DRAMATURGS & is a new capsule series of roundtable conversations centering the work of and relationship between dramaturgs and their artistic collaborators. Dramaturgical thinking and application is integral in the work of all artists, yet a dramaturg’s role affords a dedicated lens that can expand and challenge artistic decisions. In cosy and candid sessions, we aim to unpack the relational, intricate and often invisible work of dramaturgs in creative processes and within artistic teams.

The first conversation kicking off this series is DRAMATURGS & PRODUCERS, where we explore the working relationships between these two roles. What brings a producer and a dramaturg into a project together and how do they navigate their positionalities in an artistic collaboration? As multi-hyphenate practitioners who identify with both roles, how do they draw boundaries or ‘switch hats’, and is that necessary?

Join us in this exciting discussion facilitated by Juliet Chia, and hear from a panel of luminous producers Michele Lim, Melissa Lim and Fezhah Maznan.

Photo Documentation

A semicircle of audiences facing four speakers in a small room.

Moderator Juliet Chia kicks off In conversation with Producers, sharing about the motivations behind the Dramaturgs & roundtable series and introducing the three speakers.

Four female-presenting persons seated in a row of chairs.

The speakers (from left) Fezhah Maznan, Melissa Lim and Michele Lim share about their past experiences as producers and dramaturgs. Topics of conversation included the joys and challenges of playing both roles at different points of their careers, and the nuances of the working relationship between producers and dramaturgs.

A group of people seated in chairs, talking to speakers in the front of the room.

The speakers fielded questions from the audience, including curiosities about the producer's process of selecting a dramaturg for a production, and how a dramaturg's contributions to a production are best archived for future reference.

Four female-presenting persons standing close together and smiling at the camera.

Thank you to our moderator and speakers for their generous sharing!

Written Documentation

What are the circumstances that lead you to bring a dramaturg on board one of your projects?

One panelist discussed the similarities they identified between the work that they do versus the work that a dramaturg does, and curiosity about the role they could play in the creative process, including critique, research, and consultation. Another panelist noted that established artists, who are familiar with the production process, often know for themselves when they need a dramaturg, and it is the producer’s role to bring on a dramaturg that suits the production and the people involved in it.
This is equally true for artists who are less familiar with dramaturgs and dramaturgy - it is the producer’s role to converse with them to identify their needs and in turn, identify the dramaturg that would best suit those needs and help to improve the production. One panelist noted that, for them, being a producer means creating a space for artists to create their works, and providing the support needed to focus on their creation process. The process of bringing a dramaturg on board is artist-led, to ensure that a positive working relationship between artists and dramaturgs, where the dramaturg can both assist and challenge.

Once that partnership is established, what is your role in relation to it?

Two panelists discussed a more hands-off approach, where they check in at certain checkpoints to ensure things are going smoothly, but otherwise only engage and enter the space when they are invited by the artists and/or dramaturg, in order to allow independence by not policing the process. In contrast, another panelist shared about their greater involvement in the creative process, in order to understand the artists’ and dramaturg’s needs, and noted that the role of the producer is also to manage people, rather than just a production, and this is made easier by being in the room and having a better read of the situations and process.
All panelists agreed that their involvement and engagement with the artists, dramaturg, and creative process as a whole ultimately depended on the needs and wants of the specific project, expressed by the people involved in that project. Managing expectations is very important, and everyone involved needs to be aware of the scope of their role - one panelist noted that conflicts tend to arise when artists are not open to being challenged about their ideas, and when dramaturgs are interested in creating rather than advising, assisting, and questioning. It is important for everyone involved in the process to be open, receptive, and communicative, to ensure the process goes smoothly.
With regards to scope, an audience member asked how much one would decide to pay the dramaturg, and the kind of contract and agreement one would draft with a dramaturg. The panelists noted that a range exists, and payment terms would vary very much based on time spent with the artists and the production and the previously-discussed expectations.

What are the different purposes that dramaturgs might serve in a production?

