The Writers Room Open House Day ↓ Leave a comment
Writing for Performance - Open House
Bristol Old Vic
Thu 15 May 2008
6.30pm 8.30pm
Scriptwriters in the region are invited to an evening at the Bristol Old Vic, hosted by Board members, Dick Penny and Catherine Johnson.
This open and informal session will be an opportunity for writers to discuss with Dick and Catherine the future development of new work at the theatre, and to launch a debate on how the theatre might be able to facilitate the making of that new work.
To support this event, the theatre will be adding a new section to its website specifically for writers. The Writer’s Room, in the first instance, will contain a blog where you are invited to ask questions, post comments and start debates prior to the meeting. For those of you who may not be able to attend the session, a podcast of the meeting with Dick will be published after the event.
This event forms part of the ongoing process of consultation with all our ‘audiences’ and is only the beginning of what we hope will be a useful and continuous dialogue.
To confirm attendance on the 15th please email Sharon Clark on clark.sharon@blueyonder.co.uk
charley bramley says:
brilliant lesson last time (Y)
um ust thought would say
April 30th, 2008 at 8:27 pm
Rina Vergano says:
The Writers Room is a welcome initiative, if it leads to more new writing productions. There seems to be a lot of money and energy expended on new writing initiatives and writing networks - what writers really need are productions of their work, a lab space in which to “play” with other theatre-makers like directors and actors. In order to have a really fertile creative theatre scene in Bristol, there has to be a space where we can all meet each other creativly, and have creative theatrical “love affairs”. This has to happen if we’re going to move away from endless recycling of existing classical and old works, or adaptation of classics into an innovative brave new writing world for theatre. Bristol has never really had this, and that’s why the theatre scene has stagnated here so badly. It feels like the time is right for turning that around. Theatre starts with writing and writers. If writers aren’t supported and encouraged to do their thing - and commissioned properly and paid! - then we all get worn out, disillusioned and frustrated, and there is no renewal. So Writers Room yes, bring it on! if it’s linked to real opportunities for productions and collaborations with other theatre-makers. Just what Bristol needs.
April 30th, 2008 at 8:49 pm
Peter Kesterton says:
I agree whole heartedly with Rina. At the moment emerging writers like myself, who have had a couple of professional productions, have to look to London to take our careers forward and get commissions. This is wrong.
There should be a place in Bristol where work can be tried out and tested, perhaps through rehearsed reading, such as the excellent Script Space initiative. But then there also needs to be a route through to a professional full scale production.
In order to enable this, there needs to be someone at the Old Vic who can champion new work. I don’t think we need a script reading service but rather someone who finds the best writing talent in the region and helps them develop their work to the highest possible level. So that plays from Bristol can hold there own nationally and international as being works of quality. Now that would put the BOV on the map!
May 1st, 2008 at 9:42 am
Catherine Swingler says:
I agree with Peter - someone at the Old Vic to champion new writing is definitely needed. I also think there is scope for rehearsed readings and script workshops where writers get the opportunity to work with actors to develop their work, ideally to production level. To get a real collaboration between all theatre practioners would be great and really strengthen the Old Vic.
May 7th, 2008 at 4:24 pm
Andy Graham - (Chair) Southwest Scriptwriters says:
The Old Vic should be the first theatre any writer in the South West thinks of when they’ve written a new play. Unfortunately, it’s been a long time since that’s been the case.
Traditionally, the theatre has provided major productions of established plays in the main house, challenging new work in the studio and basement, and a commitment to develop new writing throughout the area.
Over the last few years, though, the last function in particular has been allowed to wither on the vine. This is a situation that’s completely unacceptable in a city of the size, diversity and vitality of Bristol.
The Old Vic needs a full-time Literary Manager with a commitment to finding and developing new writing. The studio needs to be more than just a space for hire with a similar commitment to presenting new work. At the same time, we need initiatives such as workshops and master classes with recognized writers, directors and actors. A Writer-In-Residence could work in conjunction with the Lit Manager, possibly mentoring local writers. A regular new writing competition would help to raise the profile of the theatre in the area. None of these ideas are new and are already well-established in cities such as Manchester, Birmingham and Glasgow. They should be happening in Bristol too.
It’s clear that Bristol is the cultural centre for many smaller communities in the South West. It should therefore be taking a lead as a focal point for new writing.
