Introductory description

Through a combination of writing workshops and critical seminars, students will be exposed both to traditional dramaturgical thinking rooted in a cause and effect logic and to nonlinear writing based on principles of montage, association and intuition.
Constituent elements of the dramatic text such as action, character, dialogue, space and ways in which they function within different dramatic structures will be explored simultaneously with more experimental and interdisciplinary approaches to playwriting rooted in visual art and popular culture.

Module aims

Outline syllabus

This is an indicative module outline only to give an indication of the sort of topics that may be covered. Actual sessions held may differ.

Autumn Term

Week 1 Where to start? Writing from Memory
Week 2 Conjuring up the Character
Week 3 Dialogue
Week 4 Plot vs story
Week 5 Dramatic Structure and its Variations
Week 6 Reading week
Week7 Portfolio preparation and group play starting points
Week 8 &9 Group play development
Week 10 Group play readings

Spring Term
Week 1 - Full length play warm up - Writing Images
Week 2 - Full length play warm up - Writing objects
Week 3 - Full length play: Action & Setting + full length play workshop
Week 4 - Full length play: Time/Space + ditto
Week 5 - The journey of your play + ditto
Week6 - reading week
Week 7 - best beginnings + full length play workshops
Week 8 - best endings + ditto
Week 10 - re-writes, wrap up and next steps

Learning outcomes

By the end of the module, students should be able to:

• By the end of this module students will be able to understand the specific nature of writing for theatre and performance and to demonstrate a practical and critical knowledge of playwriting and performance writing in terms of subject and medium, selection of material, dramaturgical techniques and strategies, genre and form, constituent aspects of dramatic text including structure, action, character, dialogue, and space, as well as knowledge of representative examples by notable playwrights.
• By the end of the module the student should be able to demonstrate critical and creative skills in the reading, imitation and generation of dramatic texts and performance scenarios.
• By the end of the module the student should be able to articulate knowledge, understanding and appreciation of relevant dramatic and performance work.
• By the end of the module the student should be able to explain generic and formal dramaturgical conventions.
• By the end of the module the student should be able to show skill in the practice of writing for stage; offer critical feedback of each others work.
• By the end of the module the student should be able to writing skills and the ability to apply these in appropriate forms.
• By the end of the module the student should be able to the capacity to analyse and critically examine diverse forms of playwriting and performance writing.
• By the end of the module the student should be able to capacity for independent thought and judgment.
• By the end of the module the student should be able to the capacity to adapt and transfer the creative and critical skills involved in writing to a variety of working environments.
• By the end of the module the student should be able to the ability to understand, interrogate and apply a variety of theoretical positions and weigh the importance of alternative perspectives.
• By the end of the module the student should be able to have time-management and organisational skills.

Indicative reading list

Indicative plays:
Brecht, Bertolt Mother Courage. (Methuen Drama, 1995)
C. Churchill. Top Girls (Drama Online)
Beckett, S. Waiting for Godot (Drama Online )
Ibsen, Henrik. A Doll’s House. (Cambridge UP, 1995)
Maraini, Dacia. Only Prostitutes Marry in May: Four Plays. (Guernica 1994)
Müller, Heiner. Hamletmachine (PAJ, 1984)
H. Pinter. Betrayal (Drama online)
S. Stevens, Pornography (Drama online)
Stivicic, Tena. Three Winters (Drama online)

Indicative readings on writing techniques:
Deeney, John ed. Writing Live. (Arts Board/ Baring Foundation, 1998)
Dromgoole, Dominic. The Full Room: An A-Z of Contemporary Playwriting. (Methuen, 2000)
Edgar, David. State of Play: Playwrights on Playwriting. (Faber, 1999)
Pfister, Manfred. The Theory and Analysis of Drama. (Cambridge UP, 1988)

Please note: This is subject to change and to being expend d.

Research element

Dramaturgical research related to the student’s choice of material to develop into a play

International

Includes an international selection of material through which to explore the art and craft of playwriting

Subject specific skills

By the end of this module students will be able to: understand the specific nature of writing for theatre and performance and to demonstrate a practical and critical knowledge of playwriting and performance writing in terms of subject and medium, selection of material, dramaturgical techniques and strategies, genre and form, constituent aspects of dramatic text including structure, action, character, dialogue, and space, as well as knowledge of representative examples by notable playwrights/ performance writers.

Transferable skills

These skills are transferable to other forms of creative practices (e.g. devising, solo performance) as well as for writing in other media and formats (script writing, writing for digital media, gaming, applied drama)