Editing Playwright (section)

==History==
{{Main|List of playwrights}}

===Early playwrights===
The earliest playwrights in Western literature with surviving works are the [[Ancient Greek]]s. These early plays were for annual [[Athens|Athenian]] competitions among play writers<ref>Fraser, Neil. ''playwright History Explained'', ''The Cowood Press'', 2004, page 11</ref> held around the 5th century BC. Such notables as [[Aeschylus]], [[Sophocles]], [[Euripides]], and [[Aristophanes]] established forms still relied on by their modern counterparts. We have complete texts [[Extant literature|extant]] by Aeschylus, Sophocles, and [[Euripides]].<ref>Brockett and Hildy (2003, 15).</ref>{{efn|The theory that ''[[Prometheus Bound]]'' was not written by Aeschylus adds a fourth, anonymous playwright to those whose work survives.}} The origins of [[Tragedy#Greek|Athenian tragedy]] remain obscure, though by the 5th century it was [[Institution|institutionalised]] in competitions (''[[agon]]'') held as part of festivities celebrating [[Dionysos]] (the [[Family tree of the Greek gods|god]] of [[wine]] and [[fertility]]).<ref>Brockett and Hildy (2003, 13–15) and Brown (1995, 441–447).</ref> As contestants in the [[City Dionysia|City Dionysia's]] competition (the most prestigious of the festivals to stage drama), playwrights were required to present a [[tetralogy]] of plays (though the individual works were not necessarily connected by story or theme), which usually consisted of three tragedies and one satyr play.<ref>Brown (1995, 442) and Brockett and Hildy (2003, 15–17).</ref>'''{{efn|Exceptions to this pattern were made, as with [[Euripides]]' ''[[Alcestis (play)|Alcestis]]'' in 438 BC. There were also separate competitions at the [[Dionysia#City Dionysia|City Dionysia]] for the performance of [[dithyramb]]s and, after 488–7 BC, [[Ancient Greek comedy|comedies]].}}'''

For the ancient Greeks, playwriting involved ''[[poiesis|poïesis]]'', "the act of making". This is the source of the English word ''poet''.

Despite [[Chinese Theatre]] having performers dated back to the 6th century BC with [[You Meng]], their perspective of theatre was such that plays had no other role than "performer" or "actor", but given that the performers were also the ones who invented their performances, they could be considered a form of playwright.<ref>{{Cite book |last=Ye |first=Tan |url=https://www.worldcat.org/title/182662750 |title=Historical dictionary of Chinese theater |date=2008 |publisher=Scarecrow Press |isbn=978-0-8108-5514-4 |series=Historical dictionaries of literature and the arts |location=Lanham, Md |oclc=182662750 |access-date=2024-04-30 |archive-date=2024-05-27 |archive-url=https://web.archive.org/web/20240527172404/https://search.worldcat.org/title/182662750 |url-status=live }}</ref>

Outside of the Western world there is [[Indian classical drama]], with one of the oldest known playwrights being [[Śudraka]], whose attributed plays can be dated to the second century BC.<ref>{{Cite book |last=Stoneman |first=Richard |url=https://www.worldcat.org/title/on1032723070 |title=The Greek experience of India: from Alexander to the Indo-Greeks |date=2019 |publisher=Princeton University Press |isbn=978-0-691-15403-9 |location=Princeton |oclc=on1032723070 |access-date=2024-04-30 |archive-date=2024-05-27 |archive-url=https://web.archive.org/web/20240527172349/https://search.worldcat.org/title/on1032723070 |url-status=live }}</ref> The ''[[Natya Shastra|Nāṭya Shāstra]]'', a text on the performing arts from between 500BC-500AD, categorizes playwrights as being among the members of a theatre company, although playwrights were generally the highest in social status, with some being kings.<ref>{{Cite book |title=Indian theatre: traditions of performance |date=1993 |publisher=Motilal Banarsidass Publ |isbn=978-81-208-0981-9 |editor-last=Richmond |editor-first=Farley P. |edition= |series=Performing arts series |location=Delhi}}</ref> 

