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Guidelines
for Writers
Work submitted by writers is read anonymously and
appraised by three separate readers. All submissions are
considered as ‘work in progress‘, however polished.
Acceptance is based on our readers’ opinions of a play’s
potential for further development and improvement. |
Our readers
use a points system to ensure an unbiased decision. (Click
here to download a copy of the script appraisal form that our
readers will use to assess scripts). At least two of
the three readers must indicate positive affirmation for a play
to be performed as a rehearsed reading.
awl is
committed to providing exposure for new work through rehearsed
readings carried out by our actors under the direction of our
directors.
This enables our writers to benefit from hearing their work in
a performance environment. Readings are subject to a critique
from all of those present at the meeting. |
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Despite the limited rehearsal period available,
our rehearsed readings also offer
the additional benefit of providing our actors and directors
with opportunities
to develop and enhance their skills.
Arrangements for rehearsed readings are made as
far in advance as possible,
bearing in mind the availability of our actors and directors.
Submission, Acceptance and Assignment
of Director
Work submitted to be read must be the writer’s
own original work. |
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Scripts to be read
during a rehearsed reading should have a playing time of one
hour and forty minutes, preferably allowing for an interval on
the evening of performance.
The writer should provide three bound copies of
the script for appraisal to our script co-ordinator. To
ensure a fair selection process the writer’s details should
not appear on the script at this stage.
Scripts should be clearly typed in the appropriate
format (click
here for BBC guidelines). A cast list with character
descriptions should be included. Scripts should be typed
with a font size of 14pt. Bear in mind that any script
of more than 70 pages of 14pt type is likely to be cut. |
Subject
to acceptance, a performance date will be allotted. The writer
will be informed in writing, and one of our directors assigned. |
| The director should consult
with the writer as soon as possible to discuss the play, its content,
and the writer’s intentions. The director should raise
any practical and dramaturgical issues at the earliest opportunity.
In the event of any difference of opinion, the director and writer
should seek to agree a mutually acceptable approach, bearing in
mind their respective professional experience. Where no agreement
can be reached, it is expected that both will inform the directors’ co-ordinator
immediately to allow an alternative director to be appointed. |
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Casting and Rehearsal Arrangements
The writer may have suggestions as to the casting
of specific characters. The writer may even have written
a part with a particular actor in mind. This will be considered
with regard to actors’ availability, recent awl castings
and attendance at meetings when not cast. The process of
making casting decisions is a matter for the director and casting
co-ordinators only. |
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Writers
must not discuss casting possibilities with actors at any stage
of the submission, appraisal or casting process. Final
casting and all the subsequent arrangements are the exclusive
responsibility of the director, with the assistance of the
casting co-ordinators.
Once casting has been agreed and confirmed it is
the writer’s responsibility to
produce and distribute the correct number of scripts for the
cast, director and, where applicable, the aspiring director. If
possible, this process should be carried out at least four weeks
before the reading is to take place.
Rehearsals are normally called for the day prior
to the performance. The writer pays the cost of the hire of the
rehearsal room. awl usually
hires the Emerald Room on the fourth floor of the Polish
Centre from 11am until 3pm (4 hours only) the Sunday before the
reading on behalf of the writer. |
Alternative rehearsal venues and extended rehearsal
periods are viewed by awl as
private arrangements. The writer will be responsible for
informing the awl chair
in good time to make any cancellation with the Polish Centre. The
writer will bear responsibility for the cost of hiring the Polish
Centre rehearsal room if the facilities are cancelled after the
Thursday prior to the reading. |
Once the rehearsal arrangements
have been confirmed, the administration of the rehearsal and performance
of the reading become the sole responsibility of the director.
The writer is expected to provide a buffet lunch for the cast, director and any
aspiring director during the rehearsal.
Should the writer fail to do so, it will be the writer’s
responsibility to reimburse all concerned for the cost of a shop-bought
sandwich lunch on the production of a receipt. This expectation
applies wherever the rehearsal takes place. |
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The writer’s role at the rehearsal is to
observe and, where necessary, advise the director.
The writer should maintain a discreet profile, allowing the director
and the actors to carry out their work, thereby giving the writer
an objective view of the play.
If the writer cannot be present at a rehearsal or performance,
the cast and director will continue with the rehearsal and performance. |
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Discussion Etiquette
After the rehearsed reading, the members of the
audience are invited express their views of the play in a chaired
discussion. This
feedback is intended to inform writers as to how the play came
across in performance and to provide the writer with suggestions
as to how the script is to be developed.
The writer should say as little as possible during
such discussions, in order to gain the full benefit of the objective
views of the audience.
Writers are particularly encouraged to faimilarise
themselves with the awl guidelines
for discussion chairs, so that they may assist the discussion
chair in carrying out this exacting role. |
Competition
Nights
Competition nights are different in format: a number
of short plays or sketches are read in one evening. The
duration and theme of these are set out by the committee some
weeks before.
If you wish to enter a short play or sketch for
a competition you should provide the same number of copies of
the script as there are characters to the script co-ordinator.
These will be used in the selection process. It is important
that all writers are present when their plays are performed. Please
do not submit a competition script unless you intend to be there. If
you subsequently find that you will be unable to attend on Competition
Night, please let the script co-ordinator know immediately so
that arrangements can be made to select an alternative entry.
Casting for competition sketches is carried out
by the casting co-ordinators in the weeks before the competition. As
always, the writer is expected to leave the casting to the casting
co-ordinator and not approach actors directly.
Competition entries are usually directed by the
cast members or the writer. Rehearsals normally take place
in the Bar on the 4th Floor of the Polish Centre, which will
only be available between 6.15pm and 7.15pm on the evening of
the competition. |
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Showcase Nights
Showcase nights have yet another format. The programmes
consist of monologues and speeches lasting (typically) no more
than five minutes each. These performances:
- provide an opportunity for actors new to awl to
show their acting abilities to the membership, and in particular
to awl directors
and casting co-ordinators;
- give awl writers
additional opportunities to have monologues and short speeches
heard for the first time.
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Two bound
copies of scripts of monologues or speeches for individual actors
to read during showcase nights may be submitted to the script
co-ordinator at any time throughout the year.
Actors have complete discretion in the matter of
whether to perform any script. There is no guarantee that
showcase scripts willl ever be performed.
If an actor requests your assistance with their
showcase reading of your script, you are warmly encouraged to
offer whatever help you are able to give.
The actors make their own rehearsal arrangments
for showcase readings. |
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Recordings: Sound and Visual
Non-Commercial Usage
Writers may courteously request permission from the director
and actors to make audio or video recordings of the reading of
their work, on the basis that such recordings are to be used
exclusively to help with the further development of their script,
and for no other reason. Such recordings cannot be used
for any commercial use without the prior written permission of
all cast members and the director.
In general, awl actors
are usually amenable to this kind of recording and may
even request copies for their own self-review or records. All awl actors
automatically give their consent to this kind of recording when
they accept a casting. |
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Commercial
Usage
Should the writer wish to exploit a recording commercially,
It must not be assumed
that awl actors
or directors will accept a commercial proposition. Actors
and directors have the right to prevent the sale of a recording
of any kind. Each actor and the director must be approached
individually to agree an accredited commercial contract. |
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