APÊNDICE
A Dramaturg?
must:
1) A critical
sensibility, together with the ability to write mature essays and reviews
addressed not merely to professionals and scholars, but also to reasonably
intelligent, generally aware readers and theatregoers.
2) A thorough knowledge, in depth, of the dramatic repertory based on a wide range of reading in dramatic literature, scholarship, and criticism in all periods and genres of drama, with special areas of expertise of his own.
3) The ability to do scholarly research, plus practical experience in tracking down scripts, options, copyright information, and publication as well as production histories of plays.
4) The ability to read and translate plays from, ideally, several foreign languages but as a minimum one, and the even more valuable ability to adapt the translated text into stageworthy dialogue in English.
5) The ability to read new scripts intelligently, and to write summaries and appraisals of them with professional competence.
6) The ability to cut scripts knowledgeably, with an understanding of how to do so without destroying their logic or losing their essential dramatic and theatrical values.
7) Experience in preparing a dramaturg's protocol--a fivepart pre-production study of a play-together with a glossary of the text, for the information of the director and possibly the rest of the company. The parts consist of (a) the historical, cultural, and social background of the play; (b) relevant biographical information concerning the playwright, plus a history of the writing of the play and an assessment of its place in the author's oeuvre ; (c) a critical and production history of the play, including a report on the textual problems (if any) of the original and an assessment of the major translations (if the play was written in a language other than English); (d) a comprehensive critical analysis of the play, including the dramaturg's suggestions for a directorial-design concept for a new production; and (e) a comprehensive bibliography of materials on the play: editions, essays, articles, reviews, interviews, recordings, films, videotapes, etc.
8) The ability to prepare useful background study guides-often a digested version of the protocol or parts thereof--to be made available to student or "group" audiences.
9) Experience and expertise in collaborating with directors and designers to create a production concept, or, if a specific "concept" is not to be employed, an approach to the play and an articulation of its goals in production.
10) Based on the dramaturg's intimate knowledge of a play, and on pre-production discussion with a director about his approach to the play, the expertise to contribute significantly to a play's casting and design.
11) Expertise in taking dramaturgical rehearsal notes (which can be of crucial value to a receptive director), knowing at what points in the rehearsal process his notes are of value, what sort of notes are useful at different stages of the rehearsal process, and what sort of notes have constructive value together with what sort do not.
12) A thorough awareness of dramaturg's rehearsal decorum. It is most important for the dramaturg to take notes during rehearsal as inconspicuously as possible. He must be aware that the very sight of someone vigorously writing notes can be unnerving to directors and actors, who may feel that premature judgment is being made upon them. What helps most in allaying this source of irritation is the dramaturg's creation of the feeling in the company, as early as possible in the rehearsal process, that he is part of the same team and anxious for the same, good result. The courtesies and parameters that guide the dramaturg are these: he avoids interrupting of his own volition the director's work or the rehearsal; he does not show his notes to, or discuss them with, any member of the company without the request or consent of the director; in manner and in conversation, he avoids exhibiting negative responses toward the director's or the company's labors. The dramaturg, as much as any member of the company, shares the responsibility for creating an atmosphere of mutual trust and respect during rehearsals.
13) Knowledge of the do's and don'ts governing the dramaturg's conduct during consultation sessions with the director. However discussion between the two occurs, whether regularly and formally or only occasionally and informally, the dramaturg suggests his opinion to the director but does not force it on him, and understands that the final decision on all matters raised in discussion is necessarily the director's.
14) In working with playwrights, the ability to break down a script, analyzing its structural strengths and weaknesses, and make constructive suggestions for revision.
15) Training and experience in appropriate writing styles and formats for program notes (which should reflect the director's concept of the play and production and provide audiences--even critics--with a relevant context for viewing the playin-production), newsletter articles, interviews, and publicity releases.
16) Experience in keeping notes for, and writing up, postproduction records: production logs, season histories, post-production critical evaluations.
17) The experience of an apprenticeship in a professional theatre, working within the framework of its particular procedures and policies, and gaining familiarity with its overall administrative and budgetary set-up.
18) Above all, to have developed his individual "idea of a theatre" out of which he would, if this earth were heaven, map out seasons of repertory to advance that particular idea; and even if this earth is not heaven, to have developed the determination to work tirelessly toward advancing such a theatre, or orienting a theatre in which he works toward his artistic goal. Concomitantly, to have developed enough common sense to recognize that a theatre in which he is employed will not normally adapt itself overnight to his particular aesthetic orientation, but to retain enough idealism to yearn and plan for the existence of his ideal theatre, some day, somewhere. For dramaturgy as a profession ultimately looks toward the shaping of the artistic policy of a theatre, the formulation of its artistic policy being evidenced in its choice of repertoire, its approach to productions, and the cultural and aesthetic orientations of the artists it employs.
