Anne Erbe, Cochair
Marcus Gardley, Cochair
David Geffen School of Drama’s Playwriting program seeks to engage artists who possess a singular voice and who can, with their command of language, set forth imaginative circumstances that entice audiences and challenge current forms. We are interested in students who are eager to learn and grow within a community of fellow artists and form lifelong artistic bonds.
As one of the oldest playwriting programs in the country, made up of practitioners and life-long learners, it is crucial that we identify the roots of racism in our structures and in our practices, interrogate our current models, and invest in a future led by students and instructors imagining systems/culture that do not lean on, celebrate, or uphold supremacy.
We begin those practices by asking three important questions:
Why are you writing? Playwrights must accept the heavy, sometimes lonely, task of bringing their intimate voice to the page. Now called to practice, students are asked to dig deeper into their imaginative responses and forge specific theatrical visions that urge staging. The aim of the program is to engage with students’ instincts and offer methods and means to keep exploration deep, personal, and sustainable while giving them room to innovate and to find ways toward practice unforeseen yet necessary for the creation of their work.
With whom are you making art? New work is at the center of the School, and students in the playwriting program are asked to keep a sharp and generous eye on what collaborators are bringing to bear. Playwrights learn the time-honored practice of collaboration and begin to find new ways of collective creation that evolve forms and strategies of theater making.
To whom are you writing? How is theater made with rather than for audiences and communities? The playwright is asked important questions about connection to audience and community: What portion of humanity are you illuminating or examining, and whom are you inviting to witness, examine, with you? The School and by default the Playwriting program seek to embrace the widest and most invigorating forms of live storytelling; how then do we also embrace the widest and most engaged audience?
Yale Cabaret
The Playwriting program believes that Yale Cabaret is an essential part of life and practice at David Geffen School of Drama and encourages all its students to participate in the Cabaret—not only as writers, but also as theater artists wearing a variety of hats. Playwrights must also balance that participation with the demands of their writing schedules and assigned rehearsals.
Plan of Study: Playwriting
The required sequence of courses is detailed below. Each term, a student is required to take at least one writing course and/or anchor class. More than one writing workshop/course may be taken. In addition, throughout the year, the Playwriting program hosts guest classes and workshops with visiting artists.
Students are encouraged to take electives as audits beyond their required credit courses. Electives may also be selected from other School programs or from Yale College with the approval of the chairs. The program recommends playwriting students enroll in at least one course in Directing, Design, Theater Management, and Dramaturgy and Dramatic Criticism during their three years at the School. Among the electives for consideration are DRAM 66a, Lyric Writing for Musical Theater; DRAM 67b, Libretto Writing for Musical Theater; DRAM 350b, The Choreographic Imagination; DRAM 334b, Advanced Projection Design; DRAM 102a/b, Introduction to Set Design and Design Techniques; DRAM 141b; Law and the Arts; and DRAM 191b, Managing the Production Process. All plans of study must be approved by the chairs.
Class of 2026
Required Sequence
Year one (2023–2024)
| Course | Subject |
|---|---|
| DRAM 3(05)a | Toward Anti-Racist Theater Practice in Playwriting |
| DRAM 6a/b | Survey of Theater and Drama |
| DRAM 7a | Hansberry Welcome |
| DRAM 47a | Fall Workshop |
| DRAM 50a | The Theatrical Event |
| DRAM 51b | New Play Lab |
| DRAM 53a | Authentic Collaboration |
| DRAM 97b | Industry Practice I |
| DRAM 107b | Workshop with Actors |
| DRAM 163b | Text Analysis I |
| DRAM 177a | The Playwrights’ Studio |
Year two (2024–2025)
| Course | Subject |
|---|---|
| DRAM 3(05)a | Toward Anti-Racist Theater Practice in Playwriting |
| DRAM 7a | Hansberry Welcome |
| DRAM 27b | Second-Year Anchor Class: Theater Now (NYC) |
| DRAM 37a | The Production Process for Playwrights |
| DRAM 47a | Fall Workshop |
| DRAM 107b | Workshop with Actors |
| DRAM 177a | The Playwrights’ Studio |
| DRAM 207a | Teach What You Write |
| DRAM 307b | Tutorial I |
Year three (2025–2026)
| Course | Subject |
|---|---|
| DRAM 3(05)a | Toward Anti-Racist Theater Practice in Playwriting |
| DRAM 7a | Hansberry Welcome |
