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CALIFORNIA STATE UNIVERSITY, Northridge A ---·-11 CALIFORNIA STATE UNIVERSITY, NORThRIDGE A DRAMATURG'S APPROACH TO STAGING GRUACH AND KING LEAR'S WIFE 'A thesis submitted in partial satisfaction of the requirements for the degree of Master of Arts in THEATRE by Barbara Ann Braun May 1985 The Thesis of Barbara Ann Braun is approved: Heinrich H. Falk Nor~en C. Barnes, California State University, Northridge ii TABLE OF CONTENTS 1. INTRODUCTION ................. 1 2. GRUACH AND KING LEAR'S WIFE: PLAYS FOR A "THEATRE OUTWORN" ......... 10 3. KING LEAR'S WIFB: A GEORGIAN CONTROVERSY ..• 30 4. GRUACH: A PRE-RAPHAELITE VISION ........ 43 5. STAGING KING LEAR'S WIFE AND GRUACH ...... 57 6. CONCLUSION .................. 98 BIBLIOGRAPHY ................... 101 iii LIST OF ILLUSTRATIONS The Damsel of the Sane Grael t1874) by D. G. Rossetti ............... 52 Kin_9_ Lear Is vHfe: Set Design by Paul Nash . 70 King Lear 1 s ~vife: Costume Design by Paul Nash . 7 3 Gruach: Set Design by Paul Nash ........• 78 iv ABSTkACT A DRAAATURG'S APPROACH TO STAGING GRUACH AND KING LEAR'S WIFE by Barbara Ann Braun Master of Arts in Theatre The job of the dramaturg may vary from theatre company to theatre company. This study is an exercise in performing the work of a dramaturg who has been assigned to assist with the staging of two one-act plays. The plays herein under consideration are King Lear's Wife and Gruach by Gordon Bottomley. King Lear's Wife was a product of the Georgian literary movement of 1911-1922, having first been published in the Georgian Poetry 1913-1915 anthology. Gruach seems to have been primarily inspired by Bot­ tomley's identification with the nineteenth-century v 0 . Pre-Raphaelite movement. These perspectives help the director and the dramaturg to grasp an overall literary and historical understanding of the plays, which is a primary step in determining their meaning. Other responsibilities of the dramaturg include researching the playwright's career, his writings about tne drama and the theatre, and that portion of his personal background which may be pertinent to his work. In preparation for staging the plays the drama­ turg should also examine their stage history and per­ haps previous set and costume designs which may spark ideas for tne current production. Although the dramaturg's job will vary from show to show depending upon the nature and demands of the play to be mounted, this study ultimately leads to the formulation of possible production images, character preparation, and suggested rehearsal techniques. In this way the dramaturg works from the point of view of the airector, the actor, and the rehearsal coach. Vi 1. INTRODUCTION Few would argue that the most significant change in theatre production over the past one hundred years has been the emergence of the director. His multiplic­ ity of skills are generally considered indispensable in staging an artistically unified production. Today yet another pioneer practitioner is becoming increas­ ingly important as more and more American companies are recosnizing the value of hiring a resident dramaturg. webster's defines a dramaturg as a "specialist" in ''tne art and technique of dramatic composition and tneatrical .cepresentation. 11 first, this definition implies that to :Oecowe a dramaturg one must undergo specialized training. Second, it suggests that the dramaturg must be knowledgeable about both playwright­ ing and directing. And third, it indicates that the dramaturg must understand both the creativity and the discipline inherent in each of these fields. In practice the business of the dramaturg defies universal explanation. The responsibilities behind the title vary from company to company. Within some organizations, the script reader may be labelled a 1 2 dramaturg. In other companies the dramaturg may advise contemporary dramatists on the writing of their scripts. And in some cases the dramaturg may perform at a managerial level choosing plays for production and promoting the major ideals of the company. This study is concerned with the dramaturg who contributes directly to the staging of the play, effectively com- -municating as nearly as possible the playwright's intentions so far as they can be ascertained. Until recently the American director was expected to function for the production as literary advisor, historian, theoretician, and critic, in addition to his nunterous other directorial duties. But many directors lack the time, the inclination, and/or the talent to develop a scholarly viewpoint which can be vital to presenting productions of the highest quality. The acceptance and utilization of a dramaturg in the staging of a show is, in a sense, the discovery of the missing link between theatre practitioners and theatre scholars. His position in the theatre process may be illustratea witn the following chart: playwright > dramaturg > director > actors/designers > audience