydon who also works in a charity for young people, Monique Geragthy, an undergraduate student from Queen Mary’s University who also used the lesson plans to write her fist play, and emerging writers Miriam Battye from Salford and Mufaro Makubika from Nottingham.

Jennifer Tuckett and winner Titilola Ige

Jennifer Tuckett and winner Titilola Ige

We’re delighted to be launching stage two of The Student Guide to Writing: Playwriting competition. We hope the day on July 5th will provide an opportunity to showcase the work of the winners of The Student Guide to Writing, alongside a second opportunity to offer free workshops and access to the leading training, this time on why its important to provide access and how theatre publishing works. Rob’s workshop will also offer tips on rewriting and where to send your work so all entrants to the competition can get further free advice.

We’re also particularly excited about the theme of the play – with the forthcoming debate on EBACC, we’re pleased to be giving the student winners a chance to have their say on this subject matter via their winners’ play, in-keeping with the theme of the competition to empower students and young people and encourage more diverse voices to be heard by providing access to the leading training coming out of the industry.

Lesson Plan writer - Fin Kennedy

Lesson Plan writer – Fin Kennedy

Fin Kennedy, Artistic Director of Tamasha Theatre Company and one of the lesson plan writers said: “The Student Guide to Writing: Playwriting provides important access to the leading playwriting training coming out of the industry and I am delighted to be involved. The innovative online format empowers writers, teachers and groups across the UK to take the initiative and start writing, whatever their circumstances, using new media to democratize vocational training. The implications for access and diversity are very exciting indeed, and I hope it inspires other initiatives of this kind”.

Ola Animashawun, founder of the Royal Court Theatre’s young writers’ programme said: “Craft, diversity and well told stories from a vast range of perspectives, experiences and individual voices capturing what it means to be human – these are my passions. Hence, The Student Guide to Writing felt like a great match.  The more people we can inspire to add their voice to the canon, the more we increase the chances of creating a more open, enlightened, incisive, insightful and equitable world for us all to play a part in.”

Lesson Plan writer Ola Animashawun

Lesson Plan writer Ola Animashawun

Vee Tames, schools winner: “Writing for the stage had always been something I wanted to try for a long time. However, I lacked the knowledge to know where to begin and the particular demands of the form. The lesson plans were very concise and provided you with exercises you could use immediately to spark ideas and clarify each element of your work such as structure, dialogue and character. The competition deadline itself is what gave me that final boost of encouragement to enter! I was pleased when I found out I won the Schools Category with my first ever play; it is immensely gratifying and such a confidence boost.”

Jennifer Tuckett and lesson plan writer Lucy Kerbel

Jennifer Tuckett and lesson plan writer Lucy Kerbel

Miriam Battye, emerging/general category winner: “I want to be a really great writer, the best I possibly can be. I’ve been given sage advice to just read, read and read. It’s a foolproof way to get better. Studying is much the same thing. It’s just getting as much stuff in your head so you’ve got more thoughts to work with.

Mufaro Makubika, emering/general winner: “This was a great opportunity to learn about craft from highly respected industry figures. It’s a fantastic honour. To me, all a playwright wants to do is get their work out and work more.”

 

For more information on the day or to book tickets, please go to: https://www.bushtheatre.co.uk/festival/the-student-guide-to-writing-playwriting-day/

Dramatic Writing Masterclasses: Key Advice from the Industry Masters” is also available to pre-order at http://oberonbooks.com/creative-writing/dramatic-writing and “The Student Guide to Writing: Playwriting” will be published at the end of 2016, which will include the lesson plans and winning writers’ work in one volume to provide permanent access to the lesson plans and the leading training for the first time. We hope you will join us in July to see the winner’s work and for the second stage of The Student Guide to Writing: Playwriting and the opportunity to get further advice and feedback on your plays.

The Student Guide to Writing: Playwriting – part two

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The winners of ‘The Student Guide to Writing: Playwriting’ competition, which has been running since January, have just been chosen! I’ll hand over to Jennifer Tuckett of Central St Martins to tell you more and to announce the names of the winners. 

I’m pleased to be writing to announce the winners of The Student Guide to Writing: Playwriting, the new competition from the Bush Theatre, Oberon Books, the MA Dramatic Writing at Drama Centre London at Central Saint Martins and Writers at Work Productions.

