The Playwright's Workbook

by Jean-Claude van Italie

A series of 13 written workshops covering: conflict and character: the dominant image: Tennessee Williams and Arthur Miller * Overheard voices: Ibsen and Shakespeare * The solo performance piece: listening for stories * Terror and vulnerability: Ionesco * The point of absurdity: creating without possessing: Pinter and Beckett * and much more.

142 pages, Paperback

First published May 1, 2000

Reviews

[Julene · Rating 5 out of 5]

I took a seven-day intensive on performance art with Jean-Claude van Itallie and my continuum guru Emilie Conrad at Naropa. I bought his book as a result. He also teaches writing using his method acting technique, and has a center in Rowe, MA. Many acting techniques can be used in writing and I would love to do more with him someday. The book is a good primer but nothing takes the place of a willing partner who also has some experience in the technique or at least in acting. One powerful thing I learned is that when using the word AND, it is a place to stop and take a breath, it is a place to put a period in a sentence. It takes awareness/consciousness to slow down and strip out the unnecessary words such as the word and. So many of us unconsciously add fillers to our speech (like, uh, you know, hum). The word AND is just another of those little devils. It was difficult to do the scenes, to stay specific, to be aware in my body. There is always so much more to learn, to practice.

[Frank · Rating 4 out of 5]

This book is different than a "How to Write Plays" book. The author assumes that you already know the basics. This book takes that knowledge and uses various writing exercises to develop the writer's abilities. A constant activity is "overheard voices" in which a writer listens in on small part of other people's conversation, then writes it out in dramatic form, not necessarily trying to get the words right, but aiming for the rhythm, music, and intensity of the words. The reason this book works is because it focuses on these writing exercises, and doesn't spend a lot of time explaining techniques. The author realizes that in order to be a good writer, you can't just read about writing, you need to write - and write alot.

I think if you want to learn to write plays better, or even write more dramatically in general, this book is for you.

[Benito · Rating 3 out of 5]

Yes, I did like this, and it gave me some new and interesting ways of looking at writing drama. I particularly like that Van Italie doesn't retreat from the complications of Absurdism. However without having had the opportunity to try the exercises in a classroom environment as yet it's hard to say how effective they are - I fear they may be a bit broad and vague at moments. But what would I know?

[Travis Ammons · Rating 5 out of 5]

This is a great tool for young, new writers. I’m a little beyond what’s offered here, but I must admit it reminded me of a few rules & guidelines a new writer or playwright.

Oh yeah,,you can be a novelist or screenplay writer and this book would still be helpful to writer’s just beginning.

5 stars everything in its true!!!