Ultimately, a publicly-funded civic theatre like the Old Vic has a social responsibility. That responsibility is to nurture the creative aspirations of the community it serves.
May 10th, 2008 at 5:20 pm
Jim Mortimore says:
Any process which helps writers develop their skills and fulfil their needs without turning them into soapy melodrama-drones deserves a gold star.
I’d be interested in discussing “Instinctive Writing vs Reasoned Writing” if anyone’s up for it.
May 11th, 2008 at 9:00 am
William House says:
It looks like the tide is turning with BOV and new writing. This website and the meeting this week are really good signs, so we writers must do our bit by committing our talent and enthusiasm. But what is really needed to create the heady, vibrant, innovative atmosphere we would like? Some ideas:
Inspiration: BOV could set an example by hosting productions of innovative theatre from elsewhere - probably in the smaller spaces - demonstrating a commitment.
Providing physical space for meetings and workshops: the sense of place really matters - there is something about groups and meetings within the theatre that can inspire - energy in the walls or something!
Organisation: using BOV’s infrastructure to put writers and collaborators in touch with one another and with production teams. This is where the literary manager is needed.
Offering the possibility of the best work being developed and produced at BOV - as readings and full productions. Of course, this would need to be competitive but short or miniature works gives more writers a chance.
Bringing together creative people - of course actors and directors, but also dancers, choreographers, composers, musicians, puppeteers - for workshopping ideas and showing what is possible. This is very difficult for independent groups to accomplish.
Encouraging theatre that is in and of the people: linking with community groups, giving voice to the voiceless, promenade pieces, improvisation and other models that blur the actor/ audience divide. This could mean integrating with groups that use theatre in education and healthcare and politics, such as ‘Theatre of the Oppressed’.
All this costs money - but not megabucks! If BOV can provide the structure - give us the creative ’space’ - including permission to break new ground - then it’s up to us to make it work. Real creativity has to be bottom-up.
May 12th, 2008 at 6:27 pm
Anna Farthing says:
The Bristol Old Vic is still a strong brand name in the rest of the country and beyond, despite our immediate local difficulties with getting it up and running again. This is an asset that should not be ignored.
Supporting new writing is one of the best ways of developing a confident regional cultural voice and strengthening the identity of the city. Manchester, Liverpool and Glasgow have been cited as writer friendly cities, and it is true that they have professional drama writers who still live there, writing about what they know for a national audience. This has helped put those cities on the national stage (and screen)
An open and supportive environment for writers can have beneficial effects above and beyond the work that is actually produced. Supporting writers means supporting creativity, risk taking, ideas, questions, research and plural perspectives. That has to be a good thing for the cultural life of the city as a whole.
While it is crucial to support beginning writers, emerging writers, and new voices, it must also be remembered that this does not necessarily always mean “young” writers. Voices develop at different ages and stages of life. But at whatever age they begin, a structure needs to be put in place so that we do not lose to elsewhere the writers that we nurture here. As Pete says, routes through to professional production need to be put in place from the off.
Given the multi-platform world we live in, writing for drama at BOV could also encompass the potential of developing work in other media, in addition to the theatre itself. Is there something that can be investigated regarding sharing Intellectual Property so that the theatre can benefit when success is found? The models of Salad Days and Peter Pan come to mind……..
Andy is right to talk about social responsibility and nurturing creative aspirations, but professional writing can and should be profitable too. These two strands can co-exist and support one another. A self sustaining writing development fund may just be a pipe dream, but it would be less vulnerable than one dependent on the whims of external funders.
Bristol Old Vic should be the natural home of new writing in the South West. Lets make it so.
May 13th, 2008 at 12:59 pm
phil john says:
Good on yer for that. Look forward to future developments!
May 15th, 2008 at 10:03 pm
Sharon Clark says:
It was really great to see so many writers in a room at the Bristol Old Vic on the 15th. Your comments were extremely useful and we are busy collating them so we can use them to map out ways in which the Bristol Old Vic can engage with and provide a home to the writers in its city and region.
I am afraid that on the night we suffered from technical gremlins and the recording didn’t work - so there is no podcast. I am extremely sorry for this.
We will be inviting you all along shortly to hear the ideas that we have come up with for the future of writing at the theatre. If in the meantime there are any points you wish to raise or comments you’d like to make please use this blog which we check daily.
Looking forward to seeing you soon.
May 28th, 2008 at 10:08 am
cathy keal says:
Did those writer’s meet up and are they part of a collaboration?