The panelists discussed four different types of dramaturgs, namely:
- Research dramaturgs, who tend to focus on the text of a production, and do research to provide artists with data that they can tap on to make their work as cogent and true to form as possible.
- Production dramaturgs, who play a big role in the rehearsal room, serving as a ‘third eye’ in the rehearsal process, critiquing and asking questions about creative choices in order to prompt the artists to think critically about these choices.
- Cultural dramaturgs, who mediate between different cultures and languages used in a production, and help artists understand a specific culture or form they are applying in their process.
- Prestige dramaturgs, who are brought on board to legitimise certain aspects of a work. This is a more controversial role and term, and was discussed by the panelists as being a more strategic rather than artistic decision - a dramaturg being chosen to open networks for a production and give it a perceived legitimacy it might not have had without the dramaturg.
One panelist shared that they had previously been present for design meetings in their capacity as a dramaturg, where they asked questions about what the production team was trying to achieve, and the narrative they were focusing on in their work, probing deeper and understanding the reasons and rationales behind the concepts and themes that were being explored.
An audience member asked about the popularity of festival dramaturgs or company dramaturgs in Singapore, as compared to production dramaturgs, around which much of the conversation was focused. One panelist noted that investing in a company dramaturg tends to be difficult for local companies due to limited resources and the fluidity of programming that is often found in many local companies, which makes it difficult for a company dramaturg to step in. Another panelist noted that other personnel involved in festival programming tend to serve the role of festival dramaturg in Singaporean festivals - asking questions about the works that are being presented, the intended audience, and how these relate to the overarching festival theme.
Another audience member asked about the possibility or desirability of including a 'dramaturg's message' in a production programme, much like the usual 'director's message' or 'playwright's message'. The panelists noted that this would very much depend on the dramaturg's scope for that particular production. One panelist shared about the instances where they felt that their writing and documentation, taken from their experience of dramaturging the production, might be useful to illuminate certain aspects of the process not mentioned by the director or choreographer. Another panelist added that they agreed on documenting the process being the job of the dramaturg, but that they often approached it with the intention of creating an internal document for the production team, and to include a 'dramaturg's message' in the programme would require a different lens, a deep intent to transmit the creative process to the audience in a digestible format.
The panelists ultimately agreed that the label of 'dramaturg' is convenient and covers a large scope, but it comes down to the needs of an artist and their work, and whether the person filling the dramaturg role has the necessary experience or knowledge to support the process.

How does the dramaturg differentiate between offering perspectives and offering solutions?

One panelist shared that, as a dramaturg, they go beyond talking about ideas and perspectives, to having conversations with artists in the space, and holding discussions while watching the work being developed. They noted the importance of dedicating significant time to speaking with an artist and understanding what they want - both as a person, and as an artist - and understanding their role in the process. This makes it easier to prevent overstepping, as both parties make clear their specific contributions.
Another panelist noted that specific context matters as well, bringing up an example of working with dramaturgs from different cultures who provide perspectives on the ways in which characters set in those cultures would react to situations in different ways from characters belonging to another culture. In this case, this might constitute 'offering a solution', but from the perspective of a person who possesses the relevant authority and better understands the cultural context present in the work.

Can the roles of producer and dramaturg be combined or should they be kept separate?

One panelist noted that the needs of both roles are very different - the producer tends to be thinking about practical needs, such as logistics and resources, and the dramaturgs needs to think from an artistic perspective, which lend themselves to very different priorities and points of view. It requires a great deal of discipline to keep them separated, in order to ensure that the questions that are being asked in the rehearsal room are from the perspective of the dramaturg when that is the appropriate role, versus the perspective of the producer when that, instead, is the appropriate role.
One panelist noted that the producer can also naturally play a dramaturgical role, especially for larger events, without being ‘a dramaturg’. The example raised was festival programming - the work of ensuring the different works being presented are salient and pertinent to the wider festival theme has dramaturgical elements. The division between producer and dramaturg is not always clear-cut, and it is possible to contribute to the dramaturgical conversation without holding the formal title of ‘dramaturg’. Panelists noted that this extends beyond the producer’s capacity - dramaturgical work and dramaturgical thinking have often been present in the creative and production process even before the terms ‘dramaturg’ and ‘dramaturgy’ became popular. The ‘critical eye’ can be and has been provided by other players in the process. The panelists noted that ‘dramaturg’ is a convenient label, but ultimately, the key is understanding the needs of the artists and their work, and bringing on board a person who has the necessary experience or knowledge to support them.