PRODUCTION DRAMATURGY GUIDELINES
Created and Revised by Harriet Power, M.F.A.
Production dramaturgy mentor, 1994-2007 & 2012-14
Further Revisions 5/2016and 2017 by Chelsea Phillips, M.F.A., PhD
Congratulations on being selected as a production dramaturg for Villanova’s mainstage season!
Dramaturgs are matched with projects out of a complex web of considerations, from student requests to projected compatibility with text and director to projected schedule conflicts and demonstrated aptitude for certain types of plays. A dramaturg should NOT accept any project about which s/he is not passionate (or at least very interested).
Although the production dramaturgs will meet as a group and one-on-one with the Production Dramaturgy Advisor, these written guidelines have been created in order that each of you, the department as a whole, and the creative team for each production share a common understanding of the production dramaturg’s roles and responsibilities. Please save this sheet and refer to it often during your work – its reminders about deadlines and communicating with the Advisor are easily forgotten in the maelstrom of production work!
The director/dramaturg relationship will be the partnership most central to your work -- although you will interact with performers and designers as well. These guidelines focus on helping you create positive, vital working relationships with the collaborative team, especially your director. As you know from dramaturgy class discussions, the director/dramaturg relationship is always being reinvented, due to the many variables that come with each production, including but not limited to the “chemistry” between the particular director and dramaturg; the nature and special challenges of the particular playtext; the director’s reasons for choosing the play; the dramaturg’s reasons for agreeing to collaborate on the production.
A NOTE TO ALL VILLANOVA THEATRE DIRECTORS: The director’s role in creating a positive collaboration with the dramaturg is crucial. Many LMDA (Literary Managers and Dramaturgs of the Americas) conference sessions have focused on the particular challenge of creating this relationship in a university setting, given that mainstage directors are usually faculty and dramaturgs are usually graduate students. Because we want to prepare our students for the profession whenever possible, directors aim for a peer rather than “superior/inferior” relationship with their dramaturgs. We acknowledge the paradox that we may be called upon to teach the dramaturg even as we try to collaborate from our positions of mutual respect. One helpful principle: the dramaturg is not the “research slave” (to borrow a term from LMDA) of the production; research is a shared endeavor. The dramaturg is also not an assistant to the director and should not be asked to run the type of errands associated with that position. Please consult with the Production Dramaturgy Advisor if (or ideally, before) problems arise.
I. THE ADVISOR/DRAMATURG RELATIONSHIP: Overview
The dramaturgy advisor should be cc’d on all production-related emails with directors, designers, stage managers, PR/Marketing, etc.This is to ensure that if problems or communication issues arise, the advisor will be up to speed on the students’ work and can better function as an advocate if communication issues or confusion arises.
Keep in touch with the Production Dramaturgy Advisor!In addition to cc’ing on all communication, please check in by email, phone or in person at least once every 3 weeks prior to rehearsals; once a week from first rehearsal through opening. If all is going smoothly, email is fine.
This is intended to provide support, not burden you; dramaturgs are asked to support everyone else in the process, hence a regular chance for conversation can be helpful. If all is well, just communicate via email. And remember -- it’s best to chat before concerns become troubles! Do contact the Advisor immediately if problems or uncertainties arise. If you are working with a Guest Director, communication with the Dramautrgy Advisor is particularly important.
II. THE DIRECTOR/DRAMATURG RELATIONSHIP: Overview
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.
IIa. THE DIRECTOR/DRAMATURG RELATIONSHIP: Practical matters
1) Before your first meeting with the director...
a.) Read the play several times
b.) Complete a detailed “initial response” in order to capture in writing your constellation ofreactions
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- In the Summary, answer for yourself that central question: WHY WOULD I CHOOSE TO BE CONNECTED WITH CREATING THIS PLAY FOR THIS AUDIENCE AT THIS TIME?
- Welcome rather than censor discomforts, uncertainties, etc. -- they can be most helpful guides.
c.) Do preliminary research in any area that feels crucial to having a productive
first discussion.
d.) Prepare a list of good questions, and be prepared to listen as fully as possible
2) At your first meeting with the director...
a.) Learn as much as you can about her/his reasons for wanting to do this play
b.) Share as much of your own thoughts and responses re. the play as seems productive
c.) Establish timelines and deadlines.
d.) 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.
e.) Establish how research needs will be handled. Will each of you take on certain areas ofresearch? 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)?
f.) 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.
g.) 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.
3)Moving forward with the process, discuss the dramaturg’s role in...
a.)Auditions. The dramaturg must be present; almost without exception, the directorwill want your feedback. Production dramaturgs cannot also perform in the production.
b.)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.
i. 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?
c.)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, however, prefer that the dramaturg attend MANY rehearsals. This needs to be discussed in advance to avoid conflicts and confusion.
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d.)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. (See “Special Note” below)
e.) 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.
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.
III. THE DESIGNER/DRAMATURG RELATIONSHIP: Overview
Designers are used to doing their own research....but many designers LOVE working with dramaturgs and receiving the fruits of dramaturgical research. See the Master list of deadlines for all design-related dates.
Before contacting any designer, discuss the guidelines and limits of your involvement with them with your director.
