About Research & Development Projects
Applications are now closed and will reopen summer 2018.
Research & Development Projects are designed to allow experienced mid-career or established professional playwrights an opportunity to work on plays that exceed the ambition of their previous work, or ideas that challenge them and inspire them in their practice and their creative ambitions.
These Projects provide resources to research new ideas, or to further develop drafts of existing full-length scripts. These are offered in two parts:
Research: £1250 (new ideas)
Development: £2000 (existing scripts)
As well as financial assistance, Playwrights' Studio will provide all project and financial management on your behalf. We will work closely with you to ensure that the project successfully meets your objectives and offer ongoing support throughout.
Professional playwrights who have received similar support include Jo Clifford (Eve,The House of Bernada Alba), Rob Drummond (Grain in the Blood, Uncanny Valley), Oliver Emanuel (The 306 Trilogy, Titus) and Sue Glover (Bondagers, The Straw Chair).
Research & Development Projects replace our Writers Projects and are designed to provide more playwrights with opportunities to research or develop their writing.
As a development organisation, we do not commission or produce plays, and our resources are limited. Therefore, this is not a commissioning, bursary or production fund. These projects cannot be used to substitute or top up commissioning fees from theatres, or to self-commission. Nor can they contribute to production costs.
Please visit our How to Apply page for more information.
|Fiona's project will develop the voices in My Boy, connecting both the script and Fiona as a writer to West Central Scotland. The play has a chorus of foster children, whose language Fiona aims to heighten through verse. She will seek personal tutorials from a poet with expertise in Scots and poetic technique. During this period of study and redrafting, she will engage with young performers to workshop dialogue and choral odes, fine tuning the West Central Scots dialect, prosody and rhyme.|
|James' project will explore verbatim texts created from several hours of recorded interviews between himself and a retired American in Berlin, who was friend to Christopher Isherwood, lover to Rudolf Nureyev and the Latin translator on Derek Jarman's iconic first film Sebasitane. To use these verbatim textsto work with a director and two actors to discover a potential form and story for a new play called 'I am a Telephone.' This play will explore the impact of AIDS on the lives of artists in Europe and America in the early '80s.|
|Dandelion is a play that Lynda Radley wishes to test as a piece of dance theatre. Lynda has written a draft of the story in the form of an open scripted score, which contains provocations for movement and dance. Dandelion takes place in an imagined world where women must dig in the woods to find a baby. Re-imagined specifically as a story to be told through movement, the writing offers the opportunity to combine storytelling and dramatic arc with purpose made choreography, that is not an 'add on' to a process but central to the realisation of the play.|
|Euan's project will research material to create a play about the issues surrounding breast cancer screening. This idea is based upon and inspired by the true circumstances of the sea journey (known colloquially as The Boob Cruise) made by women from the island of Eigg to attend the mobile breast screening unit in Mallaig.|