The Uses of Truth & Real Life

THE PLAYWRITING SEMINARS > CONTENT > SUBJECTS > TRUTH

Order 'A friend asked, had I heard about the French diplomat who'd fallen in love with a Chinese actress, who subsequently turned out to be not only a spy, but a man? I later found a two-paragraph story in the New York Times . . .. I suspected there was a play here. I purposely refrained from further research, for I was not interested in writing docudrama. Frankly, I didn't want the truth to interfere with my own speculations.'

-- David Henry Hwang

Being faithful to events -- or "the truth" -- has little to recommend it for a playwright. The truth of playwriting is found in the nature of the characters you create and the process of the Conflict that drives them.

Playwrights are notorious for bending real life to suit dramatic ends. Even those who concentrate on docudrama arrange the material to create a dramatic structure capable of holding an audience. And for good reason.

The most extreme version of not doing this -- from the wild days of the 1960's . . .

An unemployed actor and his wife moved onto the stage of a small New York theatre with all their furniture, belongings, and a puppy. You could come in at any hour, day or night. They simply lived their normal lives in front of anyone who'd buy a ticket.
The critics found all this a tremendous bore except for the fact that the dog wasn't house-broken. This, they said, brought the only conflict to the hours they spent with these folks. So here's as close as you ought to get to Truth as it happened . . .

Docudramas


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