Entries were received from all over the UK for the competition, which provided writers with the opportunity to follow lesson plans written by those leading the way in the industry prior to sending in their play.

Workshop1There are 5 winners chosen from 4 categories: schools, Universities, emerging writer and general writer.

University entries included entries from Edinburgh, Manchester, Aberystwyth, York, Leeds, Reading, Greenwich, East Anglia, RADA, Birkbeck, Brunel, Central School of Speech and Drama, Durham, Central Saint Martins, Open College of the Arts, Queen Mary, Bangor, Cambridge, University of the Arts London and others. Schools entries included entries from schools in Colchester, Rugby, London and others. Emerging and general entries were sent from all over the UK.

One of the things we were most pleased about was how many entrants commented on how useful the lesson plans had been, which are written by those who have led the way in the industry in terms of playwriting training, including Ola Animashawun, founder of the Royal Court Theatre’s young writers programme, Fin Kennedy, founder of Schoolwrights, Lucy Kerbel, founder of the Platform project for writing for young girls, Rob Drummer, Associate Dramaturg at the Bush Theatre, Steve Winter, Director of the Kevin Spacey Foundation, and others.

As much of the training coming out of the industry hasn’t been published, it can be hard to know what is being taught and thought about, especially if you’re not based in London, so we’re delighted to be able to provide access to some of this training for the first time.

The Student Guide to Writing photoThe impact this can have is massive as well – for example at a University where I used to work I saw student numbers studying playwriting rise from 0 when I joined the University (which had attempted to teach playwriting before to no success) to 8 in the modules’ first year to 40 in the modules’ second year to 80 in the modules’ third year, with many of the graduates winning awards or securing attachment programmes at professional theatres.

And, so, without further ado, the winners from The Student Guide to Writing: Playwriting are….

Schools category: Vee Thomas, Colchester Grammar School

University category: Titilola Dawudu, Central Saint Martins, and Monique Geraghty, Queen Mary, University of London

Emerging/general category: Mufaro Makubika, based in Nottingham, and Miriam Battye, based in Salford, Greater Manchester

According to Rob Drummer, Associate Dramaturg at the Bush Theatre: “The breadth and quality of submissions has been inspiring and the five very different and deserving winners have written with real vibrancy. I was impressed and heartened to see so many writers asking big questions of the world we live in and am looking forward to getting to know them and their plays over the coming months. The Bush is proud to partner on a competition that reflects the plurality of our culture and shines a light on stories and writers that aren’t always visible. I can’t wait to join in celebrating all the winners at London Writers’ Week in July.”

George Spender, Senior Editor at Oberon Books, said: “It’s a delight to see so many entries, and for all these writers to be engaging intelligently with these lesson plans. The diversity, scope, and ambition of these winning plays is to be applauded.”

The personal favourite things I noticed from the entries were: ideas/plays that were about something (often this was an exploration of a theme or idea that it felt the writer was passionate about – I think Rob’s and Ola’s advice in lesson plan one and two to think about what issues you are passionate about and what would be the one play you’d write before you die was excellent advice), use of structure/plays that held our attention the whole way through, and use of theatricality/plays that used the stage/the medium of theatre in exciting ways.

Workshop2The winner’s work will be shown as part of London Writers Week at Central Saint Martins in July, whose full schedule will be announced in early May.

Following this, the lesson plans and winners’ work will be published by Oberon Books at the end of 2016, in addition to another volume “Dramatic Writing Masterclasses: Key Advice from the Industry Masters” which will provide key advice across all forms of dramatic writing from those leading the way in the industry.

For more information on the competition or to sign up for the mailing list to be kept informed on the forthcoming production, please go to: www.thestudentguidetowriting.com

Dramatic Writing Masterclasses: Key Advice from the Industry Masters” is also available to pre-order at http://oberonbooks.com/creative-writing/dramatic-writing and “The Student Guide to Writing: Playwriting” will be published at the end of 2016, which will include the lesson plans and winning writers’ work in one volume to provide permanent access to the lesson plans and the leading training for the first time. In the meantime, below is a highlights film from the launch event, which hopefully provides some more useful advice. We hope you will join us in July to see the winner’s work and for the final free workshop on The Student Guide to Writing: Playwriting and chance to get feedback on your plays.

Jennifer Tuckett