How to be a PlaywrightBecoming a playwright
Becoming a (successful) playwright
So, you want to be a playwright? Maybe you are inspirited by the classic (Shakespeare! Chekhov!) or the great of today (Sondheim! Parks! Kushner!), or you have a burgeoning concept that just needs to find its way on there. Please remember: Nobody else can compose the piece or show you can compose.
These are some hints for early careers dramatists to keep in the back of your head. A visit to the theatre is a decisive factor in the work of any playwright. Otherwise, how do you know what works and what doesn't, what other authors think about, how the audience reacts? The first time George C. Wolfe started his productive theatre carreer, he saw Broadway's "Merrily We Roll Along" six performances in preview.
Don't discounted the viewing of pieces not to your taste; many authors are learning as much from less than Stellar Productions as they do the best - if not more. Describe what inspired the unique individual you are. Don't be afraid of the "write what you know" philosphy. Eugene O'Neill and Tennessee Williams, perhaps the two greatest 20th c. dramatists in America, have developed high-profile career paths around their complex and often hurtful private life.
You should therefore periodically and on purpose. Typing courses are a great way to find and expand this art fellowship, and even seasoned dramatists maintain their abilities by buying new inspiration in group work. For example, the New Play Exchange links authors, reader and theatre makers on-line. Theatre depends on direct performance and should usually be overheard.
Dramatists need to hear their words in the mouth of others; cast members - especially gifted ones - can uncover concealed levels in a person or act of dialog and even change the course of the evolution of a new work. As Robert Askins, who has written "Hand to God" to present his acting buddies, said: "If you can go the right way as a playwright, the skills of the players become part of his craft.
Will a theatre group incorporate your piece into their playtime? To which theatres or audience is your piece aimed? Dramatists who earn their livelihood are inclined to be as realistic as they are idealistic in their writing, with the intent of being staged in workshop, reading and complete production sessions. The Man Who Had All the Luck", Arthur Miller's second theatre project, turned out to be ironic; it only reached a New York theatre four years after its finalization in order to run for four catastrophic plays and almost destabilize the production dramatist's entire professional life.
Have a look at this movie to learn more about working in the theatre: Are you looking for samples of great theatrical composition?