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When is a play political? What are the political messages carried by the dramatic form that you choose to write it? How can you create a play that articulates its politics through its form?
This workshop will look at the politics of dramatic structure. It will explain how to read the structures of a play for their politics. It will examine some alternative approaches to conventional dramatic structure and explore how playwrights can create alternative structures of their own.
Please bring an idea (it doesn’t have to be fully developed) for a play that you would like to write to the workshop.
We have a limited amount of bursary places available via our Share the Drama scheme, thanks to the support of Dynamis, for long term unemployed/those claiming income support/jobseekers allowance. Please contact us if you are eligible for a bursary and would like to take part in the course.
Running time of workshop: 2.5-3 hours
Sarah Grochala
Sarah Grochala’s plays include S-27 (Finborough, 2009; Griffin Theatre Sydney, 2010), which won the 2007 iceandfire/Amnesty International Protect the Human Playwriting Competition and premiered at the Finborough Theatre, London in June 2009. Between 2012 and 2016, she was an associate artist with the theatre company Headlong. She currently writes Dr Who audio dramas for Big Finish and runs the MA/MFA in Writing for Stage and Broadcast Media at the Royal Central School of Speech and Drama, whose graduates include Vinay Patel, Sarah Kosar, James Fritz and Katherine Soper. Her book on playwriting and the politics of dramatic structure, The Contemporary Political Play, was shortlisted for the 2018 TaPRA Early Career Research Prize. She is a Senior Reader for Theatre503.
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