===Aristotle's ''Poetics'' techniques===
In the 4th century BCE, [[Aristotle]] wrote his ''[[Poetics (Aristotle)|Poetics]]'', in which he analyzed the principle of action or ''praxis'' as the basis for tragedy.<ref name=":0">{{Cite book |last=Aristotle |title=Poetics |publisher=Macmillan |year=1902 |edition=3rd |pages=45 |translator-last=Butcher |translator-first=S.H.}}</ref> He then considered elements of drama: [[Plot (narrative)|plot]] (''{{Lang|el|μύθος|italic=no}} {{Lang|el-latn|mythos}}''), character (''{{Lang|el|ἔθος|italic=no}} {{Lang|el-latn|[[ethos]]}}''), thought (''{{Lang|el-latn|[[dianoia]]}}''), diction (''{{Lang|el-latn|[[Lexis (Aristotle)|lexis]]}}''), music (''{{Lang|el-latn|[[Melody|melodia]]}}''), and spectacle (''{{Lang|el-latn|opsis}}''). Since the [[Mythology|myths]] on which [[Greek tragedy]] were based were widely known, plot had to do with the arrangement and selection of existing material.<ref name=":0" /> Character was determined by choice and by action. Tragedy is [[mimesis]] — "the imitation of an action that is serious". He developed his notion of [[hamartia]], or tragic flaw, an error in judgment by the main character or [[protagonist]], which provides the basis for the "conflict-driven" play.<ref name=":0" />
[[File:William Shakespeare by John Taylor, edited.jpg|thumb|{{nowraplinks|The [[Chandos portrait]], likely depicting Shakespeare, {{circa|1611}}}}]]

=== Medieval ===
There were also a number of secular performances staged in the Middle Ages, the earliest of which is ''The Play of the Greenwood'' by [[Adam de la Halle]] in 1276. It contains satirical scenes and [[Folk culture|folk]] material such as [[faeries]] and other supernatural occurrences. [[Farce|Farces]] also rose dramatically in popularity after the 13th century. The majority of these plays come from France and Germany and are similar in tone and form, emphasizing [[sex]] and bodily excretions.<ref>Brockett and Hildy (2003, 96)</ref>

The best known playwright of farces is [[Hans Sachs]] (1494–1576) who wrote 198 dramatic works. In England, [[The Second Shepherds' Play]] of the [[Wakefield Cycle]] is the best known early farce. However, farce did not appear independently in England until the 16th century with the work of [[John Heywood]] (1497–1580).

Playwright [[William Shakespeare]] remains arguably the most influential writer in the English language, and his works continue to be studied and reinterpreted. Most playwrights of the period typically collaborated with others at some point, as critics agree Shakespeare did, mostly early and late in his career.<ref>{{Cite book |last=Thomson |first=Peter |title=Shakespeare: An Oxford Guide |publisher=Oxford University Press |year=2003 |isbn=978-0-19-924522-2 |page=49 |chapter=Conventions of Playwriting}}</ref> His plays have been [[List of translations of works by William Shakespeare|translated]] into every major [[Modern language|living language]] and are performed more often than those of any other playwright.<ref>{{Cite book |last=Craig |first=Leon Harold |title=Of Philosophers and Kings: Political Philosophy in Shakespeare's Macbeth and King Lear |date=2003 |publisher=[[University of Toronto Press]] |isbn=978-0-8020-8605-1 |location=Toronto |page=3}}</ref>

In England, after the [[Interregnum (British Isles)|interregnum]], and [[Restoration (England)|Restoration]] of the [[monarchy]] in 1660, there was a move toward neoclassical dramaturgy. Between [[Stuart Restoration|the Restoration]] of the monarchy in 1660 and the end of the 17th century, classical ideas were in vogue. As a result, critics of the time mostly rated Shakespeare below [[John Fletcher (playwright)|John Fletcher]] and Ben Jonson.<ref>{{Cite book |last=Grady |first=Hugh |title=The Cambridge Companion to Shakespeare. Cambridge |date=2001 |publisher=[[Cambridge University Press]] |isbn=978-1-139-00010-9 |pages=269 |chapter=Shakespeare criticism, 1600–1900}}</ref> This period saw the first professional woman playwright, [[Aphra Behn]].

As a reaction to the decadence of Charles II era productions, [[sentimental comedy]] grew in popularity. Playwrights like [[Colley Cibber]] and [[Richard Steele]] believed that humans were inherently good but capable of being led astray.<ref name="Campbell">{{cite web |last1=Campbell |first1=William |title=Sentimental Comedy in England and on the Continent |url=http://www.bartleby.com/220/0402.html |url-status=live |archive-url=https://web.archive.org/web/20150402100336/http://www.bartleby.com/220/0402.html |archive-date=2 April 2015 |access-date=28 February 2015 |website=The Cambridge History of English and American Literature}}</ref><ref name="Harman">{{cite book |last1=Harman |first1=William |title=A Handbook to Literature |date=2011 |publisher=Longman |isbn=978-0205024018 |edition=12}}</ref> 

