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What Playwrights Talk About When They Talk About Writing
The art and craft of playwriting as explored in candid conversations with some of the most important contemporary dramatists
Edward Albee, Lanford Wilson, Lynn Nottage, A. R. Gurney, and a host of other major creative voices of the theater discuss the art of playwriting, from inspiration to production, in a volume that marks the tenth anniversary of the Yale Drama Series and the David Charles Horn Foundation Prize for emerging playwrights.
Jeffrey Sweet, himself an award-winning dramatist, hosts a virtual roundtable of perspectives on how to tell stories onstage featuring extensive interviews with a gallery of gifted contemporary dramatists. In their own words, Arthur Kopit, Marsha Norman, Christopher Durang, David Hare, and many others offer insights into all aspects of the creative writing process as well as their personal views on the business, politics, and fraternity of professional theater. This essential work will give playwrights and playgoers alike a deeper and more profound appreciation of the art form they love.
Edward Albee, Lanford Wilson, Lynn Nottage, A. R. Gurney, and a host of other major creative voices of the theater discuss the art of playwriting, from inspiration to production, in a volume that marks the tenth anniversary of the Yale Drama Series and the David Charles Horn Foundation Prize for emerging playwrights.
Jeffrey Sweet, himself an award-winning dramatist, hosts a virtual roundtable of perspectives on how to tell stories onstage featuring extensive interviews with a gallery of gifted contemporary dramatists. In their own words, Arthur Kopit, Marsha Norman, Christopher Durang, David Hare, and many others offer insights into all aspects of the creative writing process as well as their personal views on the business, politics, and fraternity of professional theater. This essential work will give playwrights and playgoers alike a deeper and more profound appreciation of the art form they love.
304 pages, Hardcover
Published February 21, 2017
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Displaying 1 - 5 of 5 reviews
February 20, 2017
I was a total theatre geek in high school. I did every show in school, and saw many plays and musicals as well. I even met my future husband in a show in college. I continue to attend many shows now. And yet, reading this book made me realize how much I need to learn. This was a wonderful introduction to some of the most celebrated playwrights of our time. Reading about their approach to writing was exhilarating and made me want to learn more about each playwright and their work.
What I Liked:
No assumptions:
I appreciated that the author did not take for granted that the reader would know each playwright. He took the time to give a proper introduction to each person and to list a few of their works. I never felt stupid for not immediately recognizing each name. After reviewing the plays, I found I did know some of their work (or had at least heard of them).
Interview Style:
After each introduction, the author does a very conversational type of interview with each playwright. They discuss their creative processes, education, and how American theatre differs from British theatre. This made the book very accessible to read and get very involved in what each playwright had to say.
Representation:
There was a good diversity of playwrights presented in this book. Most of the older writers were white men, but before the 1960's plays by women, LGBTQ, and people of color were seldom produced. That has changed and we get to hear from a good mix of writers in the second half of this book. There is also a mix of playwrights who write different types of plays and musicals, and between self-taught and MFA graduates.
What I Was Mixed About:
Limited Audience:
I think this is an excellent book for people who love theatre or for students. But I wonder if it would appeal to those who only go to the theater occasionally. I think the audience for this book is a bit limited to those who already have an interest in the subject. This book is not designed as a theatre appreciation book. It is narrowed in scope to look at the writing process. I think if you are interested in how one writes a play, you will find it fascinating.
What I Liked:
No assumptions:
I appreciated that the author did not take for granted that the reader would know each playwright. He took the time to give a proper introduction to each person and to list a few of their works. I never felt stupid for not immediately recognizing each name. After reviewing the plays, I found I did know some of their work (or had at least heard of them).
Interview Style:
After each introduction, the author does a very conversational type of interview with each playwright. They discuss their creative processes, education, and how American theatre differs from British theatre. This made the book very accessible to read and get very involved in what each playwright had to say.
Representation:
There was a good diversity of playwrights presented in this book. Most of the older writers were white men, but before the 1960's plays by women, LGBTQ, and people of color were seldom produced. That has changed and we get to hear from a good mix of writers in the second half of this book. There is also a mix of playwrights who write different types of plays and musicals, and between self-taught and MFA graduates.
