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PlayWriting Workshops: New Plays & Plays-In-Progress

courses


 with Rose Martula






short description:
1) WEEKLY WORKSHOPS IN PLAYWRITING (open to screenwriters as well): Group workshops & One-on-Ones
 
long description:
A)New Plays & Rewriting/Plays-In-Progress: The 5 week New Play & Rewriting/Plays-In-Progress workshop welcomes new plays, plays-in-progress, full-lengths, one-acts, 10 minutes, you name it. Though the first draft is most important to a play--being the initial spewing of the artistic “heart of the play”, it’s found that rewriting is where the real writing begins. workshops include specific writing exercises to fit the client’s needs. Exercises may range from Free-Writing (not letting the pen leave the page), throwing out one-liners to help jump-start a play or scene, tracing the lines of one specific character to help track their arc, playing a specific piece of music, for there is a great connection (at least THIS writer believes) between musical inspiration that lends itself to writing inspiration, and of course reading client’s work aloud. Rate: $350 (1rst two clients to enrolled receive a reduced friendly-fare rate of $300!)



 
level of difficulty:
all welcome
 
minimum class size:
1
 
availability:
Monday-Friday 7-9pm & Sat-Sunday are completely flexible, available all day & evenings.
 
fee comments:
$350 but I offer a friendly reduced rate fee of $300 for first 2 students to enroll!)
 
 session structure




title:


type:

description:


duration:


PlayWriting Workshops: New Plays & Plays-In-Progress

live session

1) WEEKLY WORKSHOPS IN PLAYWRITING (open to screenwriters as well): Group workshops & One-on-Ones


2h 0m




total duration: 2h 0m over 1 session(s)
comments: n.a.
 

discussion forums: 1
 










languages: English
duration: 2h 0m
fee: 350US$  (3500lp)
payment: at booking
delivery method: live online

Quick Help




United States


Rose Martula



description of :
1) WEEKLY WORKSHOPS IN PLAYWRITING (open to screenwriters as well): group workshops (not to exceed 10 people) w/ the following workshops of your choosing…

A) New Plays & Rewriting/Plays-In-Progress: The 5 week New Play & Rewriting/Plays-In-Progress workshop welcomes new plays, plays-in-progress, full-lengths, one-acts, 10 minutes, you name it. Though the first draft is most important to a play--being the initial spewing of the artistic “heart of the play”, it’s found that rewriting is where the real writing begins

B) Writing the Family Dysfunctional Play: (4 week session package) on Wednesday nights from 7-9pm beginning April 21th-May 19th. A Rose Martula specialty. (Visit www.rosemartula.com and take a scroll through my productions, reviews and interviews.) Rate: $280 (1rst two clients to enroll received a reduced friendly-fare rate of $230!)

2) 2 DAY PLAYWRITING INTENSIVES: A choice of weekend intensives on May 8th-9th, May 15th-16th & May 22nd-23rd, 10am-6pm on Saturdays & 11am-5pm on Sundays. Lunch and snacks provided, along with brunch on Sunday. Weekend intensives focus on reading work aloud, feedback sessions, discussing published playwrights that might fit with a client’s particular vision of a play, examining one’s own creative process, as well as marketing & sending out tips for the playwright: how to writer a cover letter, “positive” rejection letters, resumes, self-promotion, researching theatres before sending out, thank you notes, etc. Rate: $400 (1rst 2 clients to enroll receive a friendly-fare rate of $350!)

3) ONE-ON-ONE SCRIPT DOCTORING: W/ an M.F.A. in playwriting from UCLA and extensive experience in tutoring/teaching students one-on-one, along w/ being a writer’s assistant, individual sessions on scripts (either via email and/or in person) are another one of Rose’s favorite specialties. Individual sessions include extensive feedback on scripts, helping to guide the vision of the client’s play, specific exercises to help start new scripts or aid in rewriting. One-on-one’s are designed to specifically meet the client’s needs. As far numbers of sessions, it’s recommended that at least 4 sessions take place to give the script the attention it fully deserves.

