The author of The Writer, considered one of the best British plays of the last season, proposes the exploration of whether new theatrical forms are necessary or something solid exists in the Greek dramatic principles that have survived since the times of Aristotle.
Aristotelian principles suggest that unity of time, place and action create the most ‘effective’ theatrical work. Does this still apply in a polyphonous, globalised world where the majority of human interaction occurs in technological rather than physical space?
Can the stage accommodate a split focus? Can plays hold different languages? Is a single protagonist, built around a coherent sense of character, no longer representative of a generation who feel their identities are constantly in flux? How does technology influence theatre? How should it be represented? How best is it dealt with? How does it affect form, language and dramatic action?
This workshop will investigate whether new theatrical forms are needed for a new world or whether there is something robust about the principals that have lasted since the Greeks that make them impervious to change.
Ella is an award-winning writer whose work has been performed throughout the UK and abroad. Her play The Writer (Susan Smith Blackburn Shortlisted) opened at the Almeida Theatre in Spring 2019 and her new play Anna will open at The National Theatre in 2019. Oil played at the Almeida Theatre in 2016. In 2013/14 Wendy and Peter Pan, her version of Peter Pan, played at the Royal Shakespeare Company. Other credits include Merlin (The Royal and Derngate, Northampton/Nuffield Theatre, Southampton), Boys (Nuffield Theatre, Southampton), Decade (Headlong Theatre), The Authorised Kate Bane (Traverse Theatre), Rightfully Mine (Radio 4), Precious Little Talent (Trafalgar Studios), Hot Mess (Arcola Tent) and Eight (Trafalgar Studios). In 2011 Ella was the Pearson Writer in residence at the Lyric Hammersmith and she received the 2013 Catherine Johnson Award. Ella has twice been a MacDowell fellow and once the Thornton Wilder Fellow. She has spent time at Dora Maar and Hawthornden Residencies.
She is currently developing new work for The Old Vic, The Globe and Manhattan Theatre Club. Ella is also writing various projects for TV and film. She recently wrote a page one rewrite of female-lead thriller The Rhythm Section for Reed Morano and adapted Matt Haig’s book Echo Boy for Studio 8. She is currently writing an episode of Roald Dahl’s Tales of the Unexpected for Ink Factory and the BBC.