What is a DRAMATURG?

The role of the dramaturg is growing and changing moment by moment because of the
evolving technologies used to interact with both the theatre and the world at large, and
the evolving definition of theatre (encompassing everything from stock stereotyped
Golden Age formula musical theatre to the performance of everyday activities as a
continuum of what we see as art).
Lemme throw a quote at you before I ramble a bit about my opinions.
My favorite definition of the role of the dramaturg in theatrical production comes from
Michael Mark Chemers book Ghost Light: An Introductory Handbook for Dramaturgy. I
came across this as I was researching how to answer your very question when asked by
loved ones, friends and potential future collaborators. In his book he describes a talkback
at Arena Stage (August 27, 2003) where the following question was askedAUDIENCE MEMBER: What did you, as dramaturg, actually do for this
production? What appeared on stage that is a result of what you did?
MARK BLY (Dramaturg): I cant point to anything specifically, but if you took a
knife to that play, it would bleed me.
(Chemers 3)
To me the dramaturg is just that: the blood that runs through a production. As a
dramaturg, I provide the context (theoretical, historical, critical, and biographical) as well
as the sensual, emotional connection to the piece. I answer the questions: WHY THERE,
THEN? and WHY HERE, NOW? I work to assist the cast in understanding and
connecting to the deeper or grander themes of a piece- ideally through both intellectual
investigation and emotional investment. On a day-to-day basis, I also serve as the voice
in the room who can tell them how women sat in the 1860s or what to leave under a
cloud really meant in the 1920s."
As dramaturg, I serve as the intermediary- the limens- between the audience and the
production. It is my job, through lobby displays, program notes, talk-backs, PR events,
etc. to contextualize the show for the audience- to invest them in the world of OUR
production. I also see this role of the dramaturg as a conversation starter. For example, I
want to use our production of Heather Raffo's 9 Parts of Desire to open a conversation
between mothers and daughters about their womanhood, and between students and
teachers, democrats and republicans etc about the current and previous wars in the
Middle East. The dramaturg, in this sense, sets the jumping off point from which we use
the theatre as a vehicle for engagement in the world.
Lastly, and in many ways most importantly, as the dramaturg I serve as the advocate for
the play. Sometimes this means the advocate of the playwright (their intention) but
sometimes it goes beyond that to help the playwright (as with a new work) stay within the
intentions of the piece that they are creating. I am the one who will remind the director of

their original concept if they are feeling mired in technical details; I can help the cast feel
immersed in the world of the play when they are mired in technical details. I will speak
up to a director who may be making choices that completely go against the
intentions/themes/ideas of the play. This doesnt mean that I stop a director from making
any choice- but I make sure that they are aware. I am the awareness advocate- something
like the Lorax.
So, to sum it up- the dramaturg (to me) is the blood and guts "Lorax of the theatre.
She/he who speaks for the trees; who supports and enriches the productions on which
they serve, enabling greater interaction with and conversations out of the play as a social,
historical, and deeply human part of our culture.