In this chapter, David Crespy shares his dreamwork for dramatic writing workshop that he has taught through such venues as the Association for Theatre in Higher Education, the Mid-America Theatre Conference, the International Association... more
In this chapter, David Crespy shares his dreamwork for dramatic writing workshop that he has taught through such venues as the Association for Theatre in Higher Education, the Mid-America Theatre Conference, the International Association for the Study of Dreams, Hollins University PlayLab, and the Kennedy Center American College Theatre Festival. The work here focuses on dramatic writing , but the notion of the dream cache is useful to any storyteller looking for a creative method to innovate their story technique. Using the lens of phenomenology, and techniques suggested by performance theorist Bert O. States, Crespy attempts to "unmask" the way dreams and fiction interact for the playwright or screenwriter. Dreams offer an unlimited supply of ideas, form, technique, and structure for writers who are trying to surprise themselves out of clichés received from the echo chamber of Broadway and Hollywood. This form of dreamwork is about transforming as a storyteller and changing one's ideas about what makes an adventurous tale.
In this chapter, David Crespy shares his dreamwork for dramatic writing workshop that he has taught through such venues as the Association for Theatre in Higher Education, the Mid-America Theatre Conference, the International Association... more
In this chapter, David Crespy shares his dreamwork for dramatic writing workshop that he has taught through such venues as the Association for Theatre in Higher Education, the Mid-America Theatre Conference, the International Association for the Study of Dreams, Hollins University PlayLab, and the Kennedy Center American College Theatre Festival. The work here focuses on dramatic writing, but the notion of the dream cache is useful to any storyteller looking for a creative method to innovate their story technique. Using the lens of phenomenology, and techniques suggested by performance theorist Bert O. States, Crespy attempts to “unmask” the way dreams and fiction interact for the playwright or screenwriter. Dreams offer an unlimited supply of ideas, form, technique, and structure for writers who are trying to surprise themselves out of cliches received from the echo chamber of Broadway and Hollywood. This form of dreamwork is about transforming as a storyteller and changing one’s i...
