INK: New Writing for Scottish Stages

Perhaps more than any other aspect of a performance, a weak script can undermine an entire evening at the theatre. Unless the characterisation is spot-on and the tone exact, leaden words stifle the best acting, imaginative staging and innovative direction. The various pedestrian versions of Shakespeare wandering about Britain are a reminder that a skilled author isn’t enough - and the increasing appearance of devised and physical theatre insist that a playwright isn’t even necessary. Scotland’s theatrical renaissance isn’t always matched by the number of new, exciting writers: into this gap comes INK, a series of evenings that explore “what happens when the writers take over the theatre”.

Split between the Tron and the Traverse – two spaces known for their support of emerging writers – INK is a monthly event that showcases new short work from a range of promising writers. Developed by Oliver Emanuel, it offers a cheap chance to catch pieces from, amongst others, Pamela Carter, Selma Dimitrijevic, while they are in development.

“This was an idea I had in the summer. I wanted to see new writing in Scotland but it seemed in short supply,” says Emanuel. “I have done writers' nights in London before and always had a good time but when I looked around I discovered there weren’t any north of the border.” Asking around his friends to determine the level of interest, “they bit my hand off. I went to the theatres and asked for some time and space and they said yes.”

Emanuel is very clear about INK’s aims. “It’s an opportunity for writers to work without the burden of commission, a chance to try out ideas and experiment, and most importantly to connect with an audience.” Another member of the group, Lewis Hetherington, agrees. “The chance to get work in front of an audience, see how people react to it and hear their feedback: I like that it is writing for the sake of writing. Hetherington also comments on how INK has begun to inspire his work. “As a writer it’s always nice to have the chance to feel part of a gang as it can get a bit lonely; with INK we still retain our individual voice yet are part of something larger which is a positive opportunity.”

Dimitrijevic, a Croatian writer now based in Edinburgh, is equally excited about the project. “I was attracted to INK because it seemed like a great opportunity for experimenting with new styles and formats but mostly because I wanted to work with the rest of the writers in the group.” She sees it as a chance “to try things I wanted to try for a while, to revisit things I abandoned when I started writing in English: and just generally to have a good time!”

This is certainly in line with Emanuel’s vision for the group: “I want the writers to have fun, test themselves and their audiences. This isn't about self promotion or glamour (theatre never is) but about connecting with an audience and telling a story.” This particular energy – both towards the creation of new works and approaches, but never excluding the audience’s entertainment and engagement is a strong theme within INK’s process. Together, they provide a foundation for a powerful vision for modern performance.

Emanuel is more modest. “If we get our audiences hooked on one hour of new writing a month, we've achieved our goal.” Re-establishing the writer at the heart of the theatre is a noble goal, especially as many of the most exciting contemporary pieces have rejected the importance of pre-determined dialogue and monologue.

Emanuel, however, strongly affirms the importance of the script. “The script is still the blueprint for most performances in the theatre, whether it's devised work, performance art or a play. But with shifting mediums, the writer's role has changed. I often find myself as a collaborator on a project rather than the lead artist. This is all fun and really helps develop your skills but I also like sitting down with an idea and characters and seeing where it takes me. Playwrighting isn't dying out or going out of fashion. People will always want stories from a single authored voice, but the range of ways in which we experience and make theatre is constantly evolving and writers have to keep up.”

Even though I don’t strictly agree – work devised by a company often feels confidently natural, and for every searing Sarah Kane experiment there are twenty authors puttering about with Pinter rip-offs and mannered issue-based nonsense – Emanuel’s vigour and imagination is bracing and convincing. Besides, both Carter and Dimitrijevic have presented excellent works that do support his argument, and any attempt to break the formality of a night out at the theatre deserves support. As a sort of literary parallel to The Arches' Scratch nights, INK is a writer-led powerhouse dertermined to champion quality and develop new territories.