Valkyrie Spring 2018 - Issue 3

Dramaturgy
Story by Sara Arms
Design by Mary Thrailkill
Pictures by Spencer Russell
Much of the behind-the-scenes work that happens be here once they are confirmed).
before a show opens is not apparent during the
“I presented my work on Women in Arms at KCACTF
run of the show. There are hours, days, weeks
Region IV in 2016,” said Mulligan. “I was nominated for
spent designing any given set and costumes as well as
the next year as well but unfortunately wasn’t able to
choreographing and blocking the show. But one thing
attend the conference. It was an amazing experience. It
directs all these in a singular direction. Research. This
was great to be in a room where everybody already knew
research is done by people we call dramaturgs. Weeks
what dramaturg meant, and I was fascinated to learn
before rehearsal begins, dramaturgs begin researching.
about the work all the other dramaturgs had done on
“[The dramaturgical process] starts out by having a their productions. I wasn’t awarded anything, but I got
conversation with the director,” says junior student good feedback on my work and learned a lot from the
dramaturg Siobhan Mulligan. “We discuss our thoughts other dramaturgs.”
on the show and how we feel it connects to a modern-day
BCTC’s dramaturgs are a vital element in a show’s historical
and educa-
audience, and the director may recommend particular
areas they think will be important for our research.
tional “gravity”.
Initial discussions with the production team can also
The actors, designers
and outsiders
shape the direction the research takes. For Women in
Arms, since I had a co-dramaturg, I focused on how
who see these dramaturgical
presen-
the play related to the era it was written in—Northern
Ireland during the Troubles—while my co-dramaturg
tations fill out the
focused on the era it was set in—Northern Ireland in the
blank canvas of a
Iron Age. For Cabaret, I started by reading Christopher
show that simply
Isherwood’s Berlin Stories, which the show is based
dialogue, blocking
off, and researched the culture and historical currents
and design have
of 1920’s Berlin so the actors could relate to the time
begun filling. Dramaturgical
work
period.”
If there are any accents in the show, the dramaturg’s job sets to add valuable
context to ele-
(other than the director’s) is to make sure to help actors
develop and practice the proper accent. If there are any ments in the show
names or cities written into the dialogue of a show, the that, without the
dramaturg is responsible for making sure they are being research, would be
pronounced correctly. If the show involves any cultural empty and lacking.
or religious lore, the dramaturg researches what it is and
how it is involved in the show. Any character based off a
historical figure is heavily researched by the dramaturg
and presented to the actor so that he or she might in turn
portray that figure accurately.
“I always love to see that my work makes a
difference, whether to the actors or the production
team,” said Mulligan. “I work hard on the actor
packets—historical research, relevant photographs,
etc. handed out to actors early in rehearsals—so it’s
great when they ask questions about the material
or tell me that it influenced their character choices.
I also love finishing the lobby displays for the
audience. They’re a challenge to put together, but
the end result is really satisfying to see.
While individual research is also conducted by
designers and directors as needed, the dramaturg
is important in unifying all research done for a
production to ensure its accuracy. BCTC uses student
dramaturgs in their productions as needed. These
dramaturgs, on top of researching collaborating
with other members of the production team (the
designers and directors of a show), compile their
information into presentations which they take to
conferences and conventions around the southeast,
entering them into contests in which they have
received many awards (titles of those awards will BCTC’s production of Urinetown: the Musical
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