Defining Dramaturgy (sort of...)
Traditionally, a more German concept, the role of the dramaturg is a relatively new one in the UK. Some people vaguely know what it is, some people think they might possibly know what it is and everyone else says, drama-what? I am currently working as a dramaturg on a production and am in the unique position to define it for the company as we go along with production meetings and rehearsals. Since a dramaturg can serve as an editor, assistant to the director, assistant to the designers, researcher, translator and innumerable other positions, I have made it my job to find a way to help the company understand and envelope themselves in the world of the play.
The play in question, Caligula by Albert Camus, is a difficult one--a dramaturg's dream or a dramaturg's nightmare, depending on how you see it. It is somewhat long, wordy, translated several times, philosophical, political, historical, funny, grim and has a cast of 14. This is not to say, however, that it is not worthy of the struggle--it's a great piece full of sex and violence and feeling and thought. I have been trying to attack the play from different angles, reading it over several times, hearing it read, discussing it, trying (vainly) to read the original French version and researching the background. Researching the history of the Roman Empire. Researching Absurdist philosophy. Reseaching politics of the Second World War, when it was written. And then I bring all my objets trouves to the table with the director and designer and we scratch our heads. And discuss. And start over. Wash, rinse, repeat.
Then I went to the Tate Modern. I was going anyway to see the Gilbert and George exhibition anyway and figured I might as well have a look at work from the Camus' period. I came away with postcards for inspiration for the production team and felt far more fulfilled than I had from just doing research. And then I went to the British Museum. No postcards this time, but I made lots of little sketches of Roman artifacts, finding my role to be more of an archeologist than an editor or scholarly researcher. And it was fun. Like being ten years old on an exciting school field trip.
So what's my point?
Sometimes we forget--theatre is lots of fun and there are no rules to insight or roadmaps to inspiration.
Caligula will be on at the Union Theatre from June 5th-23rd. For more information, please visit: http://www.talonarts.co.uk/
posted by Sarah @ 10:12 am
2 Comments:
Traditionally, scribe and philosopher, traditionally third 'eye'representing the audience, TRADITION per se doesn't reflect the identity of this position in theatre. Notice the description, only other positions can describe 'dramaturg' as such... Dramaturgy, however exists in almost every aspect of the persistent process of live performance, all people do some sort of research, all people think about their position within the production and all involved submit ideas. Notice at the end of your post that inspiration and ideas came from resourcefulness and intrigue into the specificity of the events within the play, leading you on to different modes of thinking and approaches for the project. Distill those resources, including the documented research, and funnel through cheese-cloth, while simultaneously breaking the bonds of convention and sipping through a pin-sized straw. Hold that liquid in your mouth, swish for 30 seconds and admire the rigour. The knowledge stays in that concentrated form as you spit it discreetly at others involved. They absorb it like an addict and crave more...
The role of dramaturg is not to replenish a stock of information for a show that allows for numerous references or to provide an historical background to bore those motivated by action and presence rather than over-thinking and tradition. A dramaturg functions as the binding substance to an age-old realm and the new trails to be blazed henceforth for an envigorating experience, both sensual and intellectual.
I, however, side myself with the audience... It might be more appropriate as we are merely facilitating the action and not participating. Attempts at trying to distance your own self from the deep attachment to the piece, as research and interest increases, becomes quite a skill and an unbearable process. Things are missed, things are overthought, but is there ever overthinking when it comes after the piece is finished? I believe not. We all have our own histories and our own specific images, now can we make those seep into the collective viewing public in order to suggest another idea?
I love Caligula. It's fun to compare his different representations in art. I keep meaning to see the awful Malcolm McDowell film, but haven't as yet - latest thing I've seen/read is Allan Massie's novel about him. Slightly overrationalises the Emperor, I think - while I've no doubt he wasn't as bad as his reputation suggests, it seems extreme to tone him down to merely being incompetent.
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