2) A thorough knowledge, in depth, of the dramatic repertory based on a wide range of reading in dramatic literature, scholarship, and criticism in all periods and genres of drama, with special areas of expertise of his own.
3) The ability to do scholarly research, plus practical experience in tracking down scripts, options, copyright information, and publication as well as production histories of plays.
4) The ability to read and translate plays from, ideally, several foreign languages but as a minimum one, and the even more valuable ability to adapt the translated text into stageworthy dialogue in English.
5) The ability to read new scripts intelligently, and to write summaries and appraisals of them with professional competence.
6) The ability to cut scripts knowledgeably, with an understanding of how to do so without destroying their logic or losing their essential dramatic and theatrical values.
7) Experience in preparing a dramaturg's protocol--a fivepart pre-production study of a play-together with a glossary of the text, for the information of the director and possibly the rest of the company. The parts consist of (a) the historical, cultural, and social background of the play; (b) relevant biographical information concerning the playwright, plus a history of the writing of the play and an assessment of its place in the author's oeuvre ; (c) a critical and production history of the play, including a report on the textual problems (if any) of the original and an assessment of the major translations (if the play was written in a language other than English); (d) a comprehensive critical analysis of the play, including the dramaturg's suggestions for a directorial-design concept for a new production; and (e) a comprehensive bibliography of materials on the play: editions, essays, articles, reviews, interviews, recordings, films, videotapes, etc.
8) The ability to prepare useful background study guides-often a digested version of the protocol or parts thereof--to be made available to student or "group" audiences.
9) Experience and expertise in collaborating with directors and designers to create a production concept, or, if a specific "concept" is not to be employed, an approach to the play and an articulation of its goals in production.
10) Based on the dramaturg's intimate knowledge of a play, and on pre-production discussion with a director about his approach to the play, the expertise to contribute significantly to a play's casting and design.
11) Expertise in taking dramaturgical rehearsal notes (which can be of crucial value to a receptive director), knowing at what points in the rehearsal process his notes are of value, what sort of notes are useful at different stages of the rehearsal process, and what sort of notes have constructive value together with what sort do not.
12) A thorough awareness of dramaturg's rehearsal decorum. It is most important for the dramaturg to take notes during rehearsal as inconspicuously as possible. He must be aware that the very sight of someone vigorously writing notes can be unnerving to directors and actors, who may feel that premature judgment is being made upon them. What helps most in allaying this source of irritation is the dramaturg's creation of the feeling in the company, as early as possible in the rehearsal process, that he is part of the same team and anxious for the same, good result. The courtesies and parameters that guide the dramaturg are these: he avoids interrupting of his own volition the director's work or the rehearsal; he does not show his notes to, or discuss them with, any member of the company without the request or consent of the director; in manner and in conversation, he avoids exhibiting negative responses toward the director's or the company's labors. The dramaturg, as much as any member of the company, shares the responsibility for creating an atmosphere of mutual trust and respect during rehearsals.
13) Knowledge of the do's and don'ts governing the dramaturg's conduct during consultation sessions with the director. However discussion between the two occurs, whether regularly and formally or only occasionally and informally, the dramaturg suggests his opinion to the director but does not force it on him, and understands that the final decision on all matters raised in discussion is necessarily the director's.
14) In working with playwrights, the ability to break down a script, analyzing its structural strengths and weaknesses, and make constructive suggestions for revision.
15) Training and experience in appropriate writing styles and formats for program notes (which should reflect the director's concept of the play and production and provide audiences--even critics--with a relevant context for viewing the playin-production), newsletter articles, interviews, and publicity releases.
16) Experience in keeping notes for, and writing up, postproduction records: production logs, season histories, post-production critical evaluations.
17) The experience of an apprenticeship in a professional theatre, working within the framework of its particular procedures and policies, and gaining familiarity with its overall administrative and budgetary set-up.
18) Above all, to have developed his individual "idea of a theatre" out of which he would, if this earth were heaven, map out seasons of repertory to advance that particular idea; and even if this earth is not heaven, to have developed the determination to work tirelessly toward advancing such a theatre, or orienting a theatre in which he works toward his artistic goal. Concomitantly, to have developed enough common sense to recognize that a theatre in which he is employed will not normally adapt itself overnight to his particular aesthetic orientation, but to retain enough idealism to yearn and plan for the existence of his ideal theatre, some day, somewhere. For dramaturgy as a profession ultimately looks toward the shaping of the artistic policy of a theatre, the formulation of its artistic policy being evidenced in its choice of repertoire, its approach to productions, and the cultural and aesthetic orientations of the artists it employs.
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