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 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!

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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!!

baubles

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.

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

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

Video

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