Last but by no means least; it’s the final instalment of our demystifying series.
Dramaturgs are often hard to define, but as Antonia, one of our featured creatives states, it’s all about communication! In this feature, we’ll be speaking to Dramaturgs Marlie Haco and Antonia Georgieva.
We hope you have enjoyed reading this enlightening three-part feature, and feel confident to embark on new collaborations or career paths!
Thank you to the creatives involved for sharing their vital insight into how and why they do what they do!
Marlie Haco
I’m a theatre director & dramaturg specialising in text-based, character-driven stories that engage with the complexities of our psychologies and relationships. Having danced for most of my life, I love to incorporate movement into my work, exploring how aspects of a narrative that may resist verbal expression can be told through physical means.
As a dramaturg, I research and develop scripts for performance. I strive to work collaboratively with the playwright to examine and refine every aspect of their play, from character and plot to form and style. Overall, my aim is to ensure that every beat of the text is serving the aims and objectives of its writer.
Skills: directing, dramaturgy, writing, movement, choreography, dance, script editing, reviewing, facilitating workshops, life coaching
Location: London
Antonia Georgieva
Antonia Georgieva is a creative multi-hyphenate working across theatre and film. Both as a freelance artist and as Artistic Director of Aslant Theatre Company, she specializes in subversive new writing and adaptations that challenge the dominant narratives. She is particularly passionate about women’s stories, queer narratives, non-traditional spaces, and interdisciplinary work.
Skills: Adaptations, new writing (esp with a historical focus), script development, supporting R&Ds & devising processes, immersive and site-specific works, interdisciplinary work
Location: London & UK wide
“The role of the Dramaturg often isn’t well defined, so it’s all about communicating what you need and setting the parameters of how you are going to work together. You shouldn’t overstep those once they’ve been set.”
What does a Dramaturg do?
(Antonia) A Dramaturg supports the development of a theatrical piece by looking at both macro and microelements. That can be through script development and detailed feedback or historical and dramaturgical research that feeds directly into the production, typically working closely with the Writer and/or Director.
(Marlie) In its simplest form, the role of the Dramaturg involves helping the writer or theatre-maker realise their intentions - as in work out or clarify what they want to say or ask with the piece, also in the sense of ensuring the text is serving those intentions as much as possible.
Why did you choose to be a Dramaturg? How did you get into it? And what does the role mean to you?
(Antonia) I consider myself a dramaturg by chance. My way into theatre was first through writing and then directing, so combining those skillsets into dramaturgy made sense. I’d say my focus is mostly working with writers on script development and reading scripts for playwriting awards.
“The ability to identify what a script is echoing or challenging can be useful in terms of helping a writer push what they’re exploring further, or recommend reading that can illuminate an aspect in what they’re trying to achieve.”
What skills does a Dramaturg need?
(Antonia) Close reading skills, a good knowledge of story structure and the principles of strong dialogue, critical analysis, strong communication skills (both verbal and written), an ability to work collaboratively, and good knowledge of the current landscape of theatre, particularly in new writing.
(Marlie) I would echo what Antonia has already described, but perhaps also add, a good knowledge of the theatrical canon. The ability to identify what a script is echoing or challenging (the conventional five-act structure, for example) can be useful in terms of helping a writer push what they’re exploring further, or recommend reading that can illuminate an aspect in what they’re trying to achieve.
How can a Dramaturg support a work-in-progress, R&D?
(Marlie) A dramaturg can be a useful advocate for the text in the room, helping to guide everyone back to what the writer is trying to achieve, while (hopefully) allowing the project to grow and develop.
“Identifying what has made the writer want to write this play is often a good place to start - what Lynsdey Turner calls finding the ‘initiating spirit’.”
How can a Dramaturg support an unscripted project (devised, physical theatre, new writing)?
(Antonia) I haven’t been the Dramaturg on a devised piece, but I have worked collaboratively as part of a non-hierarchical collective devising piece. The main difference to a scripted process is the obvious one: there is no script to begin with. I think in that context, it helps for a Dramaturg to be more practically oriented and to participate in discussions about the aims of the work and advise on the formal elements that will dramaturgically work towards presenting the idea in the best possible way. Sometimes in a devising process, the Dramaturg’s role may be more similar to a writer-in-the-room, where they would record the work to create a script or score, which is fair if that’s the expectation, but in my opinion, a more hands-on approach would be more effective.
(Marlie) I’ve never worked as a Dramaturg on a devised piece, but I have worked with scripts at all stages of their development. When working with writers who come with an initial idea (rather than a complete draft), I ask a lot of questions, but mostly let the Writer talk through their thoughts and I listen to them make discoveries along the way. Identifying what has made the writer want to write this play is often a good place to start - what Lynsdey Turner calls finding the ‘initiating spirit’. Then, helping the writer determine a central question that the play is asking can often be a useful way to focus their thoughts and generate material.
How can a Dramaturg support an adaptation or translation?
(Antonia) With adaptations and translations, there’s usually a fair amount of research that needs to be done, and that’s almost certainly something a Dramaturg would be doing. They would be looking into the historical context of the work, the time period it references and the time period it was created, both in terms of historical and political events, as well as in terms of the theatrical practices and circumstances that the original work was created in. Extending that further, sometimes adaptations of classics quite radically change the context of the story to another cultural context, where the Dramaturg might be tasked with research to ensure the production is representing that accurately and that the adaptation achieves its aims. I’ve also been in environments where the Dramaturg would work with the cast on demystifying some of the particularities of the text (in Shakespeare, for example).
