I had a conversation with German theatre maker and lighting designer Kai Fischer to find out more about the European way of making drama. I was also interested in different models for the relationship between writer, director and dramaturg.
Whenever AI finally becomes self-aware, there's a chance that it might wonder why, instead of colonising galaxies or building terminators, it spent most of its time writing AI generated content for Facebook posts.
I don't know where you sit on the going to Mars thing. Maybe you think it's starting to look like having some kind of back-up of the human race might be handy. Or maybe you side more with Thomas Pinker, whose book 'The Better Angels of our Nature' argues that
In this blog entry, I will look at whether coaching techniques can be succesfully used in the script development process. I'll divide this across two posts. As always, am interested in your views and would appreciate any feedback/thoughts/leads etc... Why am I interested in this? Having gone through
From a director's point of view.
Three websites I keep going back to because of their unique takes and great resources.
This piece goes over the ground we covered in a three day workshop with famous German theatre director Thomas Ostermeier. Ostermeier shared with us his thoughts on the nature of drama, his approach to developing as an artist and how he approaches working with a text. I've written a good
From a Director's point of view.
I led a week long course for writers and non-writers on Skye a good while back. As part of this we were very lucky to be joined by Scottish writer David Greig. He has written plays such as 'Outlying Islands', 'Dunsinane' and 'The Strange Undoing of Prudencia Hart'. He's one
Stephen Greenhorn is a writer I really respect. In this audio recording (about 35 minutes), I had the opportunity to ask Stephen about his development as a writer - from his early plays, to working on tv series like Doctor Who and musicals like Sunshine on Leith.