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Neil’s Dramaturgy FAQs:

What is Dramaturgy?

I am often asked this because the word is not in common use in the UK but I take it to translate as “play-making” or even playwriting. It is the process by which plays are made. The most important Dramaturg is the writer. The writer is engaging with the dramaturgical process as soon as they make a decision; write a line of dialogue or picture a stage image. Feedback, research, work shopping, readings and a whole range of activities that influence the Writer in making their choices also shape the process of Dramaturgy. In this sense, Directors, Literary Managers, Producers and friends and relatives are also Dramaturgs.

Why use a Dramaturg?

Engaging a Dramaturg to work with a writer is not essential but can be advantageous.

Here are some reasons:

1) Objectivity – the professional Dramaturg should approach a new play without an agenda in order to support the best possible realisation of that play. The Dramaturg does not carry the personal baggage that a friend or relative carries, is not bogged down in overseeing an entire production process like a Director and is not ruled by budget in the way that a Producer necessarily is.

2) Support – unhindered by other pressures close to the project the Dramaturg can focus on supporting the Writer.

3) A fresh perspective – the Dramaturg can act as a sounding board for the writer to test and discuss ideas or to explore problems that they are encountering in writing the play.

4) The Dramaturg is therefore in a good position to understand the Writer’s intention and concerned chiefly by whether the Writer is getting their intent across on the page. Only the Writer knows the play as they imagine it but it can be difficult for the Writer to see how their vision has changed on the page. The Dramaturg can help explore the gap between the Writer’s imagination and the work on the page and help the Writer find ways of bridging it. Will a Dramaturg write the play for the Writer? Personally, never. Although the Dramaturg’s role has parallels with that of the Editor I believe that the role should be consultative and that Writer must have final cut. In my years at the Royal Court Theatre I witnessed the “right to fail” principle and fully support it as a valuable foundation for writers to take risks, break rules and learn about their own work. As a Dramaturg I will argue my case with a Writer because I want to help the Writer achieve the best possible realisation of their play but if the Writer feels strongly about a particular choice that then they should be able to see it through.

What training is required to be a Dramaturg?

The same training that is required to be a Writer – none.  Similarly to writing, experience is the best training. In my case I have worked in a new writing environment for over 20 years, seen hundreds of plays and understood the whole process involved in producing a new play. I have worked directly with new and young Writers, worked as a Dramaturg with emerging Writers and learned from senior Writers and theatre practitioners.

Please have a look at my CV for further information.

Isn’t Dramaturg spelt with an e at the end?

I’ve seen it spelt both ways and like the way Dramaturg sounds although a former colleague believes it should be pronounced Dramalurg, but please don’t send that to Wikipedia.