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.

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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

The Actor’s Toolkit

We’re excited to announce the launch of The Actor’s Toolkit today, which gathers together its definitive range of titles for working actors and actors in training. Written by some of the finest practitioners in their fields, these books are designed to equip actors with everything they need to learn, develop and thrive.

As the UK’s foremost publisher of plays and books on theatre, Oberon is also the go-to publisher for those who teach the craft of acting and their students. The Actor’s Toolkit comprises eleven titles in all, based around the categories of Movement, Voice, Text, Auditions and Career.

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The launch is supported by a social media campaign, advertising in trade press and a discount offer on the Oberon website. Anyone interested should head to www.actorstoolkit.co.uk to learn more and get 3 for 2 on any of the eleven core books in the series until 31st January 2017 with the discount code TOOLKIT342.

Books in the Series

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The heat-death of the universe – from Beyond the Fringe

Beyond the Fringe opened as part of the Edinburgh Festival on 22 August 1960. The earliest known performance of Jonathan Miller’s monologue below, however, was as part of Bright Periods, a revue at University College Hospital, in 1957.
The monologue is now available in One Thing and Another: Selected Writings 1954 – 2016, a new collection of Jonathan Miller’s writing, edited by Ian Greaves. 

Some years ago, when I was rather hard up, I wanted to buy myself a new
pair of trousers – but, being rather hard up, I was quite unable to buy
myself a new pair. Until some very kind friend whispered into my earhole
that if I looked sharp about it I could get myself quite a nice second-hand
pair from the Sales Department of the London Passenger Transport Board
Lost Property. Now before I accepted this interesting offer I got involved
in a great deal of fastidious struggling with my inner soul, because I wasn’t
very keen to assume the trousers which some lunatic had taken off on a
train going eastbound towards Whitechapel.

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However, after a great deal of moral contortion, I steeled myself to the
alien crutch, and made my way towards the London Passenger Transport
Board Lost Property Sales Department in Portman Square, praying as I
did so, ‘Oh God, let them be dry-cleaned when I get there.’ And when
I arrived there, you can imagine my pleasure and surprise when I found,
instead of a tumbled heap of lunatics’ trousers, a very neat heap of brand
new, bright-blue corduroy trousers. There were 400 of them! How can
anyone lose 400 pairs of trousers on a train? I mean, it’s hard enough to
lose a brown paper bag full of old orange peel when you really want to.
And anyway, 400 men wearing no trousers would attract some sort of
attention. No, it’s clearly part of a complex economic scheme on the part of the London Passenger Transport Board – a complex economic scheme
along Galbraithian or Keynesian lines, presumably. So over now to the
Economics Planning Division of the London Passenger Transport Board
Ops Room:
‘All right, men. Operation Cerulean Trouser. Now, we are going to
issue each one of you men with a brand new, bright blue pair of corduroy
trousers. Your job will be to disperse to all parts of London, to empty railway
carriages, and there to divest yourselves of these garments and leave them
in horrid little heaps on the floors of the carriages concerned. Once the
trousers have left your body, your job ends there, and I mean that! All right,
now – are there any questions? Good – now, chins up and trousers down!’

And they disperse to places far out on the reaches of the Central Line.
Places with unlikely names like Chipping Ongar; places presumably out
on the Essex marshes, totally uninhabited except for a few rather rangy
marsh birds mournfully pacing the primeval slime.
And there in the empty railway carriages they let themselves separately
and individually into the empty compartments; and then, before they
commit the final existential act of detrouserment, they do those little
personal things which people sometimes do when they think they’re alone
in railway carriages. Things like…things like smelling their own armpits.

The Beyond the Fringe gang

The Beyond the Fringe gang

It’s all part of the human condition, I suppose. Anyway, it’s quite
possible they didn’t even take their trousers off in the compartments but
made their way along the narrow corridor towards the lavatory at the end
– that wonderful little room, where there’s that marvellous unpunctuated
motto over the lavatory saying, ‘Gentlemen lift the seat.’ What exactly
does this mean? Is it a sociological description – a definition of a gentleman
which I can either take or leave? Or perhaps it’s a Loyal Toast? It could
be a blunt military order…or an invitation to upper-class larceny…but
anyway, willy-nilly, they strip stark naked; and then, nude – entirely
nude, nude that is except for cellular underwear (for man is born free
but everywhere is in cellular underwear) – they make their way back to
headquarters through the chilly nocturnal streets of sleeping Whitechapel
– 400 fleet-white figures in the night, their 800 horny feet pattering on
the pavements and arousing small children from their slumbers in upstairs
bedrooms. Children, who are soothed back into their sleep by their parents with the ancient words: ‘Turn your face to the wall, my darling, while the
gentlemen trot by.’

The new collection One Thing and Another: Selected Writings 1954 – 2016 is published by Oberon Books and is now available to pre-order ahead of publication in March ’17. In keeping with Miller’s grasshopper mind, One Thing and Another leaps from discussions of human behaviour, atheism, satire, cinema and television, to analyses of the work of M.R. James, Lewis Carroll, Charles Dickens and Truman Capote, by way of reflections on directing Shakespeare, Chekhov, Olivier and opera.
Jonathan Miller is internationally celebrated as one of the last great public intellectuals. Read One Thing and Another to find out why.

Christmas Gift Ideas from Oberon!

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It’s officially December and we can finally stop holding it in and get excited about CHRISTMAS TIME!

There are no Scrooges or “Bah Humbug”s allowed in Oberon HQ and, with only about 2 weeks left until last orders in time for Christmas, we’re here to make gifting easy, with two amazing ‘Buy One Get One Half Price’ offers on our website, a reduction on Carlos Acosta at the Royal Ballet and a very sparkly newsletter indeed, complete with good book ideas for everyone including kids, poets, actors, historians, writers, readers and Shakespeare buffs!

Head over to OberonBooks.com and check out the banners at the top of the page for our latest special offers and new publications.
Or follow this link for our specially selected (and discounted!) Chrsitmas gift ideas for all the bookworms in your life. Happy reading!!

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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