Hello Everyone.

Today I had my first lesson of Current Issues in Drama, Theatre & Performance module. Now I wasn’t 100% sure whether or not I was considered “smart” enough for this module. But if I wasn’t that intelligent I would certainly not being studying a masters degree. I’m going off the subject here, let me get back on track with this post;

In this first lesson we looked and discussed as a collective group what “Dramaturgy” means and whether or not we had actually done this job role in the past as undergraduates or not. I was not sure if or when I had this role before if it was at undergraduate level or even at school. What I can tell you is i’d never heard the word Dramaturg/y until I started university, Oops. However I have actually been doing Dramaturgy for a fair few years as a collective in the creating of a piece of theatre or performance.

Before this first lesson we had some research and readings to give us a better understanding of some of the ideas we would be covering. Not only in this lesson but throughout this module. Linking in all the different pathways as one, helping each other out with different subject matter.

We had been given a reading from “What is Dramaturgy” by David Copelin, explaining the 10 myths behind what a Dramaturg actually does when creating theatre or a performance. Copelin explains the myths in such a way the reader actually enjoys the passage (I know I did). With the use of humour and somewhat noticeable sarcasm used (secretly) into the text, it gave me a slightly better understanding on what a Dramaturg or Literary managers do as well as giving myself a good old laugh (something I thought would never happen when reading for a class).

One of the myths that was by far one of my favourite answers from a Dramaturg’s point of view and enjoyed by all the class was the following statement and its response;

MYTH #7 : Literary managers and Dramaturgs don’t like most American theatre the way it is. They want our scripts and productions to be more theatrical, more resonant, less naturalistic, less trivial, more aware of the world, better. Can’t they appreciate how wonderful things are?

Reality #7: NO.  (Copelin, 1995).

Okay, So reading this passage, I thought I had the perfect understanding of “Dramaturgy”, Yet I still did not get a definitive answer on what it was. Lots of independent research I did on my own seem to get me more confused on this new creative person. Many different academics and professionals what to explain how not to be a bad dramaturg.  I don’t care for that!  I want an answer so I can explain it in my own work as a playwright. Furthermore what I came away with was actually the definition of the term/ word “Dramaturg” can be upto the individual to decide. However for myself I feel is a dramaturg helps with a director and playwright giving critics in how to make a piece of performance or theatre more appealing to the prospective audience. Similar to a producer or artistic director but minus the money budget.

The other readings given for a read through made me more confused on the whole subject matter on dramaturgy. Why on earth can’t there be a definition I wouldn’t be getting this confused. But then would it be fair to make it that easy without questioning ourselves? I’m not so sure and going off topic.

With having a discussion with the rest of the group I was pleased to hear that I was not the only person asking the same questions I was in my head (Yay I don’t feel as stupid as I thought I was). It was rather interesting hearing others views and opinions on this topic, which makes me want to look a little bit deeper in “What is a performance with the help of a dramaturg”?

Do you feel the help of a dramaturg is relevant or irrelevant when devising and creating a new piece of art?

I feel that is enough talk about dramaturgy for one day. I will continue soon.

For now

Goodbye.

Bibliography:

Cardullo, D. (1995) What is Dramaturgy? 3rd Edition. Peter Lang Press. [New York].