Theatre 170: Dramaturgy

Supplemental Lecture: Production Dramaturg

(Production Work and Context Provider)

Production Dramaturg is the most familiar role for a theatre dramaturg.

If a production team choose to mount a pre-existing play script, whether a translation of a

foreign text or a “classic” English language piece, they can employ a Production Dramaturg
to become responsible for the “dramaturgy” of the performance material.

Put simply, the main role of a Production Dramaturg is to become the playwright’s
“representative” in the production. In the case of this class, you are the representatives of
William Shakespeare, Anton Chekov and Arthur Miller. (In short, you are the mouthpieces of
these playwrights and assume their persona since they cannot and will not appear during pre-
production meetings, rehearsals and during the production per se – in front of the audience
members).

That’s to say, it is the job of the dramaturg to know as much about the play, its language and
the context surrounding its creation as the original playwright did.

After exhaustive research and having undertaken a full breakdown of the text, the dramaturg
provides the production team with expert feedback on the creation and “world” of the play
script; a valuable resource from which they can draw as much or as little as they like. Take a
look at the example below. This was from my task as a production dramaturg of Carousel, a
musical by Hammerstein and Rodgers that was supposed to be staged by Repertory
Philippines in May 2020 with Nikki Gil and Gian Magdangal under the direction of Toff de
Venecia. However, the staging was postponed due to the global health crisis or COVID-19.

WORLD OF THE PLAY PROPOSED NEW WORLD

ACT ONE:

The year: 2019.

We see an old amusement park

somewhere in New England (Maybe
Cape Elizabeth in Maine).

We see some remnants of the carnival –

some dilapidated rides such as a
rollercoaster, a Ferris wheel, etc.

But the centerpiece is a carousel.

However, we do not really see the
carousel except a huge signage / huge

1
marquee – an old one with the words:
“Mrs. Mullin’s Carousel”

Obviously, the amusement park is

abandoned.

Somewhere on the left is a sign that

states:

“SOLD, New England Amusement

Park.”

An old woman in a wheelchair is wheeled

inside the stage – it’s Louise, now 80
years old.

Louise’s companion is her 15-year old

granddaughter.

Joining them is the caretaker of the

abandoned property (By inference , the
audience may realize this by his costume
and his hand-held props – a bunch of
keys and a chain (gesturing as if he has
just opened the gate).

The caretaker lets them in. He then exits

(My suggestion: the Starkeeper and the
Caretaker are played by one actor)

Louise is looking for something. She

passes by the huge signage.

Short pause.

Then her granddaughter brings her

towards the once upon a time, location of
the “Mrs. Mullin’s Carousel.”

Louise attempts to stand. She falls the

first try.

She is then assisted by her granddaughter

the next try.

2
Assisted by her granddaughter, she walks
slowly – following an imagined blueprint
of the old carousel.

As soon as she goes back to her chair, she

sees something – it’s the star that Billy, in
the world of the play stole from the
starkeeper’s basket.

The granddaughter picks the star and

hands it over to Louise.

She looks at it carefully. Then slowly, it

shines –

Three women, a 50 year-old lady, a 25

year-old woman and a young girl enter
the stage – they are wearing the same
dresses.

By signification: these are Louises from

different eras.

A choreographed piece – the suggestion

is a “passing-on” ritualistic type of dance
(ala JS Prom where the senior passes
something to the junior as a sign of
passing on the legacy and/or the
continuation of a legacy) where the star is
passed on from the present-day old
Louise to the 50 year-old Louise then to
the granddaughter (who plays the same
Louis in the second act) and to the young
girl – an 8 year-old Louise.

Then, we see the caretaker entering from

where he exited.

The 8 year-old Louise hands over the star

to him.

He is transformed (“magically”) into the

Starkeeper.

He throws the star up in the sky – the

abandoned amusement park is slowly
transformed into the world of the play.

3
 The Louises and the Starkeeper stay on a
platform to observe the world of the play.

This is now a suggestion that the musical

is a memory play.

