Intensive

Writing Live

A deep dive into writing for performance, featuring panel conversations between industry leaders. Whether you’re coming across from another storytelling discipline, or brushing up on your basics, this day is a great place to meet other creatives and get your work ready for the stage.

Expressions of interest are now open for The Bake-Off, a FREE two-day rapid playwriting challenge following on from Writing Live. More information here.

10am New Words

What drives you to write plays? Once you’re doing it, how do you get them out into the world? Two writers with a marathon of experience in conversation with two writers bursting out of the emerging blocks.

With Emilie Collyer, Jane Harrison, Adena Jacobs, Natesha Somasundaram and Jean Tong

11am New Dramaturgy

Who are the people that help writers shape new work and what structures are they working with? A rapid fi re cross-section of various dramaturgical approaches and frameworks including feminist and de-colonising theories.

With Candy Bowers, Didem Caia, Jenni Medway and Rachel Perks

1pm New Visions

Writing for performance is writing for bodies in space. It’s a three dimensional, multi-faceted act. This panel gets the low down from a design perspective and the key collaborative relationships between playwrights, designers and directors.

With Bridget Balodis, Amelia Lever-Davidson, Eugyeene Teh and Louris van de Geer

2pm New Ways

Writing from lived and own experience is a powerful starting point for playwriting and performance making. In this discussion we tease out different ways to approach this process and the balance of own voice with collaboration.

With Jacob Boehme, Tania Cañas, Jess Knight, Michele Lee and Rajith Savanadasa

3pm New Versions

Adapting text from one version to another, one form to another brings its own challenges and rewards. This short discussion will be followed by a workshop where participants get to flex their writing muscles.

With Raimondo Cortese, Kim Ho, Mark Wilson and Keziah Warner

Presented in partnership with New Working Group and Brunswick Mechanics Instititute
Supported by Rodney Seaborn Playwrights Trust