The practice of a dramaturg in Germany

THE PRACTICE OF A DRAMATURG IN GERMANY
by Elyssa Livergant

On 14 May 2004 the Dramaturg’s Network hosted Anneli Klostermeier, a dramaturg from Germany. This occasion was part of the ongoing professional development activities held by the network. Anneli reflected on her practice as a dramaturg working in regional theatre in Germany and shared her ideas about the role of the dramaturg. Her lecture was followed by Q & A and discussion.

Owing to technical difficulties there is no transcript of this event. However, as a participant I made some notes which I thought might be of interest; these give insight into Anneli Klostermeier’s work, opinions and a different cultural perspective of theatre production.

Anneli on German theatre production:
German theatre production is hierarchical. There is an external hierarchy between different theatres and the public, and there is an internal hierarchy within each particular theatre.
The dramaturg is attached to the theatre and is answerable to the intendant (general manager). There are several dramaturgs engaged to a theatre (assistant dramaturgs, production dramaturgs, house dramaturgs and a chief dramaturg).
A dramaturg’s working relationship is dependent on making alliances.
The Chief Dramaturg is responsible for the whole theatre and its programme. He/She comes into rehearsal in the second week, if lucky, but usually attends the last 3 rehearsals only. This situation means their input into a specific production is very minimal.
The production/ floor dramaturg is assigned to a show and has several responsibilities to that show. He/she attends all rehearsals, supports the director, provides support material, and reports the progress of the production to theatre.
In this production culture, directors are ‘guests’ of the theatre. Actors are like family and are attached to a theatre for a season (often more than one season). Below is a diagram illustrating the internal structure of a theatre in Germany.

Intendant (General Manager)

Oberspielleiter/Schauspieldirektor (Artistic Director)

Dramaturgen (Dramaturgs)

Schauspieler (Director)

All materials – promotional, contextual, author background - that circulate to everyone (press, audience and creative team) come from the dramaturg. Theatres often have a pre-opening event, which is the dramaturg’s responsibility. This is an occasion for audiences to learn about the piece and the production.
Another ‘baby’ of the dramaturg is the programme – which is often where dramaturgs get to be ‘creative’ and make their mark. Programmes hold a coveted place in German theatres and are sometimes as much a talking point as the production itself.

Being a dramaturg
The dramaturg is a bridge between the director and the theatre. She/he provides mediation between the director and the company.
The dramaturg is always looking for a home and lacking a product.
S/he should serve the production but often one feels one is serving the director.
Is often met with suspicion – what are they good at exactly? Experts? What is their terrain? The dramaturg has power to give you (a director or actor) a job.
Many dramaturgs spearhead late night events that put them out there as performers/ presenters – ‘at risk’ – as a way of proving their mettle, garnering respect and trust of their peers.

The dramaturg’s relationship to a production
Key is maintaining distance – ‘a friendly stranger’.
Easier to work with a more experienced director. Weak or new directors tend to rely too much on the dramaturg’s opinion.
The dramaturg is not the same as an assistant director because they have a different focus in their approach to a production. Attention to rhythm and meaning of the whole and a distance to notice the small daily compromises. How far has the production moved from its original objectives or intent?

I found Anneli’s reflections on being a dramaturg in Germany insightful. I left wondering if the dramaturg’s lack of concrete product or territory against the backdrop of demands for practitioners to point to their contribution (for jobs, funding, reviews) helps to foster the suspicion Anneli mentioned. Interestingly, she points to the programme and information days as the dramaturg’s ‘baby’, an outcome that is easily defined.

Reflecting back on the day I notice an absence. The writer’s voice in German theatre is remarkable for not being heard, and it seems innovation falls to the director. I wonder how this impacts the contemporary cannon of German theatre?
I look forward to more of these events, where theatre makers from a variety of contexts can contribute their thoughts and practices to develop and deepen my understanding of theatre.

Posted by Hanna at 04:14 PM in Articles | Email this entry

Comments:

No comments yet.

Post a Comment:

<< Back to main