REPOST: Lyndsey Turner- Old wine, new bottles
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 third of seven weekly writing provocations, director and 2017 Jury member Lyndsey Turner asks Bruntwood Prize playwrights to consider writing the world they know.
There are plays only you can write, experiences only you have had, perspectives only you have gained and communities only you know. Over the last 60 or so years, British drama has shifted away from telling stories about the type of characters who dominated the stage for the preceding 400 years, and towards work which places marginalised worlds, communities and characters at the centre of the narrative. Whether it’s the inhabitants of a sink estate, the founders of a pirate radio station, the workers in a zero hours contracts agency, the couple going through fertility treatment or the abandoned teenage sons of a wayward mother, characters about whom plays are rarely written now find their way onto our stages, and writers are increasingly bringing us ‘the news from the streets’. Shelagh Delaney’s A Taste Of Honey which follows the early life of a young Salford woman living an itinerant existence with her mother, through to her pregnancy and beyond was considered a radical gesture on its premiere in 1958. But its writer was simply writing the world she knew.