| DRAM 37b | The Production Process |
| DRAM 47a | Fall Workshop |
| DRAM 97a | Industry Practice II |
| DRAM 107b | Workshop with Actors |
| DRAM 177a | The Playwrights’ Studio |
| DRAM 317a | Tutorial II |
| DRAM 327b | Tutorial III |
Class of 2025
Required Sequence
Year two (2023–2024)
| Course | Subject |
|---|---|
| DRAM 3(05)a | Toward Anti-Racist Theater Practice in Playwriting |
| DRAM 7a | Hansberry Welcome |
| DRAM 27b | Second-Year Anchor Class: Theater Now (NYC) |
| DRAM 37a | The Production Process |
| DRAM 47a | Fall Workshop |
| DRAM 97b | Industry Practice I |
| DRAM 107b | Workshop with Actors |
| DRAM 177a | The Playwrights’ Studio |
| DRAM 207a | Teach What You Write |
| DRAM 307b | Tutorial I |
Year three (2024–2025)
| Course | Subject |
|---|---|
| DRAM 3(05)a | Toward Anti-Racist Theater Practice in Playwriting |
| DRAM 7a | Hansberry Welcome |
| DRAM 37b | The Production Process |
| DRAM 47a | Fall Workshop |
| DRAM 97a | Industry Practice II |
| DRAM 107b | Workshop with Actors |
| DRAM 177a | The Playwrights’ Studio |
| DRAM 317a | Tutorial II |
| DRAM 327b | Tutorial III |
Class of 2024
Required Sequence
Year four (2023–2024)
| Course | Subject |
|---|---|
| DRAM 3(05)a | Toward Anti-Racist Theater Practice in Playwriting |
| DRAM 7a | Hansberry Welcome |
| DRAM 37b | The Production Process |
| DRAM 47a | Fall Workshop |
| DRAM 97a | Industry Practice II |
| DRAM 317a | Tutorial II |
| DRAM 327b | Tutorial III |
Additional Requirements for the Degree
Anti-Racist Theater Practice Requirement
Playwriting students are required to enroll in DRAM 3(05)a, Toward Anti-Racist Theater Practice in Playwriting, in order to fulfill the School’s anti-racist theater practice requirement. Combined with the prerequisite workshop, Everyday Justice: Anti-Racism as Daily Practice, this course offers vital strategies for the lifelong development of individual and communal anti-racist practice.
Theater History Requirement
Playwriting students are strongly encouraged to enroll in DRAM 6a/b, Survey of Theater and Drama, in order to fulfil the School’s theater history requirement. One to two courses in theater history offered by David Geffen School of Drama or Yale College may be substituted for DRAM 6a and/or 6b with the following conditions: 1) the student has the program chairs’ approval; 2) the student has the course instructors’ approval; 3) a thorough vetting by program chairs and work-study supervisors of any potential schedule conflicts.
Courses of Instruction
DRAM 3(05)a, Toward Anti-Racist Theater Practice in Playwriting This course aims to identify the roots and branches of racism and white supremacy in the structures and practices of theater making in the United States, including at the School and Yale Repertory Theatre; to interrogate where the practices do harm and hinder; and to invest in the future by inviting students and faculty to imagine and uplift systems and cultures that do not depend upon or promote supremacy, to build a more just and equitable field. This course fulfills the Playwriting requirement for anti-racist theater practice. Katie Christie, Anne Erbe, Tarell Alvin McCraney
DRAM 6a/b, Survey of Theater and Drama See description under Dramaturgy and Dramatic Criticism. This course fulfills Playwriting’s theater history requirement.
DRAM 7a, Hansberry Welcome A celebratory welcome of the Playwriting program back to campus and David Geffen School of Drama’s hearth. Hansberry’s seminal work, A Raisin in the Sun, was based on the spirit of place and home; this intensive, which includes seminar lunches and readings, is required of second- and third-year playwrights. Some activities are open to students in other programs and affinity groups; please check with the chairs for details. Anne Erbe, Marcus Gardley, Tarell McCraney
DRAM 27b, Second-Year Anchor Class: Theater Now (NYC) This course is taught in New York City and includes visits to productions and rehearsals, meetings with theater professionals, and discussion of assigned weekly writing. An immersion in current industry methods, structures, and practices in advance of the playwrights’ final year at the School and the Carlotta Festival of New Plays. Amy Herzog
DRAM 37a/b, The Production Process A practical and conceptual examination of new plays in production, this course looks at how production frameworks can inform the playwright’s writing process. Includes seminars on anti-racist practice, building relationships with collaborators, production timelines, and editing throughout the process. Anne Erbe
DRAM 47a, Fall Workshop An experimental play space for works in their generative stages. Exercises, improvisation, games, and investigation of different modes of creation. Sarah Ruhl
DRAM 50a, The Theatrical Event Required of first-year playwrights. See description under Directing.
