My Vision of Dramaturgy

Recently, I took classes on dramaturgy. It surprised me. I had a really bad vision of dramaturgy from the 1990s. That’s when I heard about the Rent lawsuit and the Dramatists Guild’s statements about it. Because of that, my vision of dramaturgy involved dramaturgs being interlopers. They were people who theaters imposed on playwrights and who might even steal work or credit from them!

Not true. The classes opened my eyes to the benefits of dramaturgy. Not only that, but I honestly believe that if there was a dramaturg on some of my own productions, I would’ve been spared some awkward and painful experiences. And it got me thinking how I wouldn’t mind becoming more involved with dramaturgy.

The teacher asked us all to write a kind of mission statement as to how we would see ourselves as dramaturgs. This is a draft of my vision of dramaturgy. Obviously it will evolve with time.

Because I’m also a playwright, I am interested in preserving the intention of the script and empowering the playwright in the new play process. I am always shocked by how often theaters are changing words without the playwright’s permission or even subverting themes to serve the director’s vision. I’ve also attended several acting classes in various cities/states in this region where the director/teacher has told students playwrights don’t write their own stage directions in published scripts. On a personal note, I’ve had bad experiences getting my own plays produced, with directors shutting me out of the process, rather than viewing me as a resource. In this way, my role would be more as mediator/conflict resolution in the new play process between director and playwright.

I would like to bring voices from rural areas to the mainstream. Living off the beaten path has helped me realize that the cultural exchange between cities and rural areas has been one-sided. When I have made this observation before, many people jump to the conclusion that I’m talking about politics or conservative values. That is simply not true. I’m talking about what transcends all of that – what binds us together as human beings. I believe art from places that are usually unheard in theater will enlighten and inform people who live in cities. Many times you aren’t getting the full story if your primary information source is cable news.

I am excited by work that has requires attention to detail, such as documentary theater, verbatim theater or historical dramas. In particular, I would like to help provide context for the script – making the theater larger than the stage. Connecting these stories and helping people to “walk into” the experience is very exciting. 

Finally, I would like to bring a holistic approach to dramaturgy. I am still formulating how to do this, but being a certified meditation teacher has given me techniques that can help groups become more cohesive.