=== Neo-classical theory ===
[[File:Aleksis Kivi.jpg|thumb|The literary production of [[Aleksis Kivi]], the [[Finland|Finnish]] national author, consisted mainly of plays. One of his best-known plays is ''[[Heath Cobblers]]'' from 1864.]]The [[Italian Renaissance]] brought about a stricter interpretation of Aristotle, as this long-lost work came to light in the late 15th century. The [[Neoclassical architecture|neoclassical]] ideal, which was to reach its apogee in France during the 17th century, dwelled upon the [[unities]], of action, place, and time. This meant that the playwright had to construct the play so that its "virtual" time would not exceed 24 hours, that it would be restricted to a single setting, and that there would be no subplots. Other terms, such as verisimilitude and decorum, circumscribed the subject matter significantly. For example, verisimilitude limits of the unities. Decorum fitted proper protocols for behavior and language on stage. 
In France, contained too many events and actions, thus, violating the 24-hour restriction of the unity of time. Neoclassicism never had as much traction in England, and [[Shakespeare]]'s plays are directly opposed to these models, while in Italy, improvised and bawdy [[commedia dell'arte]] and opera were more popular forms. 

One structural unit that is still useful to playwrights today is the "[[French scenes|French scene]]", which is a scene in a play where the beginning and end are marked by a change in the makeup of the group of characters onstage rather than by the lights going up or down or the set being changed.<ref name="George">George, Kathleen (1994) ''[[iarchive:playwritingfirst0000geor|Playwriting: The First Workshop]]'', Focal Press, {{ISBN|978-0-240-80190-2}}, p. 154.</ref>

Notable playwrights:

* [[Pierre Corneille]] (1606–84)
* [[Molière]] (1622–73)
* [[Jean Racine]] (1639–99)

=== Cretan Renaissance theatre ===
Greek theater was alive and flourishing on the island of Crete.  During the [[Cretan school|Cretan Renaissance]] two notable Greek playwrights [[Georgios Chortatzis]] and [[Vitsentzos Kornaros]] were present in the latter part of the 16th century.<ref>{{cite book |author=Robert Browning |title=Medieval and Modern Greek |publisher=[[Cambridge University Press]] |year=1983 |isbn=0-521-29978-0 |pages=90–91}}</ref>

=== 19th century ===
The plays of [[Gotthold Ephraim Lessing]], [[Johann Wolfgang von Goethe]], [[Friedrich Schiller]], and other ''[[Sturm und Drang]]'' playwrights inspired a growing faith in feeling and instinct as guides to moral behavior and were part of the [[German Romanticism|German romanticism]] movement. [[Aleksandr Ostrovsky]]  was Russia's first professional playwright). 

=== Contemporary playwrights in the United States ===
[[File:Agatha Christie.png|thumb|251x251px|[[Agatha Christie]], author of ''[[The Mousetrap]]'', the longest run play in history]]Author and playwright [[Agatha Christie]] wrote ''[[The Mousetrap|The Moustrap]]'', a [[murder mystery]] play which is the [[List of the longest-running West End shows|longest-running West End show]], it has by far the longest run of any play in the world, with its 29,500th performance having taken place as of February 2024.<ref>{{cite web |title=Celebrating 29,500 perfoemnces |url=https://twitter.com/MousetrapLondon/status/1761043808500814155 |access-date=24 March 2024 |website=Agatha Christie's The Mousetrap}}</ref>

Contemporary playwrights in the [[United States]] are affected by recent declines in theatre attendance.<ref>{{Cite web |last=Pierson |first=Alexandra |last2=Merrill |first2=Amelia |last3=Coutinho |first3=Gabriela Furtado |last4=Pierce |first4=Jerald Raymond |last5=Sims |first5=Joseph |last6=Weinert-Kendt |first6=Rob |date=2023-07-24 |title=Theatre in Crisis: What We’re Losing, and What Comes Next |url=https://www.americantheatre.org/2023/07/24/theatre-in-crisis-what-were-losing-and-what-comes-next/ |access-date=2024-04-29 |website=AMERICAN THEATRE |language=en-US |archive-date=2024-05-27 |archive-url=https://web.archive.org/web/20240527164143/https://www.americantheatre.org/2023/07/24/theatre-in-crisis-what-were-losing-and-what-comes-next/ |url-status=live }}</ref> No longer the only outlet for serious drama or entertaining comedies, theatrical productions must use ticket sales as a source of income, which has caused many of them to reduce the number of new works being produced. For example, [[Playwrights Horizons]] produced only six plays in the 2002–03 seasons, compared with thirty-one in 1973–74.<ref>{{cite web |author=Soloski |first=Alexis |date=2003-05-21 |title=The Plays What They Wrote: The Best Scripts Not Yet Mounted on a New York Stage |url=http://www.villagevoice.com/theater/0321,soloski,44226,11.html |url-status= |archive-url=https://web.archive.org/web/20071210095919/http://www.villagevoice.com/theater/0321%2Csoloski%2C44226%2C11.html |archive-date=2007-12-10 |access-date=2012-04-23 |publisher=The Village Voice}}</ref> Playwrights commonly encounter difficulties in getting their shows produced and often cannot earn a living through their plays alone, leading them to take up other jobs to supplement their incomes.<ref>{{Cite book |last=London |first=Todd |title=Outrageous Fortune: The Life and Times of the New American Play |publisher=Theatre Development Fund |year=2009}}</ref>

