November Newsletter and Meeting Notice

Our next meeting will be Monday,  November 18th(WE WILL MEET ON THE THIRD MONDAY FROM NOW ON) at 7 PM at the Lowell Center, 610 Langdon Street, Madison. Check kiosk for room.

Parking: Lowell parking is for guests of the hotel and staff only. Nearest parking is the Lake Street Ramp, one block south (you can also enter from Frances Street). Street parking is free after 6 P.M. Try east on Langdon up around the curve or the foot of Gilman Street around the corner from Porta Bella our tavern of choice for apres-reading beer. Porta Bella is on Frances between State and University.

City of Madison Parking Website:  www.cityofmadison.com/transportation/parking.cfm

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Starting around 7:10 we will read:

“Love and Trauma” ……………………… by Nick Schweitzer :30
Clippies (scenes) …………………………. by Gary Kriewald :20
Cymbeline (act 2) ………………………… by Christopher Wolter :20
“Triage: Opera” …………………………… by Russ Tomar :10
Fathers and Children(act)………………. by Ross Shenker :30

* * We always need women readers. Please come!!!  We’ll buy you drinks after.  * *   

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In October we read:

Untitled …………………………….. by Brendon Smith
Live Fast ……………………………. by George Farah
Clippies (scenes) ………………… by Gary Kriewald
Fathers and Children (act ) ….. by Ross Shenker
Cymbeline ………………………… by Christopher Wolter

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Online play submissions calendar. Check it out. Thank you, Brendon Smith.

http://www.submissioncalendar.com/

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Another resource. Thanks, Betty Diamond:

Welcome to The Playwrights’ Center’s Writer’s Opportunities listings, the nation’s best collection of information for working dramatists. We do the research so our member playwrights can spend more time focused on writing. This extensive database of information contains information on contests, theaters, publication and submission opportunities. We add opportunities and search categories weekly to keep the information up-to-date and easy to search.

http://www.pwcenter.org/members-opportunities.php

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If you know of drama, playwriting, acting, directing classes around Madison and Southern Wisconsin, let Bob Curry know and he’ll post them for anyone who reads this newsletter or our Facebook page.

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I believe the way to write a good play is to convince yourself it is easy to do–then go ahead and do it with ease. Don’t maul, don’t suffer, don’t groan till the first draft is finished. A play is a phoenix and it dies a thousand deaths. Usually at night. In the morning it springs up again from its ashes and crows like a happy rooster. It is never as bad as you think, it is never as good. It is somewhere in between, and success or failure depends on which end of your emotional gamut concerning its value it approaches more closely. But it is much more likely to be good if you think it is wonderful while you are writing the first draft. An artist must believe in himself. Your belief is contagious. Others may say he is vain, but they are affected.

– TENNESSEE WILLIAMS, Notebooks

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ANNOUNCEMENTS

The Edgewood Theater Department has offered to make its new black box theater available for public readings of plays that have been read at P.I. meetings and that are ready for the stage.  If you have a work that you want to have considered, and if you are willing to do most of the work of casting, rehearsing, and producing, contact Nick Schweitzer, who will act as liaison with Edgewood.

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MEMBER NEWS

If you are in a show, directing a show, have written a show being produced somewhere, let me know and I’ll put it in the newsletter and you may post it on our Facebook page.

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Spoke by Coleman reviewed in Isthmus

http://www.isthmus.com/daily/article.php?article=41125

www.spokesinthewheel.com

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Coleman’s novel  Kidnapping Henry Kissinger is available at Amazon.com

http://www.amazon.com/ Kidnapping-Henry-Kissinger- ebook/dp/B0078PWPDA/ref=sr_1_ 1?ie=UTF8&qid=1331048524&sr=8- 1

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Written and Edited by Lindsay Price

Marketing Your Play

https://www.theatrefolk.com/spotlights/marketing-your-play

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http://www.kennedy-center.org/education/vsa/programs/playwright_discovery.cfm

Articles and Reviews:

He Wrote Himself a Ticket to New York
John Pollono Brings ‘Small Engine Repair’ to New York

By JESSE McKINLEY

Published: November 14, 2013

John Pollono said he was knee deep writing a play about 19th-century Boston, the art of dueling and the myriad rules that govern such gunplay, when it suddenly occurred to him to lighten up. To continue:

http://www.nytimes.com/2013/11/17/theater/john-pollono-brings-small-engine-repair-to-new-york.html?hpw&rref=theater

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In Performance: Samuel Barnett

By ERIK PIEPENBURG

Published: November 15, 2013

In the new all-male production of Shakespeare’s “Twelfth Night,” now on Broadway, the actor Samuel Barnett plays Viola, a young woman who disguises herself as a man, Cesario, in order to win the heart of Olivia, a countess, on behalf of Orsino, the man Viola is in servce to (and who Viola secretly loves.) To continue:

http://www.nytimes.com/2013/11/15/theater/in-performance-samuel-barnett.html

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What Makes a Great Shakespearean?

