Posts Tagged ‘drama’

Introduction to Screenwriting

2nd February 2011 by Maura McHugh

Big Smoke Writing FactoryThe Big Smoke Writing Factory is running a course called ‘Introduction to Writing for Film, TV & Radio’, which is aimed at demystifying the world of visual and audio drama, both creatively and practically. A comprehensive introduction to the art, craft and practice of writing for cinema, television and radio, it breaks down the nuts and bolts of screen and radio jargon, enabling writers to approach these mediums with confidence.

The focus of the course is hands-on and creative: by the end of the course, participants will be armed with all the practical and technical know-how with which to pursue writing projects in film, TV and radio. Most importantly, participants will have developed their creative voices, through the writing of a short film script, a short radio script and a treatment ready for development into a longer piece.

This course take place once a week for ten weeks, starting 6.30pm-8.30pm, on February 21st, 2011. Fee: €250. It’s taught by Virginia Gilbert, a BAFTA nominated, award-winning writer and director.

Details on how to apply are on the web site.

Big Smoke Weekend Course

21st January 2011 by Maura McHugh

Big Smoke Writing FactoryThe Big Smoke Writing Factory is running Screenwriting: A Two-Day Course in Writing and Rewriting Key Scenes with Mary Kate O Flanagan from 10am-5pm on February 5th and 6th, 2011. It costs €190.

This course teaches writers of drama to invest their scenes with dramatic tension and increase audience involvement in the story.

It will also look at visual storytelling to enhance or replace dialogue as a means of telling a story.

It will examine how a classic scene is constructed and practise writing key scenes, such as:

Scenes of preparation
Scenes of aftermath
Scenes of seduction
Scenes of introduction

Writers can bring along scenes from works in progress or invent scenarios for the purpose of the course. There will be a lot of interactivity so places are limited to ten.

Further details on how to apply are on the web site.

RTÉ Commissioning

10th September 2010 by Maura McHugh

RTERTÉ is looking for a variety of material to commission for its Daytime, Lifestyle, Children and Drama departments.

All the pertinent information is on the Commissioning Section of its web site.

Submissions are due on Friday 17th September or Friday the 24th of September, so please check the details of each commission to ensure you don’t miss the relevant entry date.

Dublin Fringe 2010

16th August 2010 by Maura McHugh

The programme for the 2010 Dublin Absolute Fringe Festival (September 11th-26th) has been announced.

The festival’s director, Róise Goan, said of the theme of this Fringe: “Community is the common thread running through this year’s festival. We are interested in what brings people together and how that defines them and you. In difficult times, people gather, roll their sleeves up and set about making change, and the collective energy they harness can move mountains.”

The festival will kick off with the free Wild Hunt and the Sleepwalker spectacle by Macnas at Collins Barracks. Other street theatre will be provided by three shows by THEATREclub and the dance group Ponydance, who will perform 15 times in 15 public locations, including a dole queue.

Among the more controversial shows will surely be Listowel Syndrome by Emma Martin, which is based on the Kerry assault case, and comprises of a dance and live music piece that is described as “a dark tale of small-town solidarity”.

Another show sure to cause interest is Nic Green’s Trilogy, at Dublin’s Project Arts Theatre, which claims it “examines and interrogates the joys and complexities of being a woman today”, and will feature 50 naked women volunteers. Also interesting will be Jerk, a one-man show which uses glove puppets to tell the true story of a 1970s serial killer and his accomplices. It is not for children, however the kids will be happy to attend the puppet show Escape from Dead Zoo, which will use the reopened Natural History Museum as inspiration. During the fortnight of the Fringe a mini city, called LiffeyTown, created by artist Fergal McCarthy, will float up and down the river.

Other highlights will include a new interpretation of a translation by the Scottish poet Robin Robertson of Greek tragedy Medea, and the Show in a Bag project: the result of a partnership with Fishamble: The New Play Company and Irish Theatre Institute; resourcing actors with shows they can tour and earn an income from, while simultaneously resourcing venues across the country with high-quality, low-tech touring theatre. Despite a massive cut to their own funding, The Performance Corporation will support three emerging companies participating in the festival this year by lending their time, expertise and in-house resources to bring these projects to full production.

RTÉ has partnered with the festival to produce RadioActive, a season of new short works for radio that will be broadcast as part of the festival and available for daily download.

There are over 100 different shows in the programme, so there is bound to be something to suit everyone’s tastes.

Spend on UK Original TV Drama Drops

22nd July 2010 by Maura McHugh

According to an article in The Stage commissions of UK television drama has fallen by 17% since 2005.

The Ofcom statistics, released last week, show that public service broadcasters – including the BBC, ITV, Channel 4 and Five – spent £732 million on drama and soaps in 2009, compared with £886 million in 2005. In 2008, their spend on drama was £819 million – 11% more than in 2009.

Responding to the news, leading TV writer Neil McKay, whose credits include Mo and See No Evil – The Moors Murders, said if less money was spent on drama, broadcasters might become “more cautious” about what kind of drama was commissioned.

He said: “This is understandable, because people are in fear for their jobs. But it affects established writers in terms of the range and breadth of form and subject matter, and there are fewer opportunities for new writers.”

McKay added TV drama had made an “extraordinarily valuable contribution to our cultural life,” and it had become “hard to escape the impression that it’s in terminal decline”. He added: “In 20 or 30 years’ time, I wonder if anything will be left?”

Gail Renard, chair of the television committee at the Writers’ Guild of Great Britain, echoed his concerns. Renard said it “worries, saddens and horrifies me that less and less money is being spent on original drama”.

She added: “It’s also a false economy for any company not to put money into original scripted programming, as it brings in much-needed income, not to mention prestige, both at home and abroad for decades to come.”