NOTE: The idea behind the starkeeper

and the other Louises is inspired by the
Filipino lore of sunduan when someone is
dying.

The Starkeeper as the sundo or the

“softer” version of kamatayan and the
Louises are the snippets of the dying’s
life (the lore that the dying remembers
everything even what was told to him/her
as an important aspect of his/her life).

SONG NUMBER: “The Carousel

Waltz”

1939, Maine. Two young female

millworkers – Julie Carrie visit the town's
carouse after work. Julie attracts the
attention of the Billy Bigelow.

Billy lets Julie ride in the carousel to the

dismay of Mrs. Mullin, the owner of the
ride.

Later, Mrs. Mullin starts an argument

with Julie and Carrie.

Billy arrives and, seeing that Mrs. Mullin

is jealous, mocks her; he is fired from his
job.

Billy, unconcerned, invites Julie to join

him for a drink.

SONG NUMBER: “You’re a Queer

One, Julie Jordan”

As he goes to get his belongings, Carrie

presses Julie about her feelings toward
him, but Julie is evasive.

4
 SONG NUMBER: “Mister Snow”

Carrie reveals that he already has a beau,

and his name is Enoch Snow.

Billy returns for Julie as the departing

Carrie warns that staying out late means
the loss of Julie's job. Mr. Bascombe,
owner of the mill, happens by along with
a policeman, and offers to escort Julie to
her home, but she refuses and is fired.

SONG NUMBER: “If I Loved You”

Left alone, Julie and Billy talk about what

life might be like if they were in love.
Sooner, they confess the growing
attraction they feel for each other.

During the transition, maybe we can ask

the Starkeeper and the 8 year-old Louise
to cross the stage, as if the Starkeeper is
trying to narrate the love story of Julie
and Billy to the young Louise.

Maybe they exit the stage so that they can

go back later in the next transition?

In the example above, the World of the Play refers to the actual milieu, the directorial
instructions of the playwright and the actual notes of the playtext (or libretto in the case of
Carousel). In short, the World of the Play refers to the given variables as presented by the
original work.

The second column, the Proposed New World refers to the potential reworking, adaptation,
and staging of the play to suit a new audience. In short, this is the reconfigured context of the
original work.

And rather than simply presenting your research in a large book (although a central “bible” is
generally compiled as part of the process), the Production Dramaturg is present from
inception right through to the end of rehearsals, becoming a truly collaborative part of the
team.

For example, if there is a question that an actor or director has about the “world” of the play
or a specific line of dialogue, the Production Dramaturg should be able to answer it with the

5
same authority as the playwright – and if they don’t know the answer then and there, they
will track it down and present it as swiftly as it can be found.

My own personal experience of working as a Production Dramaturg is that the process can be
extremely creative – far more so than it looks on paper. My presence in rehearsals and
meetings has sparked new ideas, inspired design choices and influenced the delivery of
dialogue. It can be very liberating for the directors, the designers and the actors not to have
the weight of the play texts’ Dramaturgy on their shoulders. They can also be assured that, by
giving the responsibility of it over to one central figure, they’re all receiving and working
with the exact same information as each other. See for instance below:

In Faust, the Walpurgis is a very significant scene in Goethe’s play. Walpurgis is how the
German folklore tradition conceives hell where one is welcomed by the figure of the witch,
the figure of cannibal, the figure of the devil. How to translate this in contemporary
Philippines?

One rehearsal day, the director (J. Estrella) called the dramaturgical team to develop
“hell” in the here and now. In other words, an image of the hell, which is not fantastical or
an illusion. So, we came up with the proposal through these texts – these are actual
quotations:

WALPURGIS SCENE
Suggested setting: PERYA

GENERAL
(DUTERTE FIGURE):
I will not declare martial law! Kung magdedeclare ako ng martial law, hindi ako
magiingay. If I feel, as president, I have to preseve my country, I will declare martial law.
If asked for the basis, putangina ka, wala ‘kong pakialam, manahimik kayo d’yan!

