DRAMATURGS & is a 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 third of this year’s series is DRAMATURGS & DIRECTORS, where we explore the working relationships between these two roles. What might directors want from dramaturgs as collaborators? How is the dramaturgical thinking a dramaturg offers different from that of a director? Can a dramaturg’s contribution reveal blindspots in the director’s vision and what happens then?

Join us for this thought-provoking conversation facilitated by Cherilyn Woo and bring your questions for our exciting panel of artists including Kok Heng Leun, Huzir Sulaiman and Sim Yan Ying.

Video Documentation

View the transcript for this video here.

Written Documentation

The key points discussed during DRAMATURGS & DIRECTORS have been summarised below.

To view the session in full, please access the video documentation above.

Could you briefly introduce how you have worked as and with directors and dramaturgs?

One panelist shared about their first experience as a dramaturg for a work where they were initially the director, but ultimately felt that they could provide better support playing a more dramaturgical role - providing the ‘third eye’, and supporting the playwright in their work to frame and structure the piece. They also shared about different dramaturgs with whom they worked on theatre productions as well as socially-engaged practices involving multidisciplinary art and the community.
Another panelist shared that their mentor in university encouraged them to have dramaturgs on board when creating theatrical work, and they now work closely with dramaturgs on most of the work that they create. This includes devised works, where the dramaturg is involved in three different states - the early stage (focused on ideation, where the dramaturg assists with research, asking questions, and opening up doors), the middle stage (focused on structuring the work, where the dramaturg views the overall arc of how different pieces come together and assists with sharpening the framework), and the final stage (playing the role of a production dramaturg, discussing design and staging choices). It also includes written works, which often involves a script dramaturg and production dramaturg. The panelist noted that the dramaturgs are brought into creative conversations with designers and assist with elucidating on certain ideas of provoking questions to better understand intention.
Another panelist also divided their practice into different types of dramaturgy - devised new play dramaturgy (where they generate questions, provocations, and exercises for artists to generate content, following which they oversee suggestions on how to structure and revise the work), playwright-centric new play dramaturgy (which helps the playwright get to the core of what they are concerned about with their work, and interrogate it, then mediate feedback), and production dramaturgy (being the ‘third eye’ in the room and offering suggestions to the director interfacing with the designer).

What is your approach when starting on a new project, whether as a director working with a dramaturg, or a dramaturg working with a director?

One panelist shared that, as a dramaturg, they often start by asking “why this play now?”, and hearing the director’s perspectives and process, in order to understand how they intend to create the piece, and why they want this specific person as their dramaturg. They stressed the importance of understanding how the director wants the dramaturg to function within that whole process, and what happens if the work begins to step outside previously agreed-upon parameters. They noted that being a director working with a dramaturg is different - they are more interested, then, in letting the dramaturg know what they have in mind, as they prefer their dramaturg to play a devil’s advocate and provide certain perspectives or insights that they might not have.
Another panelist agreed that, as a director, the first conversation with the dramaturg would feature a lot of discussion about why they are keen to embark on the specific project, and they would also be interested in the dramaturg’s thoughts, curiosities, and concerns about the project’s themes and narrative. The panelist also stated that they like the relationship the dramaturg has with the work to evolve over time - from a script dramaturg to the production dramaturg, for example - so that they remain involved in the process throughout. Thus, the first meeting is important for the panelist to ascertain if both director and dramaturg are on the same wavelength and respond to each other in ways that are helpful for both parties.
Another panelist stated the importance of agreeing on a fee and scope for being the dramaturg, to ensure that the parameters of work and service are agreed upon by all parties even before the process begins. One panelist agreed on this matter and stressed the importance of the dramaturg’s formal status to reflect the importance of their role in the creative process.

As a director, what are your preferences with regards to the working relationship with the dramaturg?