I’m interested to know as it now Bank Holiday August 2008 and no comments have been left since May 2008…
August 25th, 2008 at 10:39 pm
Sharon Clark says:
Hi Cathy
The first meeting was a consultation meeting with writers in the region. There will be a second meeting in mid-September, the date of which will be announced shortly.
August 28th, 2008 at 5:25 pm
Sharon Clark says:
There will a second meeting for writers on Tuesday 23rd September at 6.30pm in the cafe bar at the theatre. This meeting is to discuss the report I was commissioned to write around models of how the theatre could forge, develop and sustain working relationships with scriptwriters in the region.
If you would like to attend the meeting please email me. If you would like to read the report prior to the meeting please stipulate that in your email and I will attach a copy.
Many thanks.
clark.sharon@blueyonder.co.uk
September 8th, 2008 at 4:34 pm
Sharon Clark says:
Sorry it’s been a long time since anything has been posted on this blog… but I do hope from now on to post regularly and keep everyone up to date with developments. Please feel free to comment or give feedback. The more robust this blog the better…
Script in Hand, the first major initiative from The Writers’ Room started this week and we had the first day of rehearsals yesterday. It was amazing to see all the writers and directors and actors in the theatre’s Cafe Bar, all coming together over coffee. Catherine Johnson’s Suspension also starts rehearsals this week so all in all the theatre has 6 companies in the building all making work for the Studio stage - with our five shows in forty eight hours. Everyone seems to be in high spirits and energy is high… it is difficult to believe that just 18 months after closure we have a building full of people working on new plays. But this is not the end, merely the beginning and so we will be announcing further activity and initiatives as they are planned. However, I was bowled over by the sheer volume of scripts received.. and the standard.
Our first Masterclass took place on Saturday with the playwright David Eldridge. 25 writers attended to hear David talk about his career and to discuss with him the way he works. He was extremely generous, funny and insightful and we all came out feeling that we had discovered or learned something from talking with him and each other. Once again, amazing to sit in a rehearsal room with 26 writers just talking about work - how we do it, where we find it, what are its challenges.
Well I hope, despite this weather, that some of you can make it to the theatre this weekend. I look forward to seeing you there.
February 5th, 2009 at 12:49 pm
Sharon Clark says:
Well the weekend is over. Like a good meal it takes an age to prepare and only moments to consume.
I woke up on Friday morning and cursed and howled at the weather… Snow and ice and wondered if Shiona Morton and Lissa (writer and actor in Meat and Right) would make it from Devon and South Gloucs. Was preparing my speech announcing the cancellation of the show as I trudged slowly and gingerly to the theatre. Opened the front doors and there was Shiona and Lisa having a cup of coffee… looking surprised at my rather worried frown. So on we went…
I then turned my fretting to the audience… would we have one? It’s the first night of a new initiative. Would anyone actually be arsed to come out? Ran round for the day looking for a fridge for Sam Burger (no luck), waistcoats for Caroline Hunt (success) and extra rehearsal room for Ed Viney (another small success) and prayed that some dedicated souls would venture out to see a new play.
I shouldn’t have worried (these words will be etched on my gravestone - I am a veteran worrier of the detail) as the doors opened that night and we all sat down in a rather cool Studio I did a quick head count. 62! Couldn’t believe it. I wanted to individually award medals for their sheer tenacity in battling the elements to come down. And then I realised it was all going to be alright… and it was. Why shouldn’t it be? I was surrounded by professionals just getting on with what they do best and audiences who had decided that they were just simply going to come along, and the weather can go hang.
All five plays were performed without a hitch with insightful, entertaining and lively discussions with audiences and the creatives teams after.
Audiences were made up of writers, actors, directors and the public and it was this amalgamation that made the responses so interesting. Many attended all five and there was a festival community atmosphere which sprang up with people nodded to each other in recognition of being sat in the same audience for the last 2 days.
It was just beyond words to see so many people involved in the watching and making of theatre again in the Bristol Old Vic…. something which if you had asked me about 18 months ago I would have said would be near impossible.
February 11th, 2009 at 12:14 pm
phil john says:
it’s about time that pesky Sam Berger found his own fridge.
July 19th, 2009 at 3:22 pm
Dexter Allis says:
It’s quite fun
September 21st, 2009 at 8:46 pm
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November 23rd, 2009 at 10:03 pm