As a writer, I've had productions in the following:
LONDON PRODUCTIONS:

Brooklyn: directed by Russ Hope, had its World Premiere, starring Michael Goldsmith, Jud Charlton, & Jessica Ashworth, presented by Good Night Out at The Cock Tavern Theatre. 8/9/2009-9/26/2009.

Salsa Saved The Girls: directed by Rachel Parish, starring Simon Cole, Erin Hunter, Simon Lee Phillips, Sally-Ann Kemp, & Harriet Usher, presented by Three Bird Theatre at The Old Red Lion. 10/23/2007-11/17/2007.

LOS ANGELES PRODUCTIONS:

Ran Wild: directed by Tom Burmester, presented by The Los Angeles Theatre Ensemble at The Powerhouse Theatre w/ a 2 week run. January, 2008.

Salsa Saved The Girls: directed by Josh Meltzer, starring Sandra Pupurro, Lindsay Seim, Don Mahoney, Susie Cobb, Mikey Bevoni, & Leon Accord, presented by the Eclectic Company Theatre. 6/1/06-7/8/06.

WORKSHOP PRODUCTIONS include….

Packed presented by the Young Playwrights Festival ’95 at the Vineyard Theatre in NY, Drink Up, Baby (2000) & Salsa Saved The Girls (2002), presented by The Francis Ford Copolla Festival at UCLA, The Color of Ice (2001) & A Heavenly Blast (2003), presented by the New Play Festival at the Freud Playhouse at UCLA.

AWARDS:

2009 Princess Grace Semi-Finalist, 1 of 50 Dramatists To Watch on the July/August 2007 cover issue of the Dramatist Guild Magazine, 2007 LARK Pony-Fellowship Nominee, 2003 David C. Baumgarden Award presented by APA Literary Agency for playwriting, 2001 & 2002 Audrey Skirball Fellowship winner, 2000 Semi-Finalist at PlayLabs at the Playwrights Center in MN, 2000 Scholastic Press Award for Best Traditional Fiction awarded by Columbia University, & 1995 Finalist at The Young Playwrights Festival in NY.

 
Teacher's qualifications:
Writer’s Assistant: Currently assisting Pulitzer-Prize winning playwright, Lanford Wilson in adapting his play Balm and Gilead into a musical to premiere on the West End. London, England. 10/09-present. Also currently a writer’s assistant to screenwriter, Mickey Dude. Duties included rewriting dialogue and strengthening female characters. Los Angles, CA. 5/02-present.

Office Assistant: Assisted in development at Ben Stiller’s film production company, Red Hour. Duties included answering phones, reading scripts, writing coverage, and administrative duties. Los Angeles, CA. 6/03-2/04.

Teaching Assistant: Taught intermediate playwright at UCLA to undergrads under playwriting chair, Edit Villereal. Los Angeles, CA. 1/03-5/03. Also taught playwriting to inner city kids at the Association House. Chicago, IL. 5/00-8/00.

Creative Writing Tutor: Taught individual sessions of fiction writing to undergrads at Columbia College Chicago. Chicago, IL. 10/98-4/00.

 
's preferred teaching style:
The Martula Method in Playwriting:

With ALL the Martula Workshops, I request (though not required) that clients send me their work beforehand, whether it’d be whole plays, scenes, fragments, or outlines of ideas. That way I can read and get familiar w/ each particular client’s writing. Also with all the workshops (the Weekly, Intensive & One-on-One’s), I offer personal individual emails & feedback notes to clients as well as in session. Coming from the Leon Katz school of thought as I call it, (Emeritus Professor at Yale Drama & my main dramaturge), I try and avoid an overabundance of feedback during sessions. For there are dangers of over-work shopping a play, and a playwright (I have learned the hard way!) is not a secretary when it comes to incorporating feedback session notes. So my intention is to stay true to the original artistic “heart” of the play, all the while respecting the playwright’s vision. All workshops include specific writing exercises to fit the client’s needs. Exercises may range from Free-Writing (not letting the pen leave the page), throwing out one-liners to help jump-start a play or scene, tracing the lines of one specific character to help track their arc, playing a specific piece of music, for there is a great connection (at least THIS writer believes) between musical inspiration that lends itself to writing inspiration, and of course reading client’s work aloud.

 



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