Something to glance off: Writing Space
About: This article is published in Journal of Writing in Creative Practice.The article was published on 2009-11-01. It has received 5 citations till now. The article focuses on the topics: Space (commercial competition).
Citations
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TL;DR: This paper explored the creative process among writers who write for pleasure and attempted to understand writing as a creative process as well as simply representation, recovering process as a part of creative making, which has cumulatively discredited the idea of inspiration.
Abstract: This paper emerges from a project conducted between academics in literary studies and geography that explored the creative process amongst writers who write for pleasure. It seeks to understand writing as creative process as well as simply representation, recovering process as a part of creative making. Building on a long tradition of theorising process and creativity in literary studies, which has cumulatively discredited the idea of inspiration, this paper asks whether a fresh engagement between geography, literary studies and other work on creative writing can provide new insights into the creative process. Recognising that questions of representation have been pursued with different trajectories in geography and literary studies, this paper attempts to identify our common intellectual concerns as well as asking whether a rapprochement between questions of representation and non-representational theory can provide the stimulus for an enlivened account that recovers the place of inspiration in creative writing. © 2010 The Authors. Journal compilation © Royal Geographical Society (with The Institute of British Geographers) 2010.
48 citations
31 May 2016
TL;DR: In this article, the authors present a practice-centred teaching method for collaborative writing for design teams at M-level in higher education (HE) by using Approaches, Practices and Tools (APTs) across three case study workshops.
Abstract: This thesis offers and evaluates collaborative writing practices for teams of Design students at M-Level in Higher Education (HE). The research begins by asking why writing is included in current art and design HE, and identifies an assumption about the role of writing across the sector derived from a misreading of the 1960 and 1970 Coldstream Reports. As a result, drawing on recommendations that were made in the Reports for non-studio studies to be complementary to art and design practice in HE, I focus on how teams of design students can complement their design skills with collaborative writing. Some studies for addressing how design students learn from writing in HE already exist, but none have established a practice-centred teaching method for collaborative writing for design teams at M-level. My research captures the effects of my Approaches, Practices and Tools (APTs) across three case study workshops. I compare these with the most common writing model in HE designed for text-based study in the humanities.
My APTs use participants' designerly strengths to redesign how they can use writing to complement their practice. This provides learners with a means of identifying and creating their own situated writing structures and practices. I document how my practice-centred APTs position collaborative writing practices as a designerly mode of communication between design practitioners working in teams. I show it to be more complementary to practice and so more effective in comparison to models imported from the humanities. My explorations are carried out through two thesis sections. Section One is an in-depth literature-based rationale that critically informs my investigations. Section Two presents my methodologies and reports three case studies, in which I explore the emergent data collected through a range of qualitative methods, mapping and evaluative techniques. The findings are of importance to those teaching M-Level design courses.
24 citations
Additional excerpts
...Reading as Practice: Practice as Reading Something to glance off: Writing Space, by (Turner, 2009)...
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Dissertation•
01 Sep 2013
TL;DR: This paper examined the frameworks of writing and devising employed by two influential British theatre companies of the late 20th and early 21st centuries: Frantic Assembly and Forced Entertainment, focusing on several specific productions for each company, but frame these detailed studies within a wider exploration of the developing styles, shifting methods and changing material circumstances within which these productions were created.
Abstract: This thesis examines the frameworks of writing and devising employed by two influential British theatre companies of the late 20th and early 21st centuries: Frantic Assembly and Forced Entertainment. I place these companies – not usually considered together – in dialogue, drawing on archive material from the decades-long span of their careers. Clues to the development of their creative methods are sought from rehearsal tapes and scripts, as well as other material surrounding each company’s output; this includes education packs, reviews, interviews (some newly conducted by myself), promotional videos and other manifestations of the rhetoric around the creation of the works in question. I focus closely on several specific productions for each company, but frame these detailed studies within a wider exploration of the developing styles, shifting methods and changing material circumstances within which these productions were created.
