for serious drama" (Kritzner 16). During the time of her writing for the theatre and her "sounds phase," she was looking outward, investigating new places for her to take her art. She wrote a few stage plays during her radio stint, none of them being produced. She re-wrote some of her radio plays and eight of them were produced between the years of 1962 and 1973. She then moved on to television plays. She became very unsatisfied with it very quickly, commenting thatTelevisionattracts me very much lessIt has the attraction of a large audiences and being the ordinary peoples' medium and not being the sort of effete cultural thing that no one ever pays any attention to anyway. But as an actual medium, as a physical thing that happens, I don't find it anything like as exciting myself as the stage. I do like things that actually happen. (Kritzner 45).It was then time for her to make a change.Stage playsAfter a dozen years of writing primarily for the radio, Churchill finally made her move to the mainstage. She wrote Owners for Micheal Codron. The play was produced by the Royal Court Theatre in 1972. Her career went uphill from there. She became associated with a "sphere of the sometimes conflict-ridden but always politically daring and artistically committed theatre often referred to simply as 'the Court' (Kritzner 61). Churchill's reputation became paired with the Royal Court. She became the first female resident dramatist, and later help with the Young Writer's Group program. During her time at the Royal Court she wrote many plays, still focusing a great deal on sound and voice. At the same time as she held position of resident dramatist, she also worked at other theatres and with other groups. She founded the Theatre Writers' Group, now known as the Theatre Writers Union, and had works produced by Joint Stock Theatre Group and Monstrous Regiment.Historical playsDuring her previous playwriting time she had been very center...