The panelists agreed on the dramaturg being welcome at any stage of the process, with boundaries and parameters on when they intervene and contribute being pre-decided before the process through honest and open communication, based on the needs of the specific work. One panelist noted that the dramaturg being in the rehearsal room from early stages allows them to learn and grow with the work as it develops and this understanding allows for more involved, pointed, and potentially helpful intervention.
Another panelist noted that they might have directorial preferences early on in the process that might not be fully articulated, and bouncing ideas off the dramaturg at this early stage makes for a fulfilling conversation where decisions can be dramaturgically justified.

How do you, as a director and/or dramaturg, navigate around feedback that might be challenging to the other party?

One panelist noted the importance of effective interpersonal communication when making radically challenging suggestions in the context of production dramaturgy - reading the room, understanding the director’s artistic and intellectual trajectory, in order to get the point across in a way that will be understood by the other party. They also shared their thoughts from the perspective of a director, and their openness to radical new ideas, as the priority is improving the work as much as possible. They noted that, as the dramaturg, they often accurately identify problems, but may not be best situated to offer solutions, and the responsibility of crafting a solution can come down to the director and/or playwright instead. Another panelist agreed, noting that the work is focused on identifying and making the artists aware of an issue in order for them to fix it.
Another panelist noted that for directors, often there is little mindspace to identify and pick on an aspect of a production that is not working, due to the other responsibilities one needs to juggle in the process, and it is important for the dramaturg to pick up on these aspects and remind the director that what is not working needs to be fixed, sparking discussions and offering possibilities for that process, while ultimately letting the director make the final decision. The panelist noted that the dramaturg has much more mindspace than the director, who is often fighting fires - the dramaturg can exist in a liminal space and watch the work from a distance.
Another panelist added that the roles of the director and the dramaturg are very different, and they are not co-creators when working on the same project. When disagreements occur, the dramaturg is willing to defer to the director, and the director can recognise that subjective taste and preferences can also colour the dramaturg’s suggestions.

How do you continuously improve as a dramaturg?

One panelist expressed their belief in exposure - becoming attuned to different sensibilities and sensitivities by watching more works and productions, and also allowing these sensibilities and sensitivities to naturally grow, develop, and mature with age and time.
Another panelist shared that they constantly challenge the way that they think, and push for personal and artistic growth - questioning whether they are stuck in certain ways of thinking, and how receptive they are to new changes, in order to be conscious of what still works and what needs to change and adapt.

How do you identify and work around your limits as a dramaturg?

One panelist shared that they prioritise curiosity about why something happens in the process, how things come together, etcetera. Positioning oneself as the ‘third eye’ and not being the decision-maker allows for space to step out and question oneself as well, ensuring the distance of an outside perspective.
Another panelist noted that they are now comfortable stating that they have no comments or input on a piece of work or a process - understanding when their input and perspective is not needed as it will not serve the work or process. It is also possible to ‘outsource’ dramaturgical functions, bringing other people in the process to provide their perspective on the process and the work.
Another panelist concurred and highlighted the importance of self-reflexivity, understanding one’s personal experiences, both as a dramaturg and a director, to in turn understand the way they might be receiving a specific work - which might not be the way that the artist intends. They also noted the importance of understanding one’s tendencies and habits as a director, and being upfront with the dramaturg about them, giving the dramaturg more helpful information and context to be able to push, offer advice and suggestions, and challenge the director in ways they might not have thought of.

Have you encountered differences working with dramaturgs who are also directors in their own capacities, versus dramaturgs who work primarily or entirely as dramaturgs?

One panelist noted that most dramaturgs they have encountered have another primary artistic practice, a primary area to which they are naturally attuned, and are thus often aware of other elements of a production. This additional lens is often useful and offers richer perspectives when interacting with a work on a dramaturgical level.
Another panelist stated that sensitivity is key - rather than familiarity with the work of directing, it is more important to be perceptive of the key nuances of the specific project, and be able to work complementarily, regardless of their unique artistic backgrounds.