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

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.

toolkit-image

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

toolkit-banner

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.

jonathan-miller

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!

oberon-christmas-12

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!!

baubles

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.
9781786820297

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.

video-audible

Watch Fergus recording his Audiobook

You can get Tips for Actors from OberonBooks.com

Bernard Kops at 90

Born in November 1926, the great post-war writer Bernard Kops will have his 90th Birthday later this year. Áine Ryan from Oberon Books went to meet him, to ask how it feels to reach this milestone.

The playwright, poet and novelist Bernard Kops will turn 90 this year. It’s the sort of milestone age, he jokes, that says ‘hello! I’m going to die soon! I’m still here!’ Going to meet Kops for tea and biscuits at this home near the Finchley Road, I also meet his wife Erica, two of his daughters, a son, a-son-in-law, a grandchild and three great-granddaughters. Sitting out in the communal garden which the area shares, there’s a real community feel, with the children having a water fight and interrupting our chat to get biscuits and kisses from their great-grandfather.

Kops

Bernard Kops

Bernard knows exactly what he wants to chat about. ‘I’ll tell you what’s going on with me.’ He says more than once. ‘I’m feeling a bit bereft because all the writers I came up with, they’ve all died, and I have no-one’. The recent passing of his friend and colleague Arnold Wesker has clearly affected him. But Kops still writes every day, so I ask if the people of London still inspire his characters and stories. ‘No’, he says, ‘it’s much more interior now. Parents, children, dying, living.’

‘I’m very anti-God at the moment’ he warns, before treating me to a reading of some new poems he’s been working on for an upcoming collection. The poem he wants to read is about his mother. A child’s view of a vast, warm, all-engulfing mother who gathers her family in her arms, mixed with images of the stress and worry of raising seven children with little money, and of the wider story of his family – genocide, holocaust, missing mothers, entire generations of missing mothers.

East London, 1950s

We speak a lot about Kops’ childhood and upbringing, and I’m fascinated by stories of London in the 40s and 50s. ‘There’s a place in the East End called Toynbee Hall, and on a sign it said ‘Drama Classes’, so I joined! The first play we did was a Sean O’Casey play, and I loved O’Casey, and he took me to other marvellous writers – Irish mainly – and poets, especially poets! And because I’m Jewish, there’s a kind of thing with the Irish… resonant… very similar.’ At one of these classes, the first play Kops ever wrote was about an IRA gunman hiding out, inspired in part by Sean O’Casey’s The Shadow of a Gunman. ‘Desperation, alienation, surviving against everything, and poverty were all in my head.’ Kops says, again aligning the Jewish experience with the Irish.

Local gardens

The local gardens

‘As a young boy I had no education because we were so poor, and the war bombed us out of our house. And then one day I walked into a library. If you’ve read the poem ‘Whitechapel Library, Aldgate East’ that will tell you the story of my life, really.’ ‘We lived in Shoreditch, and at that time it was stinking, you could push your finger into the walls of the house.’ Having no money to take his wife of 62 years, Erica, on a first date, he took her instead to the Italian Catholic church in Clerkenwell to Christmas Eve mass. The plan backfired when the strong incense which filled the chapel made Erica faint, causing a scene, much to the annoyance of the priest! Bernard still laughs at these stories, and talks about Erica at any opportunity. ‘She is beautiful and wonderful, but still down-to-earth and practical.’ ‘I live in a kind of little paradise’ he summarises. And, sitting in the sunshine discussing Yeats, Frost, and O’Casey with one of the most prolific and talented writers of our time, I have to agree.

Bernard Kops will turn 90 this November, with celebrations and events planned throughout Autumn ’16 at venues such as JW3 and The Jewish Museum.

Bernard and Erica, married 62 years

Bernard and Erica, married 62 years

Edinburgh Festival 2016!

The Edinburgh Festival is almost upon us, and the team here at Oberon Books have been working their socks off behind the scenes to get everything ready. We’re delighted to now be bringing you the very best new writing, theatre and performance from across the festival and the country, from leading venues and rising-star writers

Get your festival diary sorted with these must-see shows, or delve deeper by getting stuck into the text. Catch up with the history of the festival through epic collections like Forest Fringe: The First Ten Yearsor help raise money for Save The Children by going to see The Duke for free! There’s so  much to see, do, and get involved with.
Have a brilliant #EdFest2016 everybody! xo

9781783197514Started in 2007, the Forest Fringe was brought to life by Andy Field, Deborah Pearson and Ira Brand as an independent, not-for-profit space in the midst of the Edinburgh Festival, to enable and encourage adventurous, experimental theatre. Ten years on, it’s become a consistent Edinburgh highlight, and we’ve collected the best of the work that’s come out of it in Forest Fringe: The First Ten Years. You can check out their Edinburgh 2016 programme here.

