Dramaturgy is a branch of the theatrical arts which involves bringing productions to life on the
stage. The role of a dramaturg in a production can be quite varied, depending on where he or
she trained and the philosophy of the theater the dramaturg is working for. Different national
theater traditions also have differing beliefs on the role of dramaturgy in theater production,
which can sometimes cause confusion with international productions.
While a dramaturg can be a playwright, dramaturgy is a much broader field. Dramaturgs can
write plays, but they can also edit and restore plays, assist with adaptations of stage works, and
work on musical productions such as operas. A playwright may work with a dramaturg on the
development of a play, and dramaturgs can also be retained by composers as consultants.
In addition to being involved with the language and music of the stage, dramaturgy also
involves staging itself, including blocking of actors, set design, and the aesthetic composition of
theatrical productions. Dramaturgy also encompasses choreography and placement of aesthetic
elements on the stage, with dramaturgs studying topics like lighting design, costuming, props,
and set design in the course of their training. Dramaturgy can also involve theatrical criticism,
which is why some theater directors, producers, and advisors are trained in this field.
The study of dramaturgy also includes the study of the history of theater. An experienced
dramaturg is familiar with the history of the theatrical tradition, often in many cultures, and he
or she can put historical plays into context. A theater which wants to mount a Shakespeare
festival which is true to the Elizabethan roots of William Shakespeare, for example, would
probably retain a dramaturg to learn more about the historical context of the plays, what the
theater experience was like during this period, and how actors spoke and moved on the stage.
Many large theaters retain a full time dramaturg to assist with all productions, and he or she
may also manage the theater's resource library and maintain detailed records on production
history. Smaller theaters may hire a consultant for specific productions, or may split the duties
of a dramaturg and creative director or similar member of the theater staff. Dramaturgy is so
widely recognized as an important part of the creative process that they have successfully won
lawsuits arguing that they are entitled to copyright over their work, and a share of the royalties
for productions they have worked on.
Choose one play from the list:
1. The Children’s Hour, Lillian Hellman
2. ‘night Mother, Marsha Norman
3. Dancing at Lughnasa, Brian Friel
4. Fences, August Wilson
5. The Hairy Ape, Eugene O'Neil
6. The Marriage of Bette and Boo, Chirstopher Durang
7. Buried Child, Sam Shepard,
8. American Buffalo, David Mamet
9. Dutchman, Amiri Baraka/LeRoi Jones
10. The Inspector General, Nikolai Gogol
11. No Exit, Jean Paul Sartre
12. The Seagull, Anton Chekhov
13. Raisin in the Sun, Lorraine Hansberry - Nijah
14. The America Play, Susan Lori Parks
15. Waiting for Godot, Samuel Beckett
16. You Can’t Take it With You, Hart and Kaufman
17. My Children! My Africa!, Athol Fugard
18. Blithe Spirit, Noel Coward
19. Saint Joan, George Bernard Shaw
20. The Heidi Chronicles, Wendy Wasserstein
Report #1:
Summary of the play.
Character Analysis (Main characters)
Plot, Theme
Gut Reaction – Feelings, Questions that came up, colors, images
Contemporary resonances
(structure it professionally give us visuals of characters etc, be as clear as possible)
10 min time slot)
Report #2:
A biographical report on your playwright including important dates in her/his life, education,
and major works. Are there any connections from their biography to the play that you’re
dramaturging?
A literary/historical context for the specific play you have chosen which should include: the
predominant literary genres and styles of the time and the major historical period and its
characteristics.
Report #3:
This project is somewhat “case specific” depending on the date of composition for your
particular play. All students should search for significant English language productions during
the 20th and 21st centuries. Students should also research the critical response to their play at
the time of its initial production.
(While it is recognized that this will be more difficult for certain plays, it is important to provide
a sense of how the play was received and how frequently produced during its period of
conception.)(7 min total presentation)
Try to provide the following type of information for significant productions where and when
possible:
Dates of production/length of run
Starring actors
Director
Theatre Company
Critical response to production
Include sources/reviews and authors in your report.
Report #2 and #3 will be presented together. Please try to give the information that
you feel is relevant to his/her playwriting. For instance if she had 5 brothers who
really impacted her life and inspired many of the characters in her play…be sure to
mention that. If the playwright had a brother and a sister that had no relevance of
his writing, then don’t tell us about the siblings.
Report #4
Imagine that you’re trying to get the job as the dramaturg for this production of the play and
we are interviewing you. You need to have a concept for the production and take a artistic
approach to the play that will help the people “interviewing” you see/hear/feel and experience
your concept of the play. You can use music, images, costume pieces, etc. to allow the class to
“feel” the play. Try to reach them on many of their senses. (10 Min total)
Final Presentation:
Choose a scene from your play and present it. You have artistic freedom with this-film
something, use clay or puppets, etc. You are allowed to direct it, act in it, choose actors from
the class, etc. Your concept of the play should come through during the scene.
( 4 and 5 separate grades)