Something I appreciate about theater is that there is often an end date with a final product. The audience paid to see something. That said, most directors have things they would continue to work on or change if they had more time; actors would often like to finesse beats further; the lighting designer would redo the whole plot given another chance. The dramaturg’s work, too, is never done. Nor are we as humans ever done with the process of “becoming.” Consequently, here I have made a list of the things that I, as dramaturg-in-process, believe are some of the critical components of my dramaturgy.
A dramaturg has…
At least a rudimentary understanding of the fundamentals of all parts of a theatrical process, from script analysis to sound design. It shows a level of respect for everyone’s craft, allows for more meaningful conversations, and provides an appreciation of logistical limitations.
Excellent listening skills. The dramaturg is not someone who simply hears, but someone who internalizes, ingests, and ruminates upon what others say.
Enough sense of the director and designers to know when and how to give notes or pose a question. The dramaturg must do this delicately so as not to come across as rude or lacking understanding, but rather from a place of wanting to be sure things are doing what they are intended to. And that those intentions make sense.
Producorial skills. The dramaturg should be able to balance budgets, assist in casting, coordinate company management, and so on.
A working knowledge of play structure, narrative arcs, and historic and contemporary plays from a variety of cultural/geographic backgrounds and genres. This assists the dramaturg in considering intertextual concepts both when serving as production dramaturg of an extant play and when working with a playwright on a new piece.
The ability to synthesize, in critical and creative ways, information and inspiration from a number of different sources. This includes not only outside resources, but the dramaturg’s personal experiences and opinions as well.
A dramaturg needs…
Time. Research, synthesis, understanding of a play, and creative problem-solving are not things that, when done well, can be done quickly. Deep and meaningful conversations with directors or playwrights rarely happen quickly.
The ability to read a room and to read individuals. The dramaturg frequently serves to facilitate conversation, and to serve as support for many people involved in the process. This does not mean blithely acquiescing, but rather helping to foster a space of collective discovery.
An “elevator pitch” of the play. This is useful for both working with marketing and on grant writing, but also for communicating with the public.
A sense of curiosity and desire to ask questions. Hopefully even a child-like sense of wonder and openness to possibility.
Knowledge of fields outside of the theater, be they the humanities, social sciences, languages, or hard sciences. Life consists of so much more breadth than just a Eurocentric theater history perspective.
To be able to balance critical distance with regular presence and participation in the process (often in the rehearsal hall). The dramaturg should be in the room as both artist and audience member.
The ability to perform a lot of emotional labor. It happens. Artists get connected to their work—the dramaturg can try to help separate the two in order to help the artists remember to care for themselves as holistic human beings and not “theater-making machines.”
A dramaturg is…
Not a research assistant. While proficient in researching and providing information about the historical context, production history, thematic issues, background on the playwright, etc., the way in which the dramaturg researches is not “impartial” or “objective”.
An important member of the artistic team, deserving of an equal seat at the table. The dramaturg should be able to speak with everyone on an equal footing, from director to designers to actors.
A strong conversationalist. The dramaturg is able to convey ideas clearly and concisely, and to think through complex material with others.
A facilitator of conversations, be they amongst the artistic team or with the public in things like audience talk-backs. The dramaturg can often serve as the public face of the theater.
A human being, first and foremost. The dramaturg can only truly do good work when they care for their bodies, minds, and relationships as a person in order to bring that insightful creature into the process.