000			03514nam a22003018i 4500
003			TH-BaBU
005			20230113100738.0
008			220418s2022 xxk 000 0 eng d
020			_a9781350204287
040			_aDLC _beng _erda _cTH-BaBU
050		4	_aPN1661 _bS573P 2022
100	1		_aSirett, Paul, _eauthor.
245	1	4	_aThe playwright's manifesto : _bhow to write intrinsically theatrical plays / _cPaul Sirett.
264		1	_aLondon : _bMethuen Drama, _c2022.
300			_axi, 284 pages
336			_atext _btxt _2rdacontent
337			_aunmediated _bn _2rdamedia
338			_avolume _bnc _2rdacarrier
504			_aIncludes bibliographical references and index.
505	0		_aWrite plays -- Write what is important to you -- Write like only you can write -- Stand on the shoulders of giants -- It isn't natural(ism) -- Tear down the fourth wall -- Dramatic structure is not a scientific law -- You do not need to know everything about your characters -- You are dramatic a poet -- Get musical -- Get physical -- Think big -- Shock, break, and provoke -- Write a postdramatic play -- Write accessibly -- How to write -- Theatre is collaboration -- Take the business of being a pl.aywright seriously -- Look after your mental health -- You are the future of playwriting.
520			_a"Too many playwrights have forgotten how to write with a genuinely theatrical voice, or perhaps they never learned? Since the advent of naturalism in the late 19th century, the focus of playwriting has been on representing a realistic view of human life to the extent that theatrical metaphor and symbol and gesture have got somewhat lost along the way. Today, a playwright is often more concerned with the inner, intra, and outer psychological conflicts of their characters than they are about the vast array of theatrical techniques at their disposal. They are obsessed with real people and real situations, instead of telling their stories in glorious three-dimensional theatricality. This book is a cry for the theatrical. The Playwright's Manifesto investigates and analyses the techniques of past playwrights like Sophocles and Shakespeare and asks what we can learn from them and how we can adapt these ideas in our present-day practice? Teaching through example, it examines the exciting theatrical ideas contained in the work of the new wave of women writers like Lucy Prebble, Alice Birch, Jasmine Lee-Jones, Phoebe Eclair-Powell, Clare Barron, Sarah Ruhl, and Ella Hickson. These are playwrights who take full advantage of theatre's strengths, writing plays that demand to be produced on the stage rather than in another medium; plays that break rules and try new things; plays that delight in their use of non-naturalistic form, image, and language; plays that paint vivid abstract pictures; plays that are big in imagination; plays that put the poetic before the prosaic; plays that engage our imagination and intelligence as well as our emotions. The time has come for playwrights to think theatrically again. To truly embrace the primal, imaginative thrill of a live theatre experience that does not pretend the audience is not there. This book will be a creative manifesto for the next generation of playwrights"-- _cProvided by publisher.
650		0	_aPlaywriting.
650		0	_aDrama _xTechnique.
990			_aA33069 _b20231201
991			_acoa _bper
942			_2lcc _cBK
999			_c254954 _d254954