My first chapter assesses existing proposed definitions of devising, adopting and nuancing certain key terms in the light of my observations of the companies examined. Within these frameworks, I use the particular case studies to illuminate concerns central to the creation of new theatrical work more widely, involving overlapping processes of devising and writing. In particular, I probe anxieties, paradoxes and revelations around the roles of writing and collaboration. By tracing the companies’ rhetorics and practices over a considerable length of time, I throw new light on the slow accretion and nuancing of process within both companies.
11 citations
Cites background from "Something to glance off: Writing Sp..."
...This desire is exactly aligned with the combination of personal responsibility and responsiveness to the interventions of others which Turner posits as a new model for writing processes: collaborators as well as other texts providing ‘something to glance off’ (Turner 2009b)....
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...Thus, as for Smith and Davies before them, inherent in Graham and Hoggett’s practice is the presence of ‘something [or someone] to glance off’ in generating creative momentum (Turner 2009b)....
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...In ‘Something to Glance Off’ (2009b), she proposes ‘a series of linked speculations about the range of relationships taking place between texts, writers and performances’ (Turner 2009b: 217)....
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...Cathy Turner has proposed a model that suggests that the most long-lived and successful companies draw upon collaborative relationships which do not represent or aspire to a ‘retreat from authorship’ (Turner 2009b: 219)....
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TL;DR: The first Writing Space project at the University of Winchester as mentioned in this paper has been described as an example of a "radically inclusive" dramaturgical practice, by which I mean to imply an expanded view of the theatre writer and the theatre text, including, yet moving out from, the foundational definitions of playwright and play that underpin conventional literary management.
Abstract: This article describes elements of the first Writing Space project, which took place at the University of Winchester in 2008. I use this as an example of a ‘radically inclusive’ dramaturgical practice, by which I mean to imply an expanded view of the theatre writer and the theatre text, including, yet moving out from, the foundational definitions of ‘playwright’ and ‘play’ that underpin conventional literary management. The project, which should be seen in the context of related moves to embrace a wider range of writers and writing within the contemporary theatre, attempted to construct a process in which writers across a wide range of performance forms might work together. Thus, different formal approaches could be explored, debated, developed and cross-fertilized. The article comments on the ways in which this inclusivity prompts a re-examination of fundamental principles that underpin contemporary writing practices. Examining these broad questions in turn—‘What is a writer? What is writing? Wha...
4 citations
References
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Book•
01 Jan 1999
TL;DR: In this article, the authors examine how the great works of cinema history have used the principles of myth to create stories which are dramatic, entertaining, and psychologically true, and offer step-by-step guidelines designed to help readers to incorporate effective plot structure and characterization in their own writing.
Abstract: Presenting a study of film as storytelling, this book examines how the great works of cinema history have used the principles of myth to create stories which are dramatic, entertaining, and psychologically true. The author looks not only at how outstanding figures from Hitchcock to Lucas, Spielberg and Tarantino have used mythic structure to create powerful stories, but also offers step-by-step guidelines designed to help readers to incorporate effective plot structure and characterization in their own writing. This edition has been updated to include analysis of "Titanic", "The Lion King", "Pulp Fiction" and "The Full Monty".
110 citations
Book•
15 Dec 2007
TL;DR: In this paper, the authors discuss the role of political dramaturgies in the development of modern dramaturgy, from emblem to 'golden motor' names and identities, and the history of the modern political role of dramaturgs.
Abstract: Introduction PART I: What is Dramaturgy? Brecht's productive dramaturgy: from emblem to 'golden motor' Names and Identities: Political dramaturgies in Britain PART II: Introduction: The Dramaturg and the Theatre Institution The Dramaturg and the Playwright The Production Dramaturg The Dramaturg and Devising: Shaping a Dramaturgy PART III: Millennial Dramaturgies Bibliography Index
98 citations