9781783191437Duncan Macmillan’s star has been on the rise for a few years now and the acclaimed writer hit the big time with the recent West End transfer of his fantastic play People, Places and Things. His earlier work Every Brilliant Thing is back at Edinburgh this year, and was lauded by critics as ‘one of the funniest plays you’ll ever see about depression.’ It’s going to be an Edinburgh must-see, and you can book tickets here.

9781786820310The Duke is a brand new live solo show by Shôn Dale-Jones. A funny and poignant one-man show which playfully mixes fantasy and reality, it was made to raise money for Save The Children’s Child Refugee Crisis Appeal. It’s free to attend, with donations given in lieu of ticket price, and proceeds from sale of the play text will also go towards the appeal.

9781783198320A Good Clean Heart is a funny, moving play about coming of age, with two brothers raised apart, in different families speaking different languages. A Welsh and English bilingual production, which Alun Saunders won the 2016 Wales Theatre Award for Best Playwright in the English Language for, it uses innovative lighting and animated subtitles to help with translation. Book tickets here.

9781786820037Five Guys Chillin’ is a graphic, gripping, funny and frank verbatim drama exposing the chill-out chem-sex scene. An original look into a drug-fuelled, hedonistic, highly secret world of Grindr, and instant gratification, you can see it here.

97817831983825 Out of 10 Men is a perceptive, darkly humorous look at male suicide rates by Roland Reynolds (tickets here), whose Blush of Dogs was called ‘a demented cackle of a play‘ by Time Out. A modern retelling of the Greek myth of Thyestes, Reynolds debut is available along with 5 Out of 10 Men here.

9781783198283Adapted solely from real testimonies and interviews, E15 looks at the modern rent and housing crisis, and the campaign started by single mothers in Newham E15 when threatened with eviction. A pertinent piece of documentary theatre, you can see it at Summerhall in Edinburgh and buy it with The 56 (about the 1985 Bradford City football ground fire) here.

9781783199785My Eyes Went Dark is a modern tragedy about a Russian architect driven to revenge after losing his family in a plane crash. A huge critical success during its original run at the Finborough, it’s sure to be in demand this summer in Edinburgh at the Traverse.

9781786820136A fierce and playful feminist work exploring the psychology of extremism, Blow Off is explosive new guerilla-gig-theatre from the co-creator of festival hits Beats and Chalk Farm, with live music by Kim Moore with Susan Bear and Julie Eisenstein from Glasgow’s hottest indie-pop duo Tuff Love. See it at the Traverse.

9781783197637Hailed as a ‘short, sharp shock of a production… that recall[s] the form-bending virtuosity of Caryl Churchill’ by the New York Times, Alice Birch’s Revolt. She Said. Revolt Again examines the language, behaviour and forces that shape women in the 21st century and asks what’s stopping us from doing something truly radical to change them. Full of ‘ferocious energy’, this is sure to be a must-see.

9781783190928In preparation for the film role of a lifetime, an actor goes to extreme lengths to dig up the truth. Her subject is the celebrated artist, Janet Adler, who rejected the art world in favour of a private life. From the real to the unreal, fake to true and theatre to film, Adler & Gibb is a compelling story of misappropriation and death, and this re-staging of the Royal Court production will be a great show.

9781783197491Part play, part house party, Ten Storey Love Song is Luke Barnes’ adaptation of Richard Milward’s cult novel about the tangled lives of the residents of a Middlesbrough tower block. A love song to a loveless Teesside, this is a guaranteed good night out at the Pleasance.

9781783197361Equations for A Moving Body is a story about triathlons. It’s a story about the physiology of endurance – when our brains tell our bodies to stop – and the psychology of continuing. Hannah Nicklin muses on the people who share that journey with us – family, coaches, friends, ex-boyfriends – and the people we swim, ride and run alongside at Summerhall. Her book Collected Works For Performance is available here.

You can browse all of these titles on our website HERE.