Mark Rylance and Other Standouts Share Secrets of the Trade

By CHARLES ISHERWOOD

Published: November 14, 2013

Tastes in acting, as in everything else, certainly vary, but a great Shakespearean performance is easy to spot. You know one when you see one, although it’s probably more accurate to say that you know one when you don’t see one: when the language no longer feels remote, when the humanity of the actor and the character seem indivisible, when the emotion being expressed is no longer veiled by poetic phrasing but revealed by it, creating a shock of recognition in your own heart. TO CONTINUE:

http://www.nytimes.com/2013/11/17/theater/mark-rylance-and-other-shakespeareans-at-work.html?ref=arts

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‘I was, I am not’: Asghar Farhadi’s Le Passé

Film Review: Le Passé plunges the audience into the lonely and melancholic lives of a group of very complicated people

With watching Le Passé (The Past) comes great suffering. Asghar   Farhadi, who previously directed the acclaimed A Separation, refuses to please us with the sex and violence of Hollywood, the sentimentalism of Bollywood, or the philosophical pretence of European art cinema. Le Passé is neither a morality tale, nor a political allegory, nor a philosophical exposé. To continue:

http://www.theguardian.com/world/2013/nov/07/iran-asghar-farhadi-le-passe

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Alice Munro Wins Nobel Literature Prize

(interview)

http://www.newyorker.com/online/blogs/books/2012/11/on-dear-life-an-interview-with-alice-munro.html?utm_source=tny&utm_campaign=generalsocial&utm_medium=facebook

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Friends, Romans, Countrywomen

Shakespeare’s ‘Julius Caesar’ by Women of Donmar Warehouse

By BEN BRANTLEY

Published: October 9, 2013

A woman’s touch has not softened the hard and mighty “Julius Caesar.” On the contrary, the gripping, all-female, London-born production that opened on Wednesday night at St. Ann’s Warehouse in Brooklyn has a muscular strength and ferocity guaranteed to keep everyone in the theater in sustained fight-or-flight mode. (To continue reading:)

http://theater.nytimes.com/2013/10/10/theater/reviews/shakespeares-julius-caesar-by-women-of-donmar-warehouse.html?ref=arts

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Stanley Kauffmann, Critic, Dies at 97; Spent a Half-Century at the Movies

By WILLIAM GRIMES

Published: October 9, 2013

Stanley Kauffmann, whose literate, tightly constructed movie reviews appeared in The New Republic for more than a half-century and set a standard for critical ease and erudition, died on Wednesday in Manhattan. He was 97.

His death was announced by Leon Wieseltier, the literary editor of The New Republic, who said the cause was pneumonia. Mr. Kauffmann wrote for the magazine until his last months. (To continue reading:)

http://www.nytimes.com/2013/10/10/movies/stanley-kauffmann-erudite-film-critic-dies-at-97.html?ref=arts&_r=0

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13-Year-Old Playwright Awaits His Big Night

By LUKE HAMMILL

Kyle Abrahams had never tried to write a play before his drama teacher, John McEneny, required him to try for a middle school class in Brooklyn. Kyle had always liked acting – he recently performed in a production of “Frankenstein.” Now, though, he’d be the one giving other actors instructions.

To continue:

http://cityroom.blogs.nytimes.com/2013/05/10/13-year-old-playwright-awaits-his-big-night/

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How Breaking Bad broke free of the clockwork-universe problem

By Todd VanDerWerff August 7, 2013

The A.V. Club

Late in Breaking Bad’s upcoming season-five part-two première, Walter White makes a leap of logic that seems somewhat ridiculous for the man to make. He has very little evidence to support it. He has no particular reason to feel the way he does—outside of one thing he should never have noticed. But it feels right for him to have made this leap of logic, at least to the audience. This happens all the time on Breaking Bad: When examining the actual elements of the plot, the show makes huge leaps that don’t always seem backed up by logic or rational thought, but they’re always undergirded by a kind of emotional through-line that ties everything together. The show, which began as a relatively small-scale domestic crime drama, very gradually evolved into a grand pulp adventure, with super-magnets and murderous, silent twin brothers, and it hasn’t always been clear how the series was able to make any or all of this work. At times, it felt as if the mechanics of the plot should have swallowed the characters whole, but Breaking Bad has succumbed only rarely, and even then, only for a scene or two. How? (to continue reading)

http://www.avclub.com/articles/how-breaking-bad-broke-free-of-the-clockworkuniver,101278/?utm_source=Facebook&utm_medium=SocialMarketing&utm_campaign=LinkPreview%3ANA%3ADefault

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The National New Play Network   is an alliance of leading nonprofit theaters that champion the development, production and continued life of new plays. NNPN strives to pioneer, implement and disseminate ideas and programs that revolutionize the way theaters collaborate to support new plays and playwrights.

http://www.nnpn.org/ about_mission.php

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E-Plays available for download from Sam French

http://www.samuelfrench.com/store/ebooks.php

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Resources :

Winning Writers  Website: More for fiction and poetry writers, but all kinds of good, well-paying contests.

