REPOST: Lyndsey Turner- Activating an image
During this public health emergency, the safety and wellbeing of our staff, artists, audiences and families comes first. We have been exploring ways in which…
During this public health emergency, the safety and wellbeing of our staff, artists, audiences and families comes first.
We have been exploring ways in which we can all remain connected and optimistic. The Bruntwood Prize has always been about much more than the winners. It is about opening up playwriting to anyone and everyone, to support anyone interested in playwriting to explore the unique power of creative expression. Therefore we want to make this website a resource now for anyone and everyone to explore theatre and plays and playwriting.
In the final writing provocations, director and 2017 Jury member Lyndsey Turner asks Bruntwood Prize playwrights to consider current events.
Some of the most powerful plays ever written were created in response to an event, a situation, a news story or a particular moment. These plays are often the writer’s attempt to begin a dialogue with the world around them: some are written quickly, surfing a wave of high feeling (rage, disgust, shock or joy) whilst others form slowly over time as the dust begins to settle and the play finds its form. Sophie Treadwell’s 1928 play Machinal was written in a fortnight as a response to events surrounding the death of Ruth Snyder, a woman found guilty of murdering her husband. A journalist, keen to feed the public appetite for details of this sensational murder case, hid a camera in his trousers and found his way into the public gallery to watch Snyder’s electrocution. When the picture he took of the Snyder’s death, as terrifying as Francis Bacon’s image of Innocent X, appeared in the paper the next day, sales went through the roof. One can only presume that Treadwell, herself a former court reporter and keen advocate of women’s rights, was disgusted by the image. Without pausing to second guess herself, Treadwell worked solidly for two weeks on a play which follows a young woman through an unhappy marriage and into a murder trial. When her central character has her hair shaved before being walked to her death, she asks ‘is nothing mine?’ Presumably a version of the question the writer asked when she herself encountered the photograph which catalysed her writing of the play. Many of the most visceral, rich, complex and provocative plays in the Western canon are the result of a writer being confronted by the world he or she lives in and daring to ‘write back’.