Of several pitfalls I see in a lot of script development initiatives, 2 of the most significant are (a). pushing the work to fit the needs of the organisation’s or program’s development process, and (b). pushing the work to conform to existing templates and expectations at the expense of its distinctiveness or originality. Why does this happen? Perhaps because once a company or organisation settles on an agenda, or into a particular way of working, it runs the risk of imposing comfortable strategies on recalcitrant material—or writers.
While I gather more thoughts on script development programs, here are Nineteen Hopes For An Activist Cinema from the UK magazine Vertigo. I find they translate easily to theatre and performance. See what you think.