Hanna Slattne, Tinderbox Theatre

Practice of Writing – Hanna Slattne, Tinderbox Theatre. 02/03/2007

Hanna Slatne is literary manager and dramaturge at Tinderbox Theatre, Belfast. The aim of Tinderbox is to present new writing from writers in or from this region.

Her role is to receive the play from the playwright. Her readers will read the play and report to her in detail. She and the reader may decide that a re-read is necessary. Then, if the play shows merit, she will show it to the Artistic Directors. Tinderbox reads all plays submitted.

When submitting a play:
1. Find out about the theatre companying question. Check their website. Do they read unsolicited scripts?
2. Check the company’s artistic remit. Does the play fit the theatre’s remit?
3. Who is the literary manager
4. How do they want the script? Hard copy/soft copy.
Don’t send off a first draft. Leave it on the shelf for 2 months. 98% of Hanna’s scripts get a reject because they are too raw, need revision and rewriting. However you can send off an early draft asking for professional feedback but accept that it is not yet ready for production.

After writer/company interaction, the writer may get a commission.

The Dramaturge has a similar role to literary manager. She is deeply involved in development process of play, particularly, in how meaning is delivered.

Writer and director each work with their own artistic vision but dramaturge does not use her own artistic vision. She asks, what did you set out to do? What is your preoccupation, which aspect of humanity to you want to reveal? The lucid moment occurs when writer, director and dramaturge share a vision which leads to artistic decisions. Be prepared to guard the integrity of your work. Don’t hand over too much

Shape of play: establish a hierarchy of what the play is about.

You can’t experiment with form and insist on a conventional story. What are your preoccupations? When decisions have to be made, refer to your hierarchy.

Keep little notes about what the play is about. The rewrite. Test your decisions against the hierarchy.

Other issues: All characters must be 3 dimensional. Where does the story begin and end? What is the rhythm? Structure is elusive. You must deal with structure of each scene, tensions, flow structure of act, character journeys, structure of the play. Think away from your plot in order to open doors.

A final draft leads to production which leads to actors’ questions. The Dramaturge, at this point, starts to examine the creation of the meaning which the director wants.
Writers choices/directors choices/actors’ choices – any of these can put it wrong.
Deadly theatre/The empty space – are caused by the failure of professional theatre to deliver emotion, to engage audience.

The rise of the monologue. Monologues are hard to do for stage. Monologue deletes theatricality, breaking the 4th wall by talking to the audience. We can’t use conventions or abandon them, willy nilly. They must belong, cannot be used as a crutch.

Read plays. See theatre.