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Dramaturgy 101: Creating an Actor Packet

Dylan Malloy — Thu, 16 Nov 2023 14:18:25 +0000

This fall, I learned about dramaturgy for the first time by serving as a dramaturg for my college theatre department’s production of Lost Girl, written and directed by Professor Kimberly Belflower. Dramaturgs perform the research and story analysis that make a play come alive for the actors and creative team. They’re also often responsible for creating the “actor packet,” a short research document with information relevant to the play.

4 Tips for Creating a Great Actor Packet

The actors use this packet to gain more context about the themes present within the script, essentially helping build the story from the inside out! While there’s plenty to learn, here are four of my biggest lessons creating my very first actor packet.

1: Read the play.

First, sit down with the play and read it thoroughly. It helps to make note of what you notice while reading. Do certain character dynamics stand out? What themes seem particularly clear? Does the ending make sense, or is it more ambiguous? Is the style realistic or not?

Once you finish reading the play, ask yourself one key question: What information do actors need to know to tell this story well?

The answer to this question can come in the form of themes, historical context, storytelling devices, information about the play’s genre – the options are endless. You’ll research many different things while working on your actor packet, but answering this question for yourself narrows your focus.

2: Research the context.

Next, begin your research into the play’s context, as this often determines so much about the story from the start. Context is the particular lens through which the author, director, and/or creative team approach the material, informing how characters relate to each other and how they interact with the setting.

For example, Cabaret is a story about a passionate love affair between a British nightclub singer and an American author. However, its context is that it’s set in Berlin on the eve of the holocaust, and this affects how the actors might portray the story. Knowing details about the world the story is set in helps you understand what different characters value.

Even if the play takes place in the present, do some broad Google searches into a play’s historical setting and geographical location. What was happening in the world at the time when the play takes place? Where is the play located in the world, and how has that location been impacted by global issues?

Make a bullet-point list of the most relevant facts that actors should know. The list doesn’t have to include everything – just enough information to provide some background. At the end of the actor packet, include some links that actors can reference if they would like more information.

Think of it like drawing: by providing historical context in the actor packet, you’re outlining the sketch. Next, you’ll focus on the smaller details of the story and add some color.

3: Explore themes and genres.

In every play, the playwright wants to communicate a message about the world. They do so by exploring conflict between characters and the world around them. You can help the actors understand the themes of the story by pointing to works with similar themes. Everything you include in the actor packet helps the actors to ground themselves within the story.

For example, if the play you’re working on is a romance that ends tragically, you can provide a list of other romances that end tragically. Actors can read or watch these stories to understand the nuances of the emotions they will portray onstage. When actors understand a play’s genre, they can also work to understand what makes this particular play different from stories of the same genre. Different themes and approaches set stories apart.

While creating the actor packet for Theater Emory’s production of Lost Girl, the dramaturgy team included information about different genres: fantasy and coming-of-age. Lost Girl is inspired by the story of Peter Pan and follows Wendy Darling after she returns home from Neverland and tries to start her life again. We wanted to have a section of the actor packet that talked about tropes commonly found in both genres so they could understand how the play works with and subverts those tropes.

4: Study the characters.

Once you’ve provided research about the context, themes, and genre of the play, shift your attention to the characters. Every character pursues different goals and experiences conflict along the way, and actors seek to find out why they act the way they do. You can help them in this process by sharing research related to psychology and behavior.

For example, if a character is grieving a loss, including a scientific article about grief makes it easier for an actor to understand the character’s emotions. While working on the production of Lost Girl, which focuses on Wendy’s heartbreak after losing Peter Pan, the dramaturgy team provided research about mental health in the actor packet to contextualize why Wendy struggles to move on.

However, always be careful that the sources you include are accurate, professional, and trustworthy. If you have any questions about whether you should include a source, be sure to ask your theatre teacher. It’s best not to try to explain the characters, but to share interesting pieces of research that empower actors to draw their own conclusions.

Once you compile all your research, you’ll have a completed actor packet ready to distribute! Your research and attention to detail will help the cast and creative team see the story in a kaleidoscope of different ways.

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What is Dramaturgy?

Natalie Clare — Tue, 06 Jun 2023 17:53:37 +0000

What is dramaturgy, you ask? (Or you do not ask because you don’t even know how to pronounce dramaturgy!)

