Playwright
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About this archive
Writing for live performance is a separate discipline from writing for the camera, and this credit marks people who have done it: original plays, the book of a musical, or stage adaptations of existing material. The constraints differ in ways that show in the work. Everything must be carried by what can be built and performed in one continuous run, with no cutting between shots, and the text has to survive being performed differently every night.
The connection to BL and GL runs both ways. Screenwriters and directors in this field often come from theatre, where new writing is developed with fewer commercial gatekeepers, and the discipline of long scenes and sustained two handers transfers directly to a genre built on conversation between two people. In the other direction, successful series and novels are increasingly adapted for the stage, as plays, musicals and concert style productions, and those adaptations need someone to write them.
For a reader, this credit usually points to a body of work that appears in no filmography. Theatre is poorly documented internationally compared with screen output, and it is often where a writer’s earliest and most personal material sits, well before any broadcast credit.
PLAYWRIGHT ACROSS THE SITE
There are 4 profiles filed under Playwright.
4 of them are credited on at least one title record on this site, 4 credits in total.
Those credits divide into 1 supporting role and 3 credits behind the camera.
People filed under Playwright are also filed under Screenwriter (3), Director (2) and Actor most often, so the two jobs regularly sit with the same person.
Between them they are recorded under 3 nationalities, most often Japanese (2), Thai and Taiwanese.
The records that draw on them most are Flower Boy, Fragrance of the First Flower and The Boy and I Who Will Break Up in 100 Days.
Every figure above is counted from this site’s own records and changes as records are added.
