Dramaturgy

Most productions are not developmental for the script and that usually means the text being used is effectively final. As is often the case, the playwright is usually not in the room, and so they have no say in the changes being made to their script. As a supporter of playwrights’ rights, I often feel that I must become the de facto voice of the writer, to protect the integrity of their text.

Martha Steketee writes about the logistics and process of the OOB Festival, including quotes from an interview with the team behind it.

When we teach, how do we discuss something truly important? Specifically, how could I talk about the murder of an unarmed black man the same age as my students? What is taught in the not teaching? What is not covered in a course? When we omit difficult conversations or troubling current events, what does that teach students about what is important, worthy of attention, urgent?

Influenced by Greek tragedies, Andy Boyd sheds insight into the complexities of writing contemporary dramas.

P. Carl interviews playwright Sarah Ruhl on her collection of short essays titled "100 Essays I Don't Have Time to Write: On Umbrellas and Sword Fights, Parades and Dogs, Fire Alarms, Children, and Theater." 

The book as a whole is a deeply moving, authentic, and relatable piece of writing. It begins by relating "The Panza Monologues" authors’ personal and social history, and then shifts gears into practical application, even including a DIY (do it yourself) production manual. "The Panza Monologues" illustrate the inherent value of theater and performance of and from a specific community and culture.

As someone who lives and works with fifteen other young professionals, I know that brilliant conversations are being had on both sides of the generational line—but the fact remains that there is a very definite line. It’s one that I notice beyond conference sessions.

We are building a shared vocabulary that may not ever fit into a dictionary or any static form, but will give us a foundation to work toward into the future. The playwrights and artistic directors, the artists, both established and emerging, all gathered at Tarragon Theatre not to shut out the harsh reality of making work in this day and age, but to huddle together and collaborate on what’s working and solutions to what’s not.

Martha Steketee interviews dramaturg Jill Rafson about the process of developing The Mysteries, described as “48 playwrights and 54 actors retelling the entirety of the Bible in a single night.”

This week's conversation topic is "Dramaturgical Collaborations in Devised Work" and will be moderated by @ArtsEmerson—who like all of our moderators, authors, and content producers—self-selected to peer-produce on this commons-based platform! This hour-long Howl will take place on Thursday, April 17 on hashtag #newplay at 10am PDT (Vancouver) / 12pm CDT (Austin) / 1pm EDT (New York) / 17:00 GMT / 6pm BST (London). On Thursday, get heard in the conversation by searching for #newplay in Twitter (sort by “all”) and by putting “#newplay” somewhere in your messages. Spread the word!

Stage combat is the art of creating the illusion of violence for the sake of storytelling. Some illusions are easier and/or less expensive than others. One thing I’ve found myself saying many times is that the difference between one character pulling a knife on another versus breaking a bottle and threatening to attack them with the broken base is hundreds of dollars.

By showing that Othello has similar content to her poetry, and Emilia bears multiple resemblances to Amelia Bassano herself, "Writing Othello" makes the case that the "dark lady" had a hand in crafting this play. It translates academic research into practical performance on stage.

Meron Langsner compares his knowledge of the sports combat and stage combat to better articulate the purposes of stage combat.  

Dramatically motivated fight choreography makes the audience lean forward in their seats. “Fightaturgy” matters.  

(Re)Search is a six part series by Bree Windham, a current graduate student in dramaturgy. It details her experiences as a young dramaturg navigating different resources and the ways she has come utilize them through trial, error, and advice from others.

(Re)Search is a six part series by Bree Windham, a current graduate student in dramaturgy. It details her experiences as a young dramaturg navigating different resources and the ways she has come utilize them through trial, error, and advice from others.

(Re)Search is a six part series by Bree Windham a current graduate student in dramaturgy. It details her experiences as a young dramaturg navigating different resources and the ways she has come utilize them through trial, error, and advice from others.

Amanda Boyle disects fast food dramaturgy: a brand that caters to productions' quick and easy needs.

(Re)Search is a six part series by Bree Windham a current graduate student in dramaturgy. It details her experiences as a young dramaturg navigating different resources and the ways she has come utilize them through trial, error, and advice from others.

Stephen Spotswood found that self-dramaturgy can illuminate personal themes and motive deeper analysis of the purpose of the work.

(Re)Search is a six part series by Bree Windham, a current graduate student in dramaturgy. It details her experiences as a young dramaturg navigating different resources and the ways she has come utilize them through trial, error, and advice from others.