Winning Writers

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The Dramatists Guild of America   was established over eighty years ago, and is the only professional association which advances the interests of playwrights, composers, lyricists and librettists writing for the living stage. The Guild has over 6,000 members nationwide, from beginning writers to the most prominent authors represented on Broadway, Off-Broadway and in regional theaters.

The Guild is governed by a Board of Directors elected from its membership, and which currently includes such writers as Stephen Sondheim ( West Side Story, Gypsy, Into the Woods ), Edward Albee ( Who’s Afraid of Virginia Woolf, A Delicate Balance ), Marsha Norman (‘ night, mother ), Tony Kushner ( Angels In America ), John Patrick Shanley ( Doubt ), John Guare ( Six Degrees of Separation ), Lynn Nottage ( Intimate Apparel ) and Rebecca Gilman ( Spinning Into Butter ). The current president of the Guild is Stephen Schwartz ( Wicked, Pippin, Godspell ). Past presidents have included Richard Rodgers, Oscar Hammerstein, Moss Hart, Alan Jay Lerner, Robert Sherwood, Robert Anderson, Frank Gilroy, and Peter Stone. Past Guild members have included Eugene O’Neill, George S. Kaufman, Arthur Miller, Lillian Hellman, Frank Loesser, Frederick Loewe, and Tennessee Williams.

The Dramatists Guild of America was established for the purpose of aiding dramatists in protecting both the artistic and economic integrity of their work. The Guild believes that a vibrant, vital and provocative theater is an essential element of the ongoing cultural debate which informs the citizens of a free society. The Guild believes that if such a theater is to survive, the unique, idiosyncratic voices of both men and women who write for it must be cultivated and protected.

To that end, the Guild maintains model contracts for all levels of productions, (including Broadway, regional and smaller theaters) and encourages its members to use these contracts when negotiating with producers. These contracts embody the Guild’s over­arching objectives of protecting the dramatist’s control over the content of his work, and ensuring that the dramatist is compensated for each use of his work in a way which will encourage him to continue writing for the living stage.

In addition to its contract services, the Guild acts as an aggressive public advocate for dramatists’ interests and assists dramatists in developing both their artistic and business skills through its publications, which are distributed nationally, and the educational programs which it sponsors around the country.

Through a variety of activities, the Dramatists Guild of America works to ensure that theater in America will continue to flourish and that the voices which give it life will continue to reflect and celebrate the richness and diversity of the American experience.

A note to Guild Members: A re-imagining of the Members-only portion of our site is currently in development and will be made live in stages, beginning with public Member profiles in early 2011. All Guild Members and Associate members will be notified via email the moment each new portion of the site becomes available. In the interim, any information you require can be obtained by phoning the Guild offfices at: (212) 398-9366.

http://www.dramatistsguild.com/

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dmoz, open directory project
http://www.dmoz.org/Arts/Writers_Resources/Playwriting/  

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Playwriting Opportunities
http://www.playwritingopportunities.com/Playwriting_Theatre_Resources.htm  

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Play Publishers:
Below is a short list of play publishers. Browse their online catalogs to see if your play will be a good fit before querying. I’ve noted the ones that have contests or other special instructions. Click the publisher’s name to go the submission guidelines page.

Baker’s Plays – e-queries OK, has a contest for high school students, markets to religious institutions, regional theatres, universities, high schools and children’s/family theatres.
Broadway Play Publishing, Inc. – e-queries OK, full-length plays only.
Brooklyn Publishers – e-queries OK, NO musicals, markets mainly to middle, junior high and high schools.
Dramatists Play Service, Inc. – NO e-queries or submissions, all plays/musicals must have a production history.
Pioneer Drama Service – e-queries OK, has a contest, markets to schools and “family-oriented theatres.”
Samuel French, Inc. – NO e-queries or submissions, has a contest, markets to amateur and regional theatres, prefers plays/musicals appropriate for family, junior and high school markets, though will consider plays with more adult themes if they have had successful productions.

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The History of Playwrights Ink can be accessed and read at the Madison Public Library (main branch) on 201 West Mifflin St. in the Local Material File (Pamphlet File ) on the first floor. The file lists Associations alphabetically.

You may also access Playwrights Ink History and read it at the University of Wisconsin Memorial Library, 728 State St. It is cataloged so people will know it’s available and can be found and used there in the Madison Archives.

Should you have any problem locating our files, speak to a librarian. No material may be removed from these libraries regarding the History of Playwrights Ink. Please return info exactly where you found it.

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Playwrights Ink Participation: Anyone is welcome to attend Playwrights Ink monthly meetings (second Monday, 7PM). If you want a play or scene read, you must pay the $10 annual dues and contact Bob Curry to get it in the schedule If you have any issues or concerns about the group’s activities or governance, would like to post an item in the monthly newsletter, or want help finding actors to read your play at the monthly meeting, contact Nick Schweitzer.

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