Every time I encounter a new person, it always starts the same. I introduce myself; say where I’m from, my school, and my major. My introduction seems to do until I say my major: Dramaturgy/Criticism. Criticism seems to go over pretty well, but once the word dramaturgy is uttered a plethora of pressing is thrust upon me.
“What is dramaturgy?” “What is a dramaturg?” “What sorts of things do you do with that?” “Can you make a living doing that?” I’ve been so used to encountering these kinds of questions that I typically have my spiel ready to go explaining what I do and justifying my reason for it.
I know I am not alone in this struggle. Though we are a rare breed, we are a proud group of critics, historians and contributors. So I’ve essentially compiled a crash course on how to survive those innate questions that the word dramaturgy presents.
“What is dramaturgy?”
Dramaturgy is the study of the history and literature of theater, and finding ways to ensure the accuracy and engagement of its practice with plays in the past as well as present. It’s an art form concerned with lending a critical eye focusing on pulling out the major themes and plot of a play. In short, finding out what makes the play tick!
It’s an art that has been around since even the times of Aristotle. The history of examining the history of theater itself is pretty lengthy! It’s been a part of our history in art making as well as continuing to develop that art today.
It also doesn’t have to just be done by dramaturgs! A lot of directors incorporate dramaturgy into their own directorial work as well as playwrights and actors. Lots of artists like to do their own research to learn more about the play they’re trying to help create and gain more of a sense of the world they are inhabiting. So in a way you can be a dramaturg and never even realize it!
“What is a dramaturg?”
While the definition of dramaturgy can sound tedious, I like to have more fun with answering what a dramaturg is. Depending on my mood and the group of people I’m with, it varies. Sometimes I’ll say it’s a consultant on the show to make sure it’s being historically accurate as well as engaging to a modern day audience. Other times I’ll say it’s the director’s right-hand person, another set of eyes in the rehearsal room. For anyone who was a fan of "Smash," I say they had a dramaturg played by a really hot guy who wasn't Jeremy Jordan.
When working with children on shows, I’ve learned that a great way to describe a dramaturg is that it’s like a detective trying to unlock all of the clues in the play (I find this works on adults as well). I’ve also stated once when approached by a colleague about the subject how we’re almost like the Mary Poppins of the theater: there to provide a service when needed, but leave once they are needed somewhere else.
The more you get asked this question, the more you find new ways to answer it. Come up with your own and don’t be afraid to jazz up your answer. I mean C’mon, who doesn’t wish they were a detective or Mary Poppins?
“What sorts of things do you do with that?”
Essentially, anything and everything! You are ready to step in as a fairy godmother and work the magic of making this process and product as insightful and helpful as possible. You provide the assistance for the metamorphosis of taking an underdeveloped, shy show waiting to be awakened into a beautiful and enthralling piece of art.
Or at least that’s the goal. The ways in which to do so involve tasks such as research, writing and audience engagement. Research can be historical, like figuring out what kind of clothing a poor 1800s Russian young woman would be wearing or how a poor British man would speak against a respected British gentleman in the 1920s. Research also can be delving into the script analyzing moments to see what they reflect about a character, their motivations, and their overall arch in the play.
Writing comes into play with consolidating research and presenting it to members of the production team. It’s also used in creating an actor packet, a culmination of research for actors to begin unlocking the essence of the play. Writing also can be involved when writing a note for the audience in the program that provides a jumping point for them to become immersed in the play.
Dramaturgs are very much concerned with keeping the perspective of the audience in mind! They moderate pre- and post-show discussions regarding topics on the play to help start those conversations you have after the lights come up and you're on the drive home. They also create lobby displays with information and sources such as pictures, videos, and music to reflect the environment of the play when the audience enters and leaves the space. So there’s also room for some interior decorating to come into play!
“Can you make a living doing that?”
Like any job in the theater, yes it is possible to make a living. How much? It’s hard to determine. There are a lot of projects that a dramaturg can get their hands on, and often those projects overlap at the same time.
Dramaturgs can be used as production dramaturgs on a historical play and new plays in helping craft and shape the script, and even planning a theater company’s season of plays for the following year. Their expertise also can be used when it comes to dance, films and even in law firms!
Being the resourceful and creative minds they are, dramaturgs are able to branch out and develop their own work as well. Many dramaturgs are directors, playwrights, artistic administrators, and teachers; the list goes on and on! While it may not be their one and only source of income, their skillset allows them to take on many different kind of jobs that suffice for one.
I hope this gives more of an insight into a day in the life of myself and many other artists I know. So next time you come across the subject of dramaturgy, you’ll be able to impress everyone you know with your newfound set of knowledge!
