new writing in new places @ #royalcourt

Hungover, I just make it in time for the start of the talk. Three writers and a director. Most of the things said seem reasonable, with everyone careful to stress that the purpose of the new writing initiative abroad is not to produce a 'royal court' play, but to explore and exchange. The writers relate how much they've got from the trips abroad, something that doesn't really seem surprising. There follow a few questions which are too complicated for my addled brain to follow, ably fielded by the panel.

It's only at the very end that the discussion threatens to explore the subject in more depth. The last questioner in particular raises an issue which anyone who's worked in theatre abroad will be aware of, the pros and cons of the subsidised system, and by implication the increased motivation required to work in a non-subsidised theatrical culture (ie most of Latin America, Asia, Africa etc). The question is rebuffed with the bland assertion that "there are no cons to a subsidised system" and there's no time to proceed further.

By this point, in part through Michael Wynne's engaging story of the Elephant and the Bus Engine play, which perhaps raises more questions about the scheme than it answers, the other side of the Court's agenda has emerged more strongly: the desire to find a play which will resonate with the Court's audience. Whilst this is of course a reasonable objective, what was never really touched on was the way in which the writers themselves (as I know from personal experience) are aware of this agenda and cannot help but be influenced by it in the engagement with the Court. (With the subsequent risk of what might be termed a beauty pageant.)

Throughout the talk there seemed very little disposition on the part of the speakers to place themselves in the shoes of the writers who participate in the Court's international schemes. Perhaps its because it's very hard to do this within the context of a passing visit which, as Wynne suggested, is also likely to be a formative event for the writer. The Court's International playwrighting scheme is a laudable endeavour which undoubtedly benefits writers across the globe. But like any scheme, it will have both its pros and its cons, and it seemed a pity that given the opportunity to engage in a public debate, there was so little impetus to explore both pros and cons within a wider, global, context. More time for questions would have helped as it seemed as though there were many theatre practitioners from around the world whose opinions we didn't get sufficient opportunity to hear.

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