The Process of Dramaturgy: A Handbook (review)

{ 173 } BOOK REV IEwS long together in the same space. While there may be a few bouts of repetition and occasional reliance on performance studies jargon (e.g., “always already”), the writing is in general lucid and elegant. Copiously illustrated, this book will remain in fashion for quite some time. —JAMES WIlSON Laguardia Community College and the graduate Center—CUNY \ The Process of Dramaturgy: A Handbook. By Scott R. Irelan, Anne Fletcher, and Julie Felise Dubiner. Newburyport, Mass.: Focus Publishing/R. Pullins Company, 2010. 150 pp. $19.95 paper. The Process of Dramaturgy: A Handbook, as the authors describe it, is aimed at those who commit “acts of dramaturgy” (ix), as is reinforced throughout. As such, it is a text well suited for classroom use, particularly for students who have minimal exposure to the functions of the dramaturge, whether in a professional or academic theatre setting. This volume is also a welcome prompt for directors, designers, and other theatre artists who might find themselves performing dramaturgical functions in lieu of someone formally designated by that title. While not intended to cover all the possible skills and functions of a dramaturge, it is a well-organized and thoughtfully designed addition to the dramaturgical bookshelf. This handbook is divided into three parts chronologically, according to the production process, with examples from the authors’ own experiences in the field. Part 1, “Pre-Production,” devotes chapters to the basics of dramaturgical research, communicating with the director and other collaborators, as well as “Conceptual Frameworks” (mislabeled “Conceptual Sets” in the table of contents ), which provides a good introduction to applying critical theory as well as using other approaches to reading a production. Part 2,“Rehearsals,” emphasizes the challenges of preparing, culling, and disseminating information to the actors and creative team, as well as assuring continuity in a production. There is also a brief but well-considered guide to working with a playwright on the various stages of a new play. Finally, part 3,“In Production,”focuses on outreach efforts , including study guides, program materials, audience talks, and lobby displays . Perhaps most helpful is the case study of work on a university production of Biloxi Blues; it demonstrates not only the influence of dramaturgical work throughout the process but also the negotiations between collaborators based { 174 } BOOK REV IEwS on these efforts, as well as their influence on the audience. The final chapter offers advice to the individual seeking to do dramaturgical work, either as a volunteer or a professional. The appendixes seem geared toward different audiences.Appendix A,“Theatricalisms ,” identifies characteristics, theorists, and artists connected with earlytwentieth -century theatrical movements: naturalism, realism, symbolism, surrealism , and expressionism. It ties in well with the chapter on conceptual frameworks and would aid the undergraduate student as a beginning reference. Appendix B,“Sample Syllabus,” is an excellent starting point for the instructor seeking to teach dramaturgy in a methodical manner to undergraduates, including possible projects and activities. Appendix C, “A Resource List,” serves as a list of works cited in the text and of other resources to consider; while not exhaustive, it might serve as a good reading list for a graduate student or beginning dramaturge wishing to learn more. Only a few things distract from this otherwise fine volume (in addition to the occasional typo). The examination of other key dramaturgical texts in the introduction makes no mention of either volume of The Production Note­ books, edited by Mark Bly (nor are they referenced in appendix C), a somewhat surprising omission given their detailed, casebook nature, which would be a natural supplement to using this volume in the classroom. Also missing are any publications or Web sites regarding new play development or even the Dramatists Guild. Despite these quibbles, perhaps the greatest advantage of this volume is the range of experience the authors represent, from academic to freelance to resident dramaturge. All three have generously included examples of their own contributions to a variety of productions, from plays to musicals to new works, and this multiplicity of viewpoints serves their chapters well. They have kept their audience in mind, including a glossary of terms at the end of each chapter and bolding these words in the preceding pages...