One of the most fascinating, and mysterious, jobs in theatre is that of the dramaturg. Tasked with understanding the story and all of its many components, a dramaturg can be crucial when developing a script and preparing it for the stage. Dramaturgs typically work with playwrights, directors, designers, actors, and/or producing theatre companies.

In this article, we’re demystifying dramaturgy. We’ll take a look at the craft itself, how dramaturgs chart their career, and what skills lend themselves to the role.

WHAT IS DRAMATURGY?

The basic definition of dramaturgy is “the art or technique of dramatic composition or theatrical representation.” It comes from the Greek word dramatourgía, meaning “a dramatic composition” or “action of a play.” In essence, dramaturgy is the practice of understanding the structure, context, characters, language, and themes of a play. It can also apply to opera and film.

What does the dramaturg do?

● Analyze play scripts and librettos
● Perform research about a variety of story elements
● Consult the playwright on a script’s form and structure
● Support the development of a new script, revival, or adaptation
● Advise the director, designers, production team, and actors
● Write educational or supplementary content for audiences
● Maintain knowledge of a show’s production history and author(s)
● Consult outside subject matter experts if the material calls for it
● Consider how the production will connect with today’s audiences

The role of a dramaturg can vary from production to production. Some dramaturgs work as freelancers and independent contractors, and some work in a theatre company’s literary department. This makes dramaturgy one of the most flexible careers in theatre.

Despite this range of tasks and functions, every dramaturg has the same basic objective. Catherine Sheehy, Chair of Dramaturgy & Dramatic Criticism at David Geffen School of Drama at Yale University, describes it in a video: “It is the dramaturgy which connects that work to its maker, its audience, and its cultural context. And it is the dramaturgy which connects all of those three to each other.”

KNOWING THE WORLD OF THE STORY

A dramaturg’s in-depth research informs and enhances the world of the story. That might include analyzing the time period of the play’s setting.

For example, August Wilson’s Century Cycle includes a series of ten plays that represent the Black American experience in each decade of the 20th century. A dramaturg would perform research on the time period’s major news items and events, details about typical daily life in a certain region, social dynamics between different groups of people, artistic and cultural movements, and other factors that influenced the lives of Black Americans as they’re relevant to the characters. In doing so, a dramaturg provides key insights about historical accuracy.

A dramaturg can also provide a look at a show’s production history, source material and origins, context around the material, and information about subjects in the story.

With The Curious Incident of the Dog in the Night-Time, for example, a dramaturg would research all of these areas. The play is based on a best-selling novel by Mark Haddon. Its world premiere production earned the show a reputation for its sophisticated technology and physical movement—an artistic and intentional choice made by the director and production team. There are also important interpretations of the show’s protagonist, Christopher. He has unique sensory challenges that are integral to his character development and the choices he makes.

In these scenarios, the dramaturg’s work can inform how a director approaches the material, how actors bring the characters to life, how designers envision sets and costumes, and how a theatre might supplement the production through educational materials and audience engagement opportunities. They might also consult with experts who already have a deep well of information about show-specific subjects, characters, and themes.

CONSULTING ON THE CREATIVE PROCESS

The scope of dramaturgical work for any given production depends on the needs of the artists and the theatre who is producing their work. Primarily, a dramaturg is there to support the playwright and their story with research, leaving creative decisions to the artists.

In an insightful interview with MusicalWriters.com, dramaturg/writer/scholar/creative executive Ken Cerniglia describes the basics of dramaturgy and his experience as full-time dramaturg and literary manager with Disney Theatrical Productions. His biography says that during his 16 years in this role, he “developed over 70 titles for Broadway, touring, international, and licensed productions, including The Hunchback of Notre Dame, Freaky Friday, Aladdin, Newsies, The Little Mermaid, High School Musical, and Tarzan.”

He says in the interview, “[P]art of my job is to bring relevant historical facts into the creative discussion to enable informed decisions. You can’t take artistic license if you don’t even know what you’re departing from in the first place, and more importantly, why. At the same time, if you’re rigid about historical and scientific accuracy, you risk being boring.”

Cerniglia then explains how his dramaturgy helped Disney bring the theatrical adaptation of the 1992 movie musical Newsies to Broadway. He performed research about the actual 1899 New York City Newsboys Strike, and how historical figures like publisher Joseph Pultizer (the musical’s villain) played a role in it. His research provided important context that helped the creative team make some changes from the source material that enhanced the story but still maintained historical accuracy.

