A cabal for all

You’ve heard of a murder of crows, a gaggle of geese and a pride of lions. I think a cabal of dramaturgs describes us nicely, don’t you? Dramaturgs together make for a disparate group, but they tend to have one important thing in common — a talent for bilocation. Because we stand inside the artistic process as well as outside it, frequently we’re able to hold on to a detached sense of perspective that the theater really, really needs. If you ax me.

That’s why the fabulous Kate Bredeson (theater prof @ Reed College) and I are hosting an informal dramaturgs’ town hall this January, during the Portland’s Fertile Ground Festival. This city-wide celebration of original work for the stage is a kaleidoscopic array of spanking new performances, a good chunk of them created just for those crazy 10 days and nights. It’s been a boon for theater folk and theater audiences both, since at this point (2012’s fest is the fourth already), many theaters are launching into new work specifically to leverage the visibility Fertile Ground can offer them.

Playwrights and dramaturgs have been gaining ascendancy in Portlandia for years now. Some of the city’s most interesting companies have literary components helping to set their artistic agendas, including Portland Playhouse, Third Rail Rep and Artists Repertory Theatre. Playwriting groups are flourishing, some which have intriguing dramaturg/producer components. Commissioning is quietly blossoming (more about that in weeks to come). And certain smaller companies have been quick to add the dramaturg job description to their development processes — sometimes, avowedly, without much idea of what their dramaturgs were actually supposed to be doing for them!

Perhaps, then, it’s a good time for a gathering of the tribes. For us to discuss whether there are ways we can better help drive artistic platforms, rather than those platforms driving us.

If this interests you, Kate and I invite you to attend this meeting when January rolls around. Details are below. Questions? Hail me at mead hunter at juno dot com — if you’re not a spambot (and I’m sure you’re not), just close up the spaces in my address and we’re in touch.

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Reed College presents
A DRAMATURGS’ TOWN HALL MEETING
Hosted by Kate Bredeson and Mead Hunter

Venue: Reed College mainstage theater, 3203 SE Woodstock Boulevard
Festival Date: Jan 22, 2012 @ 2 pm

Tickets: Event is free and open to the public

More information: directions to Reed's theater here.


Why not admit it, dramaturgs are the unsung heroes of new play development; their ideas and their connections often provide the impetus to kick-start original theater projects. Since Portland is fast becoming known as a hotbed of new work, where do we, as dramaturgs, fit into this changing topography? How can we encourage, support and even initiate innovative developments? In this informal meeting, we’ll attempt to map the new play territory locally and nationally and then brainstorm ways to pursue a proactive theater agenda.

Whether you’re a career dramaturg, an occasional practitioner, a new play stakeholder or just curious about the profession of dramaturgy, you are very welcome at this meeting.

Dramaturg vs. dramaturge

Last week I had the opportunity to address a large group of avid theatergoers. Granted they were all of a certain age, but still I was surprised when they informed me I had rushed through a reference to dramaturgy without defining what it was.

Those of us who spend a lot of time inside theater production tend to take much for granted, true, but it still surprises me that nearly 50 years after the introduction of dramaturgs into American theater, the job description is all but invisible.
Within the island universe of professional dramaturgs, nothing can be taken for granted, including the spelling of the title. Oh, yes. You’ve been going around living your life blissfully unaware that there are annual brouhahas in certain circles about whether there should be an “e” on the end of dramaturg. (The Urban Dictionary even hyphenates the word — drama-turg. Ow.)

We can trace the term back to Gotthold Ephraim Lessing, the justly celebrated Age of Enlightenment playwright and theorist, who developed a spectrum of dramaturgical duties still in effect today. That’s Gotthold at left — talk about an egghead, eh?? Well, German colleagues tell me “dramaturg” roughly translates to “drama worker,” but the term definitely has broader connotations; to this day the French word for playwright is dramaturge (aha) and the Italian is drammaturgo.

Not that you asked, but the correct American word for a dramaturg is … dramaturg. How come? Because in relatively recent American usage, meaning mid-20th century till now, foreign terms have been brought into the language whole and entire. This is very much not the case with British usage, where the habit of imperialism extends even to everyday words. It is the Brits who have historically expressed contempt for the profession of dramaturgy (even while grudgingly admitting that they have the job all right, they just concede it to the purview of the literary manager -- a perfectly good English expression, thank you so much). And it is also the Brits who took it upon themselves to add a superfluous “e” to the end of “dramaturg,” thereby not only recuperating the term as British (or at least as less Teutonic), altering its very pronunciation whilst at it.

Something about theater folk makes them cling to the antiquarian — insisting on spelling theater theatre, for example, and preserving the word “actress” — and I understand that. But I draw the line at anglicizing imported terms. It’s just plain icky. To use a great American neologism.