New Playwriting Strategies has become a canonical text in the study and teaching of playwriting, offering a fresh and dynamic insight into the subject. This thoroughly revised and expanded second edition explores and highlights the wide spread of new techniques that form contemporary theatre writing, as well as their influence on other dramatic forms. Paul Castagno builds on the innovative plays of Len Jenkin, Mac Wellman, and the theories of Mikhail Bakhtin to investigate groundbreaking new techniques from a broad range of contemporary dramatists, including Sarah Ruhl, Suzan Lori-Parks and Young Jean Lee. New features in this edition include an in-depth study of the adaptation of classical texts in contemporary playwright and the utilizing new technologies, such as YouTube, Wikipedia and blogs to create alternative dramatic forms. The author’s step-by-step approach offers the reader new models for: narrative dialogue character monologue hybrid plays This is a working text for playwrights, presenting a range of illuminating new exercises suitable for everyone from the workshop student to the established writer. New Playwriting Strategies is an essential resource for anyone studying and writing drama today.

New Playwriting Strategies offers a fresh and dynamic approach to playwriting that will be welcomed by teachers and aspiring playwrights alike.

Page and Stage narrows the gulf between printed page and performance to make script analysis for production or academic study more effective, efficient, and insightful. This text discusses a method for script analysis based on the idea that plays consist of "organized tension" that involves the audience and organizes their response. It examines the many forms of tension in plays--between actor and character, between the stage and the world of the play, between the present and the past, and between characters--by looking at stage space and time and a wide range of plays from Greek times to the present. Page and Stage addresses the paradox that play scripts are not complete works of dramatic art, and yet contain implicitly, if not explicitly, the intended performance.

Every 3rd issue is a quarterly cumulation.

Pointers on writing a play: beginning it, shaping the plot and dialog, and coming up with a finished product. One in a series on the elements of theater.