He describes, “The musical’s book writer, Harvey Fierstein, also invented the character of Katherine, which was the name of Pulitzer’s oldest daughter, but Fierstein made her a reporter—a young career woman—and a love interest. This choice provided our 21st-century musical with an appealing female lead and juicy second-act plot complications. Although not historical, Katherine Plumber was historically plausible; our research into journalist Nellie Bly, who was famous decades before 1899, helped inform the development of the character.”

WHAT MAKES A SKILLFUL DRAMATURG?

Dramaturgy is an ideal area of expertise for those who are passionate about theatre and gravitate to roles off stage. It’s essential to have general knowledge of the theatrical art form and its history. It’s also important to know how a play comes to life and who’s responsible for what during production.

Dramaturgs who excel in their field commonly have the following characteristics:

● They love to read, write, and research new topics.
● They have a strong grasp of literary analysis, including narrative structure, character development, symbolism, and language.
● They work well both independently and collaboratively.
● They’re detail-oriented and keep their work organized and clear.
● They’re sensitive to and respectful of the creative process.
● They’re observant, curious, and open-minded.
● They consider how art, in all its forms, relates to larger social and cultural contexts.

Does this sound like you? If so, the field of dramaturgy might be calling!

Natalie Clare is a regular contributor to Dramatics. She’s a freelance writer who specializes in arts and culture, and is based in Cincinnati, Ohio. Visit her work at nataliecwrites.com.

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Dramaturgy: Theatre’s Secret Weapon

Daniel Mesta — Mon, 23 Jan 2023 22:15:18 +0000

Dramaturgs: What are they and how they improve the show. We know that actors act. Directors direct. Writers write. These theatrical careers have clear, defined responsibilities. Even those least interested in theatre can name a handful of famous actors, directors, and writers. But who was the dramaturg of your favorite play or musical? How many notable dramaturgs can you name?

One of the most difficult tasks a dramaturg can perform is defining dramaturgy. Literary Managers and Dramaturgs of the Americas, a group that represents hundreds of dramaturgs in North America and elsewhere, describes the role as someone whose job is to “contextualize the world of a play; establish connections among the text, actors, and audience; offer opportunities for playwrights; generate projects and programs; and create conversations about plays in their communities.”

Dramaturgs operate as the “Swiss Army knives” of their production team, using whatever skill set is required to get the job done. If weaving together a production through textual analysis, research skills, and workshopping sounds like your cup of tea, dramaturgy might be right for you.

WHAT IS DRAMATURGY?

The responsibilities of a dramaturg are so vast and varied that their roles often differ substantially from production to production. “The greatest thing a dramaturg gets to do is be an expert in the world of the play,” said Shelley Graham, instructor of dramaturgy at Brigham Young University. Dramaturgs do this on new plays by working with directors, actors, and playwrights to hatch their combined vision. They also work on new productions of established plays, advocating for the text and applying it to reimagined concepts. While this may seem daunting, especially for larger works, we can break down the dramaturgical process into a couple of key steps.

Be curious and ask questions

Curiosity is one of a dramaturg’s most crucial traits. Sometimes, both with new plays and familiar ones, asking the right questions can make or break a production. Dramaturgs ask, “What are the rules of the world? What are the relationships between characters? How does time work in the world of this play?” As the source of limitless questions, dramaturgs allow playwrights, directors, designers, and actors to expand their understanding of the script and create a world that is cohesive and accessible. Dramaturgs must then think critically to know where to find answers to the questions they ask, whether that means digging into a script, researching a play’s history, or speaking with designers and directors about their processes and perspectives on the text.

Examine the context and make connections

No play exists without context. There is the context of the original play, the context of the setting, and the context of the contemporary world in which the audience lives. When conceiving work, directors often ask, “Why do this play now?” Dramaturgs expand this question by making connections to audiences and the larger community. Dramaturgs may also help create articles or activities in the show program or set up a display in the lobby to introduce audiences to the themes of the world created onstage.

New York-based Stairwell Theater set its 2018 production of Romeo and Juliet with opposing basketball teams. Photo by Sam Gibbs.

WHAT MAKES A GOOD DRAMATURG?

According to Julie McIsaac, resident dramaturg at the Canadian Opera Company, “If you find people are often asking you what you think, and with this, you find yourself recognizing patterns, drawing connections, and asking further questions that open up the conversation, you might be a dramaturg.”

Dramaturgs come from all backgrounds and specialties, and they often find themselves becoming career multihyphenates. It is not uncommon for a dramaturg to act, write, direct, or design. The following traits are vital to those considering dramaturgy as a career.