DRAM 51b, New Play Lab In the spring, second-year actors, directors, dramaturgs, and playwrights form three small companies and workshop that play. Through this process, playwrights, dramaturgs, directors, and actors develop the art of delving into the heart of a new play. Anne Erbe, Yura Kordonsky, Tarell Alvin McCraney, Katherine Profeta, Justine Williams
DRAM 53a, Authentic Collaboration See description under Acting.
DRAM 66a/THST 414a, Lyric Writing for Musical Theater The craft of lyric writing in musical theater, as well as opera libretto writing, crossover work, immersive theater, and plays with music. Both classic works and new composition used as objects of study. Analysis of song form and placement, and of lyric for character, tone, and diction. Creation of lyrics in context. Noted composers and lyricists of produced musical theater works join the class periodically to comment on the work created. Students also have the opportunity to conceive an original work of musical theater, a crossover work, or an opera libretto, and create portions of the score with original lyrics and music by student composers, with whom the writers will collaborate. Open to non-Playwriting students and undergraduates. Limited enrollment. Michael Korie
DRAM 67b/THST 412b, Libretto Writing for Musical Theater This course combines practical instruction in book writing for musical theater with a close reading of historical and contemporary examples from the genre. Open to non-Playwriting students and undergraduates with prior permission of the instructor. Limited enrollment. Marsha Norman
[DRAM 87b, Serial Television and Series Writing An intensive practicum for second- and third-year playwrights. Not offered in 2023–2024]
DRAM 97a, Industry Practice II A module course for students about to make their way into the industry. This seminar covers refresher topics, including protocols for submitting scripts to professional theaters and agents, writing funding proposals, and ongoing career strategies. Jennifer Kiger
DRAM 97b, Industry Practice I A module course for first- and middle-year students. Topics include protocols for submissions to professional theaters, prizes, and grants; survey of new play dramaturgy models and American new play development programs; and ongoing career strategies. Jennifer Kiger
DRAM 107b, Workshop with Actors Readings, discussion, and development of works in progress. Working with a casting director, each playwright selects actors for a workshop of their play. The writer leads the room in an exploration of an early draft of a full-length work. The fall term is an elective offering for fourth-year playwrights; the spring term is required of first- and middle-year playwrights. Anne Erbe, Marcus Gardley
DRAM 163b, Text Analysis I Required of first-year playwrights. See description under Acting.
DRAM 177a, The Playwrights’ Studio This course explores each playwright’s own “studio space”—the physical, psychic, professional, and social space we create to write and connect with other artists and community members. Marcus Gardley
[DRAM 187b, Features An intensive practicum on screenwriting for second- and third-year playwrights. Not offered in 2023–2024]
DRAM 207a, Teach What You Write Required of middle-year playwrights, this course focuses on foundational tenets of teaching that have been shown to empower students, build community and relationships, deliver content, and provide feedback and critique. They are techniques that have their basis in brain research and educational philosophy and will help guide learning and focus instruction. By introducing these pedagogical tools, the course aims to prepare playwrights to teach within a variety of communities, about a multitude of subjects, and with their full creativity activated. Majkin Holmquist
DRAM 307b, Tutorial I A weekly session scheduled with the instructor to discuss incipient ideas, goals, and drafts of plays in progress. Required of all middle-year playwrights. Anne Erbe, Tarell Alvin McCraney
DRAM 317a, Tutorial II A weekly 1–3-hour session scheduled with the instructor to discuss and explore Carlotta Festival plays. Required of all Carlotta playwrights. Marcus Gardley
DRAM 327b, Tutorial III A weekly 1–3-hour session scheduled with the instructor in New Haven to discuss and explore Carlotta Festival plays. Required of all Carlotta playwrights. Marcus Gardley