IIIa. THE DESIGNER/DRAMATURG RELATIONSHIP: Practical Matters
1) VISUAL materials
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a)Images from other productions.Many of these may be found online. On occasion, you may want to reach out to a theatre directly for images. When doing so, be sensitive to their ownership of the material and do your research ahead of time: do not contact a theatre that has previously produced, for example, TARTUFFE, until you’ve done your homework: locate reviews yourself, know the relevant names and dates, etc., identify yourself and our organization, and courteously ask the marketing/PR department if they’d be willing to share visuals from the production. Many theatres are unwilling to share this type of material, of course, given issues of artistic ownership – so be delicate in your requests and understanding if they are denied.)
b) Literal images. (Leafless trees. Flapper costumes. Irish countryside. Period clothing and furnishings. Etc.!) Some designers enjoy the more creative forms of visual research (a painter whose oevre seems relevant, or other “collage” type imagery that connects to the play). Props folks will obviously want the literal materials!
1)Communication
a.) Keep communication and expectations clear among the creative team. Find out whether and to what extent the director wants to be part of your meetings, conversations, and exchanges of material with designers. (Some directors want to be present throughout; others may want to meet initially as a group, and then “green-light” independent exchanges, although directors usually want copies of all material you give to designers).
b.)Clarify needs. Most plays in most seasons involve period research. You might find out whether a particular designer has particular needs; for example, the costumer may have extensive resources re. period clothing for a playtext, but needs help with footwear, or hairstyles, or.... You get the picture.
IV. THE PR and MARKETINGS/DRAMATURG RELATIONSHIP: Overview
Dramaturgical Program Notes, the Lobby Display, and Speaker’s Night are your most concrete arenas of collaboration with the PR/Marketing Director.
Please meet with Kim as soon as possible, not only for clarity regarding speakers, program materials, and deadlines, but also to chat about the play. Kim is a gifted theatre expert whose response to the play will surely enhance your thinking, and she may want to brainstorm possible marketing and audience targeting strategies as well as discuss the program and potential speakers.
All of the deadlines for PR/Marketing materials have been provided for your reference in the PR Deadlines and Guidelines document. You are responsible for attending to these.
IVa. THE PR and MARKETINGS/DRAMATURG RELATIONSHIP: Practical Matters
a)Program notes
*What does the audience need to know to be able to understand and appreciate this particular production of this play?
*Is this audience appreciation possible with an indirect approach: quotes, photos or artwork from writers or artists with related viewpoints? Or is a more direct approach needed: timelines, biographic or historic materials, quotes from the playwright, dramaturg’s and/or director’s notes?
*Kim is an excellent person to use as a sounding board for your notes, as she is intimately familiar with our audiences. To best utilize her expertise, speak with her early in the process.
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Program notes can be the most difficult writing assignment, since your readers run the gamut from professional “insiders” to first-time theatre-goers. Remember that program notes should create a “resonating chamber” for the play rather than explaining the play or production. Be wary of spoilers, and speak to Kim or the Dramaturgy Advisor about potential trigger warnings.
Preliminary and final drafts of program notes should be shared first with the Dramaturgy Advisor; this way, the PR/Marketing head and your director can see your most polished final draft (unless they wish to be involved earlier).
b)Speaker’s Night – the second Thursday of the performance run.
In consultation with each director and the Production Dramaturgy Advisor, you and the PR/Marketing Director will make plans and choices regarding speakers in time to communicate them to our audiences as well as students. The dramaturg must attend Speakers Night and sits on stage with the featured speaker and the director, ready to answer questions from the audience.
Certain productions may benefit from outside experts for Speaker’s Night, while others may be best served by University faculty members. When proposing candidates for Speaker’s Night, it is helpful to provide options from the following categories: 1) a long-shot candidate who may require more budgetary support (such as the playwright or an artist or expert who may be traveling some distance); 2) a middle option, perhaps from a University or theatre within the region; and 3) an option that draws on the rich community that Villanova has to offer.
c) Lobby Displays
The dramaturg is in charge of creating a lobby display in collaboration with Kim and her team. Meetings to discuss the lobby display take place about five weeks before preview.
When you meet, be prepared to offer ideas and suggestions while keeping in mind the collaborative nature of the endeavor. When brainstorming, it is useful to pinpoint what you believe to be the largest point of entry for the audience into the play, and use this as inspiration for the display.
Discussion should not only tackle ideas, but also logistics: should the director approve the plan? Will you use video, posters and other materials, or both? Who is responsible for what aspects of the task: readying the pictures and text, purchasing decorative materials such as backgrounds, assembling the display, etc.? What is the timeline? How best can you avoid conflict with concessions or house management? Since the lobby display usually goes up just as tech is concluding (in other words, when everyone is usually exhausted), it is especially important to plan ahead.
i) Visual Files:It has become standard practice for the dramaturg to show images from production research or the visual file on the lobby monitor. Dramaturgs must curate these images carefully rather than simply include the entire visual file, in order to insure that surprises in the plot are preserved and to achieve what program notes also aim toward: the creation of a "resonating chamber" for the play.
Visual files must be provided in Power Point format on a flashdrive to the House Management/Box Office staff at least 24 hours before the first performance.
d) Blog Postings
Dramaturgs are encouraged to write for the Villanova Theatre blog. It is an excellent way to connect with our audiences, and to share some of your experiences and research more informally. Potential topics could range from a small detail or fact you discovered in your research, to a story from rehearsal or view into the design process. Discuss potential subjects with your director, advisor, and the PR/Marketing director.