You love to read.
You are interested in everything.
You are an ardent fact checker.

“I find myself thinking about the Heraclitus quote: ‘No man ever steps in the same river twice, for it’s not the same river, and he’s not the same man,’” McIsaac said. “What I love most about dramaturgy is that every project is different and, therefore, asks new and different things of me, which means my process and artistry are ever-evolving. Lifelong learning in a creative environment: What a gift!”

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What a Dramaturg Does

Patty Craft — Wed, 03 Nov 2021 21:04:17 +0000

Defining what a dramaturg does in one tidy sentence is hard to do. The dictionary says a dramaturg is someone who specializes in dramaturgy. Here’s a link to Dramaturgy 101 that will help you if you want more detail. Or you can simply read on and let Ken Cerniglia give you his definition of what he does as a dramaturg.

How do YOU describe what a dramaturg does when people aren’t familiar with your work?

I often use the analogy of a book editor working closely with an author. The author’s name appears on the book’s cover, but the work of the editor permeates the manuscript. The editor and author collaborated on draft after draft to create the final book.

In theatre, a dramaturg and playwright collaborate. The dramaturg nurtures and supports the playwright’s voice with well-timed feedback on structure, content, context, and audience expectations. Like an editor, a dramaturg also works with other departments (marketing, production, audience engagement, etc.) to make sure they understand the work and represent it well in their efforts.

A good dramaturg’s work is rarely recognized by the audience. My greatest reward is knowing that I helped my colleagues unlock the full potential of their work.

What personality traits and/or skills are well-suited to becoming a dramaturg?

Curiosity, empathy, listening, humility, timing. Given my training in theatre history, structural analysis, and dramatic criticism, some might think I judge the work, like a theatre critic might. So, I frequently remind my collaborators—playwright, director, producer, designer, etc.—that I’m just the “suggester” and they are the deciders! My job is to identify possibilities, to ask timely and helpful questions to spark the creative process and excite and enable my collaborators.

What show, experience, or person (or all three) helped you know that this is the work you love doing and that you’re so well-suited to do?

In high school and college, I focused on performance, as many young theatre folks do. I also dabbled in directing and producing—none of which I liked enough to train in further for a career. Being an endlessly curious nerd, in grad school I studied theatre history and dramatic criticism to eventually become a college professor.

Spoiler alert! I never became a professor because in my first dramaturgy class something clicked. I discovered I could apply my love of history, philosophy, analysis, and criticism to the making of theatre. That artistic specialty had a name: dramaturgy. And it called me, loudly.

I soon landed a literary internship at D.C.’s Arena Stage and was production dramaturg for two mainstage productions: Eugene O’Neill’s A Touch of the Poet, directed by Michael Kahn, and Jon Klein’s new play Dimly Perceived Threats to the System. Despite my intern status, these generous veteran theatre-makers treated me like a professional and expected professional work. As they validated my contributions to their work, my spine straightened and my career as a dramaturg was born!

What do you wish you’d known or done when you were a student or just beginning that would’ve helped you?

I wish I’d recognized my vocation in college, or even high school, and begun my dramaturgical practice then. Each book I read, each play I see, each production I work on, is another notch in my dramaturgical understanding. I’m now 25 years in, and still feel I have so much to learn. A five-year head start would have been amazing!

Today there are scores of books on dramaturgy and tons of online resources available to potential dramaturgs—none of which existed during my youth (in the previous century!), making the field relatively inaccessible or rarified then. All that has changed. Dramaturgy for everyone!

What haven’t we asked you about that you’d like to share?

If you’re the kind of kid—young or old—who loves theatre but can’t help asking the relentless “why” questions, chances are you’re a dramaturg! We welcome you to our vibrant, diverse, and generous dramaturgical fold.

Ken Cerniglia is a veteran dramaturg, writer, creative consultant, and organizational leader. His dramaturgy includes the Broadway hits Hadestown and Peter and the Starcatcher. During his 16 years at Disney Theatrical Group, he developed more than 70 titles for Broadway, touring, international, and licensed productions, including The Hunchback of Notre Dame, Freaky Friday, Aladdin, and many more. Ken is currently writing three new musicals and dramaturging another dozen projects. He is immediate past president of Literary Managers and Dramaturgs of the Americas and holds a Ph.D. in theatre history and criticism from the University of Washington.

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