The Process of Dramaturgy: A Handbook, and: The Art of Active Dramaturgy: Transforming Critical Thought into Dramatic Action (review)

The bulk of critical research about dramaturgy has focused primarily on its historical evolution, but two recent books offer insight into contemporary dramaturgical practice: The Process of Dramaturgy: A Handbook by Scott Irelan, Anne Fletcher, and Julie Felise Dubiner, and The Art of Active Dramaturgy: Transforming Critical Thought into Dramatic Action by Lenora Inez Brown. These works, both from Focus Publishing, reconcile the elusive aspects of dramaturgy with practical advice, and will prove indispensable to readers who wish to learn how to act and think like a dramaturg.

Irelan, Fletcher, and Dubiner's co-authorship of The Process of Dramaturgy is a suitable approach for this subject, considering the collaborative nature of the field. The book's subtitle is accurate—it is truly a handbook, packed with activities, samples, vocabulary words, and a straightforward analysis of the process. The text "reflects upon the lively, imaginative practice of production dramaturgy from an experiential perspective" (ix), with an aim to "broaden the scope of inquiry to meet the needs of production dramaturgs whatever their education level or professional standing" (xiii).

The Process of Dramaturgy is divided into three sections: "Pre-Production," "Rehearsal," and "In Production." This uncomplicated breakdown prepares the reader for the chronological experience of working on a play. Despite the clear structure, the authors pepper the book with caveats about the uniqueness of every production, such as: "The hazard in offering any type of chronology, of course, is that it shrouds the idiosyncratic nature of collaboration and makes the pre-production preparation process look and sound like it is rather orderly and precise, which we find is scarcely the case" (1). The authors provide clear guidelines, yet they sensibly remind the reader that every project demands flexibility.

The first section, "Pre-Production," explains how to gather sources during the research phase, successfully communicate with the director, and recognize patterns in the research. A particular highlight is chapter 3, "Conceptual Frameworks," which elucidates how to "[notice] relationships across time and history, [pose] focused questions about those relationships and [keep] the pre-production artistic conversation going when it gets bogged down" (40-41). This is perhaps the thorniest part of a new dramaturg's job, and the authors are to be commended for distilling the process of discerning patterns, detecting theory, and observing organizational principles within a play. The jargon-free approach by Irelan, Fletcher, and Dubiner is appropriate for undergraduate dramaturgs who wish to handle larger conceptual ideas. The authors offer practical advice about how to approach theory and, equally important, when best to use it.

Section 2, "Rehearsal," sets out to "illustrate and to explicate an array of responsibilities that a production dramaturg might have during a rehearsal process" (57). The authors dissect how to prepare a script, create resource packets, and maintain communication with a director. This section includes samples of documents the authors have created during the rehearsal phase. These examples reinforce the authors' advice and provide readers with a real application of the ideas in practice. The chapter on new plays, however, feels unbalanced; unlike earlier chapters, it contains no written examples or clever anecdotes from the authors' professional experiences, and the exercises seem slightly less relevant. Admittedly, this chapter "is only the start of a much longer learning process" (91), but perhaps a second edition could expand upon these ideas. For example, the authors might consider including samples of new-play evaluations, a list of questions posed to a playwright, and extracts from new plays the authors have developed. It is helpful, nevertheless, for aspiring dramaturgs to familiarize themselves with the new-play process, from commissions to full productions, and this chapter clearly outlines the various stages of development.

The third section, "In Production," explores outreach and education and contains a chapter that...