Behind the Scenes of Story Lab 2024 – DtDSA update

Your peek behind-the-curtains of this year’s Developing the Dramaturg (SA)’s Story Lab intensives.

Written by the 2024 DTDSA cohort: Alexis West, Anthony Nocera, Bonet Leate, Kate Cheel, and Ting Zhang.

• What does dramaturgy really mean?
• What role does a dramaturg play?
• How does a dramaturg interact with a director or playwright?
• How exactly do you pronounce the word ‘dramaturgy’?

…

As participants in the Story Lab of the 2024 Developing the Dramaturg (SA) program, we came together with a shared curiosity and passion for exploring the rich, multifaceted world of dramaturgy. Hailing from diverse backgrounds and experiences, we were united by a commitment to deepening our understanding of theatre and narratives through dramaturgical practice. The three-day intensive Lab provided a unique opportunity to engage in inspiring dialogue, challenge our assumptions, and expand our creative horizons.

For us, the Lab itself became a process of dramaturgy: we questioned, shaped, and sought to understand the world of dramaturgy, embracing the ongoing journey rather than focusing solely on the destination. Whether addressing First Nations narratives, cultural storytelling, or the evolving role of the dramaturg in different forms of theatre, we embraced the ambiguity and opportunities within dramaturgy. Together, we aimed to emerge from this experience not only as more informed dramaturgs but also as advocates for diverse narratives and innovative storytelling practices.

“For us, the Lab itself became a process of dramaturgy: we questioned, shaped, and sought to understand…“

Anthony: I think what’s struck me throughout the whole program is how broad dramaturgy is. Prior to starting the program, my experience with dramaturgs had been as a writer. To quote Jules Orcullo, from the panel ‘Being a Resident Dramaturg’, “the dramaturg has ridden shotgun alongside me as I’ve written a play or created a text. Freelance or project-based dramaturgy focusses on the creation of new work, cracking open a text or an idea, and making a show.” I dig that idea.

Dramaturgy, especially in a company context, extends beyond text. It’s about people. It’s about ensuring the people (particularly the writer, if there is one on a project) feel safe and heard throughout the creative process. It’s about audiences and working out how best to connect the people onstage with the people watching in the theatre. It’s about community building, cultural safety and finding ways to connect artists with a company or an institution. It’s about removing barriers to entry or finding new ways to tell stories that uncover exciting new voices. It’s also about thinking of how to engage and diversify audiences.

As a group, we like the idea of dramaturgy as a creative practice but also a strategic one – as a way of connecting the best and most joyful ways of working creatively with the administration of a creative institution. It’s when these things are at a disconnect that creative work suffers or, maybe, doesn’t reach its full potential. That these things should be symbiotic in a company context feels like a step towards best practice and will lead to the creation of work that really matters – to artists, to audiences, to people.

In our workshop with Anchuli Felicia King, ‘The Playwright and the Dramaturg’, we examined the relationship between the playwright and the dramaturg, and how to cultivate a dialogue that is both ‘generous and generative’. We discussed positionality and gaze as lenses that inform how we engage with work, and why having a critical self-awareness is needed to best serve the writing and the relationship. Anchuli also introduced us to useful frameworks for delivering feedback and promoting constructive conversations. We considered this alongside the dynamics of creative process and how the role of a dramaturg may vary and evolve across stages of development and production. As a playwright herself, we ended the session with Anchuli sharing her experiences of working with dramaturgs and what she has found helpful from the perspective of a writer. It was great to hear her insight and further appreciate the dramaturg relationship as a unique and sensitive response to the needs of the artist.

Thanks to this wonderful opportunity from Australian Plays Transform and the incredible support of Program Producer Danielle Lim, the Lab fostered an inclusive environment. It enabled us to approach dramaturgy through hands-on workshops, thought-provoking panels, and discussions with leading industry professionals. We were particularly captivated by the program’s emphasis on interdisciplinary and cross-cultural practices, which resonated with our collective interest in creating work that transcends artistic forms and communities.

Story Lab provided us with the space to connect with our fellow participants and deepen our exploration of dramaturgical understanding and practice. We cannot thank enough all the amazing guests who shared their time, patience and wisdom with us throughout the week. We look forward to heading into our four-week theatre company placements geared with new knowledge, confidence and connection to the work.

Developing the Dramaturg South Australia Story Lab – list of workshops, panels, discussions, and facilitators 

Workshop	The Director and the Dramaturg	Stephen Nicolazzo (Brink Productions)
Panel	Being a Resident Dramaturg	Jules Orcullo (STC), Mark Wilson (MTC), Katrina Irawati Graham (La Boite)
Discussion	Does Opera Need Dramaturgy?	Dane Lam (State Opera of South Australia)
Workshop	Dramaturgy in Cultural Storytelling / Multi-disciplinary Work	How Ngean Lim
Workshop	First Nations Dramaturgy	Ali Gumillya Baker (Flinders University / Unbound Collective)
Workshop	The Playwright and the Dramaturg	Anchuli Felicia King
Panel	Dramaturgy in Children’s Theatre	Elleni Karagiannidis, Eliza Lovell, Finegan Kruckemeyer
Panel	Shore Break at STCSA	Chris Drummond, Chelsea Griffith
Discussion	Dramaturgy in Community Engagement	Delia Olam

The Developing the Dramaturg (South Australia) program is supported by the Department of the Premier and Cabinet through Arts South Australia.