OBISPO
(Pedophile na Bisaya – based on a real figure):
Buhat-buhat ni nila ang mga alegasyon batok nako… wa ko mang-rape. I categorically
deny allegations of rape hurled against me… please check the background of the family of
the victim first before judging me.

POLITICO
(Imelda Marcos):
Later on when I became a first lady – I would be meeting with kings and queens – it would
take an hour to dress up. But when I go to the provinces – it would take me an hour and a
half or two – double the time – because they need a standard. They need a role model.
They need a star, especially in the dark of the night.

6
 MANUNULAT
(Mocha Uson, based on her article on Phil. Star):
Does defending the president, because I want to focus on things that matter make me a
fanatic? If we look at it closely we have already been divided into pro, anti and neutral
because of our differences in opinion and this is all right since it shows we are a thinking
nation. What I do not however, is for us to be divided into yellows, and red slash blue
when we should all be brown!

Beyond this, a Dramaturg is often employed to make a written and annotated record of the
production process, from start to finish – ensuring that there is a constant reference point to
decisions made earlier on in the process (including noting the blocking in rehearsal). This
information is also useful for outreach activities and program notes, as well as for future
directors and production teams.

Example of this will be shown and presented during the synchronous session on 9 March
2021.

Production Dramaturgy is a wide-ranging job. Below is an example of the tasks /

responsibilities of the dramaturg in connection to his/her relationship with a production
director. Note: the example below is from VILLANOVA THEATRE COMPANY in New
York, an Off-Broadway Company, known for their devising and/or new staging of classical
and Asian materials.

VILLANOVA THEATRE
Guidelines for a production dramaturg

Note: The director is the final authority of the production. Diplomacy, support,
insightful and sensitive questions, keen listening, and careful observation are central skills
of the production dramaturg. Your ideas are important, but must be adjusted in order that
they support the director’s vision. Your director may, by your first meeting, have a very
specific production concept OR may be at a very exploratory stage. Regardless, you have
the delicate, exciting job of articulating your ideas and responses in such a way that the
director’s journey is supported, the communication mode is launched positively, and the
process is enhanced.

Before meeting with the director:

1. Read the play several times.

2. Complete a detailed “initial response” to the play in order to capture in writing
your constellation of reactions.
3. Make sure to have an answer to this general question: WHY WOULD I CHOOSE
TO BE CONNECTED WITH CREATING THIS PLAY FOR THIS AUDIENCE
AT THIS TIME?

7
 4. Do not censor your impressions on the play
5. Do preliminary research in any area that feels crucial to having a productive
first discussion.
6. Prepare a list of good questions, and be prepared to listen as fully as possible

First Meeting with the Director:

1. Learn as much as you can about her/his reasons for wanting to do this play.
2. Share as much of your own thoughts and responses re. the play as seems productive
3. Establish timelines and deadlines.
4. Establish the director’s preferred method of working with a dramaturg (or with
YOU) —or establish that the two of you will evolve this working method. Consider
best modes of communication, frequency of meetings, etc.
5. Establish how research needs will be handled. Will each of you take on certain
areas of research? Does the director expect you to take on primary research for the
production? How will you communicate about or offer this research (email, hard
copies, in meetings, etc)?
6. Establish preferences regarding your involvement with designers. Some directors
like the dramaturg to be present at all design meetings; others prefer to hold initial
design meetings one-on-one and include the dramaturg at later stages. Find out
whether the director is comfortable with you presenting material directly to the
designers or whether she/he prefers to see it first. Create agreements about your
communication with designers, and with actors.
7. Discuss your involvement at production meetings. At Villanova, the dramaturg’s
presence at production meetings is vital; it is a requirement when completing a
thesis or special study. Be sure, then, to talk to Parris about your conflicts in order
that he schedule these meetings accordingly.

Other Tasks:

Auditions. The dramaturg must be present; almost without exception, the director will
want your feedback. Production dramaturgs cannot also perform in the production.

First rehearsal. The dramaturg is expected to attend. Usually, first rehearsal includes the
dramaturg’s presentation to the cast. Speak to the director about your thoughts for this
presentation to ensure you have enough time; this may require presenting on an alternate
day or other accommodations.

