Dramaturgy is like pie.Pies have a multiplicity of flavors and a multiplicity of methods to create one flavor just as there are many types of dramaturgy and we each approach the practice of it differently. One baker may love to bake every kind of fruit pie, and another baker may have perfected a chocolate pie recipe, love to share it with others, or even found a way to make the recipe anew. One dramaturg may love all kinds of new play development, and another dramaturg may especially love to reimagine how to make Shakespeare accessible (looking at you, Play On Shakespeare).
I’m quite content that I got to share in the pie in Kansas City at this year’s LMDA conference, hosted by Kansas City Repertory Theatre. Thank you LMDA & Kansas City. I can’t wait for next year’s binational conference! (And a bit of #ispydramaturgy at the KC public library for their anniversary made my heart swoon!) I also want to uplift Mary Kathryn Nagle’s goal: to have every American theatre to produce a play by a native playwright. If you’re reading this, have you and yours produced a play by an indigenous playwright? Have you prioritized reading works by indigenous writers and witnessing work by indigenous devisers, actors, performance artists? MKN noted that theatres play a critical role in changing narratives just like this, by investing in people & connections. I’m starting by reading Nagle’s Sovereignty and then plan to go through the plays uploaded onto New Play Exchange alongside finally diving into Braiding Sweetgrass by Robin Wall Kimmerer. Join me? I'd love some recommendations as well!
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