DRAMATIS PERSONAE WORKSHOP
FOUND STORYTELLING WORKSHOP
telling global stories on a shoestring budget with Micah Magee
Wednesday, March 7th, 7-10pm
The State Theatre, 719 Congress Ave.
COST: $20 ScriptWorks members/ $30 General
INFO/RESERVATIONS: info@scriptworks.org; 512-454-9727
ABOUT THE WORKSHOP:
In this three-hour workshop, participants explore the narrative material of self and […]
DRAMATIS PERSONAE WORKSHOP: FRONTERAFEST 101
FRONTERAFEST 101 A primer in self-producing for the fringe, a workshop taught by Christina J. Moore Wednesday, September 14, 7:00 pm
DRAMATIS PERSONAE WORKSHOP (Austin)
MAKING IT [FUN] AND GOING TO MARKET (Write. Laugh. Rewrite. Move it.)
With Paul Bonin-Rodriguez
Tuesdays, May 24 & 31, June 7 & 14, 7-9:30 pm
$100 ScriptWorks/ $125 General
Drop-in $30 ScriptWorks/ $35 General
Email info@scriptworks.org for reservation and location
Making it [fun] and going to market (Write. Laugh. Rewrite. Move it.)
This workshop begins with the proposal that new plays need time, space, and the support (and challenge) of comrades to get better. The playwright needs to witness the work. Over a period of four weeks, we will work as a community to create bad works that get better. And then we'll plan on where they might go to build an audience to get even better. Artists may come for the whole, or for parts, although the writing used in class as examples will come from the first two weeks of work.
DRAMATIS PERSONAE WORKSHOP (Dallas)
THE WORST PLAY I NEVER WROTE with Paul Bonin-Rodriguez
part of Nouveau 47's Nouveau Frontiers New Works Festival
Saturday, May 21st from 2-4pm
Nouveau 47 at the Magnolia Lounge in Fair Park (map)
Admission is $10 at the door! Bring paper and pen.
This workshop comes to creative development from the least likely direction - that of prospective failure - for the purposes of freeing up our creative voices and illustrating just how capable we already are at rescuing bad writing, especially after a first reading, during which everyone has fidgeted awkardly. Working separately, but caucusing together, we'll find ways to rescue bad plots, stilted dialogue, corny jokes, and overly long descriptions (as in the first sentence). Two dimensional characters will expand; melodramas will find their hidden Brecht; unnecessary adverbs will get pruned out; and we'll all be the wiser. Really. Finally, because the workshop leader bragged about it in his bio, we'll discuss where we might take our new plays for continued chrysalis-like development.
