Wednesday 11 & Thursday 12 November 2015 at the CCA
Different Stages was a new 2-day conference for playwrights, theatre-makers, directors and producers from Playwrights' Studio, Scotland, Federation of Scottish Theatre, Scottish Society of Playwrights and Royal Conservatoire of Scotland.
Over the course of the two days, playwrights, theatre-makers, directors and producers gathered together to think and talk about the future. They explored ideas like:
Working together, how do we ensure that excellent new plays are written, developed and produced?
How can we better serve the audiences of Scotland, and beyond, with the best and most diverse new work?
"FST is delighted to be involved with Different Stages
2015. New work is the life-blood of the Scottish theatre
scene. Scotland's artists continue to innovate and find new
ways of creating work for our stages and this event will contribute
to enhancing this dynamic process."
Day One: Setting the scene - making it happen
The day began with an introduction from the chair Hugh Hodgart, Director of Drama, Dance, Production and Screen at the Royal Conservatoire of Scotland (www.rcs.ac.uk).
Keynote speeches from Fin Kennedy and Julie Ellen
Fin Kennedy talked about his dual roles as playwright and Artistic Director of Tamasha Theatre and presented some innovative ideas for developing artists and creating new work and opportunities.
Julie Ellen, Artistic Director of Macrobert Arts Centre, reflected on successful models of collaboration and arts development, and posed some questions about leadership, ideas and places.
The afternoon was an opportunity for delegates to contribute to the discussion through individual workshops facilitated by professional theatre practitioners. These workshops explored the different approaches of working with playwrights, theatre-makers, directors and producers and discussed the benefits and challenges of each model.
This included a session with Christine Hamilton Consulting on early findings in the research into playwriting in Scotland.
The day concluded with a panel discussion drawing together some observations from the afternoon sessions.
Day Two: Unlocking the text - asking the questions
Day two was an opportunity to observe a live, open script development workshop of Nicola McCartney's play Wolf Road. Philip Howard lead the workshop with a group of professional actors. This was an opportunity to learn about different approaches to developing new plays, and the distinct roles of everyone involved in the process. This culminated in a reading of the play in the evening.
Who was it for?
Playwrights, theatre-makers, directors and producers working in Scotland.