What I Was Mixed About:
Limited Audience:
I think this is an excellent book for people who love theatre or for students. But I wonder if it would appeal to those who only go to the theater occasionally. I think the audience for this book is a bit limited to those who already have an interest in the subject. This book is not designed as a theatre appreciation book. It is narrowed in scope to look at the writing process. I think if you are interested in how one writes a play, you will find it fascinating.
May 10, 2022
Interviews with artists relate personality as much as anything else and Sweet's collection of Q&As had me liking a few playwrights anew: Lynn Nottage, Donald Margulies, and Jules Feiffer, especially. Each brought a unique take to their conversations and avoided the pitfalls of dogma. Sweet's book also introduced a couple of writers who I'd like to get to know better: Jane Anderson and Kwame Kwei-Armah. Admittedly, a couple of dramatists got on my nerves but generally, Sweet's enthusiasm for the form and his subjects' works will keep you consistently engaged.
December 6, 2021
A terrific collection of conversations with great writers. I do wish there was more representation of younger writers, though. I feel like the conversations went back to shifts in style that have themselves been shifted, if that makes sense. Perhaps we just need to flesh this collection out with a wider swathe of generations. Though it was fun to see how all the stories told by these writers interconnected.
June 23, 2023
While a little patchy in places overall a brilliant book for understanding the writers process
January 28, 2019
I can’t get over Jules Feiffer’s comment – “…blow it all up!”.
When I met Jeffery Sweet in a writing workshop at Columbia University I was interested in the man and his approach to writing. I had followed him for some time and had recently read his play “Stops Along the Way”, which highlighted how relationship currency fluctuates between people and I thought the way he approached it was refreshing. During that time I was attempting to write original scripts based on my experience as an actor, and he gave me one of the best recommendations I have ever received.
His great book, “What Playwrights Talk About When They Talk About Writing”, which includes conversations with playwrights about their oeuvre, was a refreshing pleasure to read and will be a valuable bolster for any writer to understand the eclectic and personal motivations that drive writers to write. And it also obliquely gives an overview of the history of certain New York theatre and the off-kilter way some of the great plays have found production life and an audience.
Sweet’s format of straight forward question-answer is a clear presentation of how the different writers in the book go about creating their scripts. When Sweet talks with Edward Albee, Arthur Kopit, Jules Feiffer, David Hare and Christopher Durang and Marsha Norman, and Lanford Wilson the tone is easygoing and allows unguarded opinions from the different writers.
Sweet uncovers a good amount of material that really clicks into the feel-good meter of this kind of book, meaning that he didn’t speak with all the writers he wanted to, and there is an absence of a comprehensive coverage of writers represented. I wish he could have spoken to James McClure, or Howard Korda, two playwrights from the regions outside of mainstream avant-garde, counter-culture theatre, and just as subversive and offensive in their own ways.
It’s a great read!
When I met Jeffery Sweet in a writing workshop at Columbia University I was interested in the man and his approach to writing. I had followed him for some time and had recently read his play “Stops Along the Way”, which highlighted how relationship currency fluctuates between people and I thought the way he approached it was refreshing. During that time I was attempting to write original scripts based on my experience as an actor, and he gave me one of the best recommendations I have ever received.
His great book, “What Playwrights Talk About When They Talk About Writing”, which includes conversations with playwrights about their oeuvre, was a refreshing pleasure to read and will be a valuable bolster for any writer to understand the eclectic and personal motivations that drive writers to write. And it also obliquely gives an overview of the history of certain New York theatre and the off-kilter way some of the great plays have found production life and an audience.
Sweet’s format of straight forward question-answer is a clear presentation of how the different writers in the book go about creating their scripts. When Sweet talks with Edward Albee, Arthur Kopit, Jules Feiffer, David Hare and Christopher Durang and Marsha Norman, and Lanford Wilson the tone is easygoing and allows unguarded opinions from the different writers.
Sweet uncovers a good amount of material that really clicks into the feel-good meter of this kind of book, meaning that he didn’t speak with all the writers he wanted to, and there is an absence of a comprehensive coverage of writers represented. I wish he could have spoken to James McClure, or Howard Korda, two playwrights from the regions outside of mainstream avant-garde, counter-culture theatre, and just as subversive and offensive in their own ways.
It’s a great read!
Displaying 1 - 5 of 5 reviews