Here his talents bridge the gap between the playwright and the director. But the dramaturg may also open the lines of communcation between the director and the 3 actors/designers or between the the actors/designers and the audience, so his position in the theatre process might be rearranged as in the charts below: playwright > director > dramaturg > actors/designers > audience or playwright > director > actors/designers > drarnaturg > audience The dramaturg assigned to any given show may be required to work on the playscript, conduct research, or assist the actors. It has already b~en noted that the job structure of the company for wnich he is employed will dictate the breadth of his responsibilities. If the company staffs a literary manager, an assistant director, or a renearsal, movement, or acting coach, then the drama­ turg's duties will probably be more limited than if these people were not available. In addition, the individual personalities of the director and the drama­ turg as well as their personal and working relation­ ships will affect the contributions each makes to show. The dramaturg's input will even vary from production to production depending upon the character­ istics of the play at hand. So while it is possible 4 to outline the potential duties which may be assigned to him, it must be kept in mind that the dramaturg's job is a flexible one. In practice there is no limit to the type of production problem which he 1nay be asked to solve or elucidate and his sources for material and inspiration are equally limitless. The point to remem­ ber is that the dramaturg does not compile a vast amount of information that is merely ''interesting." Instead his material is used, however directly or indirectly, in staging the best possible production. The director must first of all understand the full implications of the script to the best of his anility before he can formulate his own production concept. The drarnaturg may or may not be involved in this initial research. It usually includes research­ ing tne playwrignt, his culture, and the dramatic and theatrical conventions wnich influenced the writing of the play. Any preface to the play, the playwright's comntents about his work, and critical writings about the drama are crucial to the director's art. Once he deterrnirles what he wants to emphasize and how he intends to stage his artistic vision of the play, the dramaturg may then pursue the avenues of research in greater detail in order to work out the production's finer points and help bring to fruition the director's ideas. One of the dramaturg's principle jobs may be to 5 create the most functional script possible that is commensurate with the director•s needs. This may involve working directly with the playwright assisting him with revisions of the text. Or it may mean trans­ lating the play from another language, either in part or in its entirety. A comparative examination of several editions of the script may be required in order to collate the most effective passages. The dramaturg may also work with the director in cutting and/or rewriting portions of the play in the interest of performance time or clarity. Through research the drarnaturg clarifies as much as possible the intended meaning of any unfamiliar or ambiguous words or groups of words iri the playscript. This may be as simple as consulting a dictionary or as complex as researching an obscure historical allusion. Some archaic or forei~n expressions may need to be eliminated and replaced with comparable terms more familiar to most theatre-goers. Or it may be necessary to censor certain sections an audience might find offensive, or to de­ lete any parts which appear to be unmanageable by the actors. All of this must be accomplished without destroying the effectiveness of the structure, rhythm, imagery, perhaps poetry, and other literary values inherent in the script. The dramaturg will also research the production 6 history of the play. Promptbooks, photographs, reviews, articles, and any other accounts of previous stagings and designs n1ay suggest possible solutions to produc­ tion problems or inspire new ideas for experimentation. Understanding why certain productions failed may prove to be as valuable as learning how others were success­ fully staged. Furthermore, the research material may not necessarily be confined to the printed page but will be dictated by the demands of the play. It may, for example, take the form of an interview or a trip to a pertinent location where the useful information may be observed first-hand. In addition to working on his own or in conjunction witl1 the playwright or the director, the dramaturg may also work with the cast as an acting or rehearsal coach. He may lead them in exercises, improvisations, or thea­ tre games. Or he may employ other means to assist them with characterization or with the vocal and physical demands of the play.
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