What does a first meeting with a Dramaturg look like? What do I need to prepare or ask?
(Antonia) Have an idea of what you would need support with and be as specific as possible. Prepare any questions you might have, both creative ones and more practical ones about their process. Make sure to get an idea of their working style and exactly what it is they offer and what you can expect from working with them. Be clear about what you are expecting from them too at every step of the way. If you are working on a production together, which you might be directing, have a clear idea for how you are going to take advantage of having a Dramaturg involved both inside and outside of the rehearsal room.
(Marlie) First meetings vary a lot, depending on where the play is in its development and I try to respond accordingly. If I know that the play has been through several drafts already and the Writer is not looking for significant dramaturgical support, I will not go in with a huge number of big questions and suggestions. I will try and match my thoughts/notes on a piece to how many meetings we will have and what the writer’s external deadlines are. Having said that, all first meetings are about trying to understand the Writer and their aims and objectives for the piece, and how I can best support them to realise those intentions. Early meetings will always be focused on overall structure, plot, character development, pace etc. Only in later meetings will I give more specific notes on dialogue, syntax, word choice etc.
“You need to develop an understanding of storytelling and structure, learn the rules and the craft of dramatic writing and also develop your intuition about what makes for good theatre and good storytelling.”
What can I ask a Dramaturg to help with?
(Antonia) It depends on who you are and what your own aims are. If you are a Writer, for example, you could work closely with a Dramaturg at any stage of developing your script. They could work with you on a one-off basis, providing detailed feedback on a draft of your script perhaps. Or you could develop a more extensive working relationship. Dramaturgs can help Writers with things like plot, structure and character development, and it always helps to have a pair of outside eyes. If you work on the production side of things, for example, as a director or producer, then your production might benefit from the involvement of a Dramaturg, where they can be that outside eye throughout rehearsals and production and help on a wide range of things.
What should I not ask a Dramaturg to help with?
(Antonia) Depending on the working relationship and the context, you probably shouldn’t be asking your Dramaturg to make substantial edits or write parts of the script, especially if you are the Writer or there is a Writer involved with the production. The role of the Dramaturg often isn’t well defined, so it’s all about communicating what you need and setting the parameters of how you are going to work together. You shouldn’t overstep those once they’ve been set.
Do Dramaturgs vary in their skill-sets and interests?
(Antonia) Naturally, like all other theatre artists, Dramaturgs would develop a certain specialism. That is not to say that they are any less skilled in supporting a project outside of their area. Depending on what you are looking to be supported with, you might want to consider the main focus of the Dramaturg’s particular practice and experience.
(Marlie) Yes. However, although I have particular areas of interest and also genres and styles that I’m more familiar with, I will always try to work a play on its own terms. Even if I don’t feel I would be the right person to go on and direct a certain piece, I will happily work with the Writer to develop the play into what they feel will best serve their intentions for it.
Where can I find a Dramaturg?
(Antonia) Twitter would be my answer to anything theatre-related.
(Marlie) It depends! Do you want a freelance Dramaturg? If so, I’d also say Twitter. Or do you want an in-house script reading service like Theatre503? Or do you want a play development lab like Mrs C’s The Writers’ Collective, or what they run at Soho Theatre? Or are you after fairly minimal but often very useful and free feedback from a playwriting prize like Papatango?
How much does a Dramaturg cost?
(Antonia) It really depends on what you are asking them to do - their time commitment and level of involvement can vary from reading a single draft of a script and providing feedback, to Dramaturg for an entire production. When in doubt, ask a few people for their rates to get a better sense of what the range might be. When approached for script feedback, for example, I try to give multiple options or tiers for the services I can provide, so that I can best tailor my work to what they need. And, as a rule of thumb for productions, make sure that you are paying your Dramaturg (and the rest of your collaborators) a fair rate ideally in line with what’s recommended by ITC.
(Marlie) I echo Antonia on this and add that I will always try and meet the Writer “where they’re at” and work with how much funding they have available.
How can I become a Dramaturg?
(Antonia) Like most things, start doing it yourself on a small scale and build from there. You can build a dramaturgical process into any student or small-scale fringe production you might be involved with, or ask your friends if you can come on board their productions as a Dramaturg and consult on the project to build experience and get some credits under your belt. The main thing though is to read and watch as many plays as you can. You need to develop an understanding of storytelling and structure, learn the rules and the craft of dramatic writing and also develop your intuition about what makes for good theatre and good storytelling. And stay up to date on the contemporary writers (both established and up-and-coming) who are winning writing awards or whose work is currently being produced.
(Marlie) Read and see as many plays as you can, and think about how they work - what makes them plays rather than novels or poems? Start with texts that have stood the test of time (Shakespeare, Greek tragedies etc.) and consider, what makes a good play good? Why does this play have an enduring appeal? What makes it relevant to the time in which it was written? How is it structured? Basically, hone your skills on published plays first and then reach out to writers who are looking for support on new work. Getting work as a reader for theatres or prizes like the Finborough, Theatre503, HighTide, Papatango etc. can also be a good way to access lots of new plays and practice identifying what works and doesn’t work.