Dramaturgy in H[ollywoo]D: "Even though you have been trained to be lean, mean researching machines, frankly...research is the last thing anyone will hire you to do. Everyone assumes that the writers and designers have done their own homework, so why would they hire someone ELSE to do research? That's just another person on payroll. And, whatever research jobs you will get will probably be part-time and underpaid. Why? Because there is no union for researchers. You will live your lives pseudo-employed, without health care and definitely without benefits.
So, here are some other options you should look into"
14 comments:
While I don't think that there isn't a market for Dramaturgs, I think that exploring the different possible careers for Dramaturgs is a good idea. Having marketable skills goes for more than just the Dramaturgs. Not only are there a variety of mediums and places in which to design performances, but many PTM skills are applicable in other careers. Design can branch out to more than theater, technical drawing can show more than just sets. While theater can be the home for people who love both the arts as well arts and more, you can also branch out. Sometimes the economic climate will make this necessary and it's nice to be able to be hired for multiple jobs.
Wow, what a harsh article. I understand and agree with the article that the number of jobs for Dramaturgs are limited. Its unfortunate, but true that most people don't know what Dramaturgs entails. While I think this article is a little over dramatic about the Dramaturg's being unwanted I think it is a good idea to have other options open. Dramaturg's can use their wide verity of skills to apply for a number of different careers.
While there aren't many "Resident Dramaturg" positions available at theatres, that doesn't mean dramaturgs should give up on their craft and not search out opportunity. Sadly, I do slightly agree with the article that dramaturgs should be prepared to expand their horizons and explore more commercial means of financial stability such as writing or research.
In defense of dramaturgs, many modern directors are going from show to show, often with little or no time inbetween. They simply don't have the time to do all the research that directors in the past may have done. While the monetary benefits may not be great to a dramaturg due to budget constraints, having them present during pre-production and even during rehearsal has greatly improved all the productions I've worked on in the past.
Before reading this article, I thought I had an understanding of what dramaturgs did, but post article I'm more confused then ever. I understand that researching is a big part of what dramaturgs do, but I always assumed that it was the much more detailed oriented stuff, for lack of a better phrase, the details that make something historically re-created as opposed to historically accurate. On top of that, I was of the understanding that a dramaturgs job on some levels was to settle discrepancies about the research, given that it's their job to know more about that aspect of things then the designers or director would necessarily need to. That all being said, if people were being hired just because they were good researches, wouldn't you just hire a research librarian? If I were a dramaturg I'd be insulted by the concept that their career is so easily replaced.
I think that Brianna brings up the greatest conundrum with Dramaturgy, no established job integration. Because the traditional Hollywood business organization hasn't worked with Dramaturgs before it is difficult for them to financially justify an extra researcher/developer. The article really poses an important question to hopeful dramaturgs out there. Do you want the title or do you just enjoy the work? If you enjoy the work, then find the job title that fits.
One of the reasons I left the dramaturgy option was because of the lack of dramaturgical jobs in the market and because I wanted to explore different positions and what they offered. This is an encouraging article to see because it gives dramaturgs a plethora of options to explore. I hope that this helps guide the lost dramaturgs of the world to a job that allows them to use their intellectual abilities to create art.
I LOVE my Dramaturgy classes. This places me in a strange position with dramaturgs; I think it's amazing that they can do what they do, but I like doing research and analysis myself. Relying on another person seems kinda lazy. (No offense Turgs; I love you all.)
All these opportunities just make me excited. What is Story Editing and Story Analysis? That sounds amazing. If I could have a career in analyzing stories of popular culture, I'd switch majors again in a second (my parents would kill me of course). Are these jobs television and film related? Or specifically theater related? Where do they fall in theater? Are they in commercial theaters or in workshops? Why doesn't Hollywood use Dramaturgs? They just use writers. I can think of a dozen movies off the top of my head that would have been much better had someone been sitting there pointing out all the inaccuracies and uneven parts of the stories.
While this writer leaves us with an article that appears quite harsh on the surface, I do think what he says is true. This field of study IS quite young and people haven't really come to terms with how to use this person and/or what the people themselves should do with a degree or education in dramaturgy. Funny thing, "Dramaturgy" is not even a word in spell check on this computer yet.
On a more positive note, I understand the importance of someone who does research and gives the directors, actors, and designers insight into the play; however, I think that as of now the theatre community as a whole doesn't expect it or need it in such a direct manor. Designers and directors are SUPPOSED to do this research for themselves. Perhaps down the road this position in the theatre world will become more defined, but for now I think that it is good that other options exist for dramaturgs. They are important people, it's just a matter of finding where they fit in. The idea about being writers is definitely worth thinking about, since there aren't many complex films or TV shows that seem all too coherent these days.