Many playwrights are also [[film makers]]. For instance, filmmaker [[Morgan Spurlock]] began his career as a playwright, winning awards for his play ''The Phoenix'' at both the New York [[Fringe theatre|International Fringe Festival]] in 1999 and the Route 66 American Playwriting Competition in 2000.<ref>{{cite web |last=Roberts |first=Genevieve |date=March 31, 2012 |title=Morgan Spurlock: 'I was doing funny walks around the house aged six' |url=https://www.independent.co.uk/news/people/profiles/morgan-spurlock-i-was-doing-funny-walks-around-the-house-aged-six-7606234.html |url-status=live |archive-url=https://web.archive.org/web/20140504003915/http://www.independent.co.uk/news/people/profiles/morgan-spurlock-i-was-doing-funny-walks-around-the-house-aged-six-7606234.html |archive-date=May 4, 2014 |access-date=May 3, 2014 |publisher=Independent.co.uk}}</ref>

====New play development====
Today, theatre companies have new play development programs meant to develop new American voices in playwriting. Many regional theatres have hired dramaturges and literary managers in an effort to showcase various festivals for new work, or bring in playwrights for residencies.<ref>{{Cite book |last=Haimbach |first=Brian Prince |title=Contemporary new play development |date=2006 |publisher=University of Georgia}}</ref> Funding through national organizations, such as the [[National Endowment for the Arts]]<ref>{{Cite web |title=GRANTS FOR ARTS PROJECTS: Theater |url=https://www.arts.gov/grants/grants-for-arts-projects/theater |access-date=2024-04-29 |website=www.arts.gov |language=en |archive-date=2024-05-27 |archive-url=https://web.archive.org/web/20240527164146/https://www.arts.gov/grants/grants-for-arts-projects/theater |url-status=live }}</ref> and the [[Theatre Communications Group]], encouraged the partnerships of professional theatre companies and emerging playwrights.<ref>{{Cite web |title=Home - Edgerton Foundation New Play Awards |url=https://circle.tcg.org/edgertonfoundationnewplayawards/home |access-date=2024-04-29 |website=circle.tcg.org |archive-date=2024-05-27 |archive-url=https://web.archive.org/web/20240527164839/https://circle.tcg.org/edgertonfoundationnewplayawards/home |url-status=live }}</ref>

Playwrights will often have a [[Cold reading (theatrical)|cold reading]] of a script in an informal sitdown setting, which allows them to evaluate their own plays and the actors performing them. Cold reading means that the actors haven't rehearsed the work, or may be seeing it for the first time, and usually, the technical requirements are minimal.<ref>{{Cite web |date=26 October 2022 |title=What is a Cold Reading? Do I memorize my lines? |url=https://tophollywoodactingcoach.com/2012/04/what-is-a-cold-reading/ |website=Kid's Top Hollywood Acting Coach |access-date=26 October 2022 |archive-date=27 May 2024 |archive-url=https://web.archive.org/web/20240527172402/https://tophollywoodactingcoach.com/2012/04/what-is-a-cold-reading/ |url-status=live }}</ref> The O'Neill Festival<ref>{{Cite web |title=Young Playwrights Festival {{!}} Eugene O'Neill Theater Center |url=https://www.theoneill.org/ypf |access-date=2024-04-29 |website=theoneill |language=en |archive-date=2024-05-27 |archive-url=https://web.archive.org/web/20240527172422/https://www.theoneill.org/ypf |url-status=live }}</ref> offers summer retreats for young playwrights to develop their work with directors and actors.

Playwriting [[collective]]s like 13P and Orbiter 3<ref>{{Cite web |title=Orbiter 3 |url=http://www.orbiter3.org/ |access-date=2024-04-29 |website=Orbiter 3 |language=en-US |archive-date=2024-05-27 |archive-url=https://web.archive.org/web/20240527172907/http://www.orbiter3.org/ |url-status=usurped }}</ref> gather members together to produce, rather than develop, new works. The idea of the playwriting collective is in response to plays being stuck in the development process and never advancing to production.<ref>{{Cite web |date=2012-07-26 |title=13 Playwrights Is Preparing To Implode |url=https://www.huffpost.com/entry/13-playwrights-13p_b_1697919 |access-date=2024-04-29 |website=HuffPost |language=en |archive-date=2024-05-27 |archive-url=https://web.archive.org/web/20240527172913/https://www.huffpost.com/entry/13-playwrights-13p_b_1697919 |url-status=live }}</ref>