Think beyond the Visual File and website for this presentation – are there active,
immersive ways into the play you can offer? A moment or experience you can draw on? A
field trip you can arrange?

Subsequent rehearsals. The director will likely want the dramaturg to attend the first
several rehearsals. After a week or two, the dramaturg may refrain from attending
rehearsals regularly in order to preserve a more objective perspective. Some directors,

8
 however, prefer that the dramaturg attend MANY rehearsals. This needs to be discussed in
advance to avoid conflicts and confusion.

Run-throughs. The dramaturg is always a helpful presence at run-throughs. You need to

clarify with your director how notes should be communicated – via email, via email
followed by conversation, via conversation, or to be decided as the process evolves.

Technical and dress rehearsals. The dramaturg may or may not be present throughout
tech but obviously must attend all run-throughs (including the Sunday afternoon run-
through unless otherwise arranged with your director). Please discuss your tech
involvement with your director. If your attendance is optional, you are encouraged to be
present. Although you may not always feel particularly productive or directly involved,
tech is an exciting and pivotal time, offering terrific learning opportunities.

NOTE: The dramaturg should NOT take the director’s notes; another person will be
recruited to do this, since the dramaturg’s role at this stage is to see the production from
another vantage point in the theatre and take independent notes. Check in with your
director before each tech and dress run as to whether he/she wants you to be alert for
particularities (e.g., is the story getting told? Can you hear everyone? Does the ending
feel too abrupt? etc.)

SPECIAL NOTE: Director’s needs re. receiving feedback from dramaturg. You will
want to be realistic and freely communicative about your own level of experience. You
may be quite new to the production process, or quite experienced as a director, actor,
designer, or writer. Regardless, you will want to discuss how the director prefers getting
your feedback. The director may want to see how your process evolves, or may request
reactions in written or oral form, or both. Emailing your notes is often most helpful, since
you can articulate your thoughts with precision and since the director can review them
when he/she has time and solitude.

Please remember: regardless of how experienced and confident a director may be,
directing is an extraordinarily vulnerable process; your honest feedback is crucial, but you
must be sensitive to how you communicate and how your communications are being
received.

Part of what the Production Dramaturg does when working on an established text includes
the detailed deconstruction and analysis of the play script. Only by taking the script apart
piece by piece and contrasting it with research on the writer, the context and the background
of the play, can the Production Dramaturg deliver a full and exhaustive view of the
Dramaturgy behind the text itself.

These skills and abilities can easily be reversed so that, instead of working out what a long-
dead writer may have intended for their work, a Production Dramaturg can be employed in
helping a modern writer to develop their own, brand new Dramaturgy (in writing a new play,

9
if we have time, we will discuss more about this, but right now, our focus is really on the
staging of what may be called as classics).

In such cases, the Production Dramaturg is there help a writer with the process of writing
their play. The Dramaturg becomes a facilitator; helping the writer to develop and distil their
thoughts and ideas, providing feedback, researching contexts and language, and being a
professional sounding board so that the writer gets exactly what they’re looking for from
their script.
In my experience, it is a hugely rewarding and liberating journey for both the writer and the
Dramaturg. Indeed, this is one of my very, very favourite jobs! We will discuss this when we
talk about the dramaturg as a SCRIPT DOCTOR.

It involves a clear and constructive relationship between the two parties. The Dramaturg is
there to support and help the writer, not to write the play for them. It is an active
collaboration between two professionals but the writer is, ultimately, in charge of their own
work.

Think of it like this: a writer has a set of great ideas and they pull them together to create a
script. The resulting play, while containing some good work, ends up being unwieldy, bloated
and unfocused. The writer, or an agent to the writer (a sponsoring theatre, for example) can
then employ a Production Dramaturg to aid them to refine the text, help the writer to clarify
their vision, neat up ideas and present a leaner and healthier script as a result.

The Dramaturg then becomes the modern writer’s representative within the production.

10