This article is interesting, though it misses the point. Research is a large part of dramaturgy and that is why people hire them. They are incredibly useful for historical accuracy, storytelling, how does this fit into the larger picture. The problem with dramaturgs is there is currently a tiny space for them in production. I honestly can't see a dramaturg being useful on every production of every show. They are also a second set of eyes on the storytelling who aid the directors in their choices. I agree that people should do their own research and that Dramaturgs should not go policing designers and directors, but there is a time and place where people need help. A particularly useful place for dramaturgs might be new works or adaptations of older plays that need "updating".
While I think it is important for Dramaturgs to realize the plethora of other jobs that they are qualified to do as well as to keep their options broad and open in order to make themselves more marketable, I believe there is a lot of value in their original skill, to be "lea,n mean researching machines". Yes, it is true that everyone involved in a production does their own research and even if a dramaturg was hired specifically for research purposes I think it would still be necessary for everyone to do their own research, however I think dramaturgs are most useful at not only going deeper into research than than any other individual involved in the production, but also at helping unify everyones ideas. They have infinite knowledge about all the possible different points of view that can be taken in a single production and more importantly all the information needed to successfully get any point of view across clearly while staying true to the script and the wishes of all involved. I think it is time to start seeing dramaturgs as the valuable asset they are, rather than thinking of alternative jobs for them to do.
This article was pretty blunt, but there is some truth in it. I know several of the dramaturgy majors in our class want to go on to do other things besides dramaturgical work (such as producing and production management), and the training they're receiving now more than qualifies them for it.
While it's true that designers do their own research, one person can only do so much. A dramaturg on the team can only enhance the production, not just drain money from the payroll.
Great responses from the students! You know, I would be more inclined to dismiss this article out of hand except for two reasons. First, it was written by a dramaturgy major I myself recruited, trained, and came to love and respect very much. So, you know, she got the best training I could provide and I respect her judgment. Second, I told her ALL of this when she was still here, and that list of alternative careers is very similar to some stuff I put up on our website anyway. I don't think very many of our majors really want to be production dramaturgs - I think they have a very wide range of interests which a dramaturgy training serves extremely well. Look at Molly, for instance - put HER in a box, if you can! But actually I don't think Brianna's article seriously disagrees with anything I've said. But seriously, I think this is a very provocative and interesting commentary from someone who has, after all, only been in Hollywood for about, what, seven weeks or so.
Keep fightin the good fight, B!
-Doc Chemers
Director of Dramaturgy Program
CMU
Wait till you all meet my buddy Mary Coleman, who, if the stars align, will visit us this year--she's a VP at Pixar, and she describes her job as "Dramaturgy" for the film industry. She does story development, hires scriptwriters, helps with voice casting, works with writers and directors to hone the storyline on fabulous films like "UP!" (IMHO, one of the top films of the past year)...and gets to work collaboratively with first rate artists and storytellers. It's a dream job (free massages at work, that sort of thing) and guess what her background is? Good old fashioned theatrical dramaturgy and directing. Brianna's not completely wrong about what employers are looking for, but if you understand the basics of theatrical storytelling, can write, and can do real connect-all-kinds-of-interesting-dots research, the world has work for you to do. And it can be extremely fulfilling work.
The other "W" (Wendy Arons)
Hello my dear CMU,
I never meant this to cause controversy! I was just pointing out alternatives! The fact is, studios are actively trying to avoid period pieces and work that requires a lot of research and reconstruction because it costs money!
And, no, Doc and I aren't disagreeing at all. Having research skills is INSANELY valuable! I can't tell you how many times a day I get asked to dig up some DP's number from a movie made in the 1980s! It's not exactly what I studied to do, but no matter what you end up doing, you need to be able to answer your own questions and your boss's.
My point is, if I had to choose between being a freelance researcher or working as a Story Editor/Analyst, I would rather be a member of the Story Editor's Guild. If there is one thing I have learned from being out here the past few months is that not having health insurance sucks.
In no way am I disagreeing with or blasting the education I received in the Dramaturgy Dept. I acquired as much research skills as I did critical and script development skills and I use both equally in my job. However I chose not to market myself as a researcher, but as someone who wanted to get into development. Do whatever you really love to do! If you want to be a researcher, be a researcher! Hopefully by the time you graduate the economy won't suck so badly and there will be lots of opportunity for you!
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