Books, Articles, And Essays on Dramaturgy

This bibliography owes much to earlier bibliographies by Rosemarie Bank (1983) and Laurence Shyer (1978), both cited below. Thanks as well to many members of Literary Managers and Dramaturgs of the Americas who suggested titles for inclusion here, particularly Marie Mendenhall.

Section I: Production Dramaturgy

Bank, Rosemarie. “Shaping the Script: Commission Produces a Bibliography of Dramaturgy.” Theatre News (Jan./Feb. 1983): 124.
---. “Interpreters, Dramaturgs, and Process Critics: A New Configuration for American Theatre.” The 1980 Winners. Ed. Roger Gross (a monograph published by the U.C.T.A. Program in Theory and Criticism of the American Theatre Assn.), 1981. 11- 16.

*Barba, Eugenio and Nicola Savarese. “Dramaturgy.” A Dictionary of Theatre Anthropology: The Secret Art of the Performer. Trans. Richard Fowler. New York: Routledge, 1991. 68-73.

*Bennetts, Leslie. “Stage Conference Asks What Is a Dramaturge?” New York Times 23 June 1983, sec. C: 15.

*Bentley, Eric. “Stark Young.” Theater 14.1 (1982): 47-53.

*Berc, Shelly. “Theatre in Boston: Lee Bruer's Lulu.” Theater 12.3 (1981): 69-77.

Bharucha, Rustom, Janice Paran, Laurence Shyer and Joel Schechter. “Directors, Dramaturgs, and War in Poland: An Interview with Jan Kott.” Theater 14.2 (1983): 27-31.

*Bly, Mark. “JoAnne Akalaitis's Leon and Lena (and lenz): A Log from the Dramaturg.” Theater 21.1-2 (Winter 1989/Spring 1990): 81-95.

*Bly, Mark, Ed. The Production Notebooks. Vol. I. New York: Theatre Communications Group, 1996: Christopher Baker, Shelby Jiggetts, Jim Lewis, and Paul Walsh contriburtors.

*Bly, Mark. The Production Notebooks. Vol. II. New York: Theatre Communications Group, 2001: John Dias, Lise Ann Johnson, Corey Madden, and Katherine Profeta contributors.

*Booth, Susan V. “Dramaturg in Search of an Axis.” American Theatre September 1990: 62-63.

Canadian Theatre Review: Practicing Canadian Dramaturgy. 87 (Summer, 1996):

Flaherty, Kathleen and Deborah Hurford, “Journeys Without Maps: Dramaturgy of the Post-Modern”
Gilbert, Sky, “Dramaturgy for Radical Theatre”
White, Bob, “The ATP Experience”

Cardullo, Bert, Ed. What Is Dramaturgy? New York: Peter Lang, 1995.

*Castagno, Paul C. “Informing the New Dramaturgy: Critical Theory to Creative Process.” Theatre Topics 3.1 (1993): 1-6.

Copelin, David, “Dogma, Dreams, and Dramaturgy,” Theater. 28.3 (1998): 64-70.

---. “Ten Dramaturgical Myths.” Call Board (Theatre Communications Center of the Bay Area) June 1989: 5-9.

*Daniel, John, ed. Dramaturgy: A User’s Guide. London: Central School of Speech and Drama, 1999; proceedings of international symposium hosted by the Central School of Speech and Drama:

Twitchin, Mischa, “Aquarium Project”
Brogt, Janine, “Keeper of Dreams”
Barker, Clive, “Brecht and the Dramaturgical Collective”
Font, Joan and Moises Maicas, “Fiesta and Ritual”
Fretton, Tony, “Dramaturgy and Architecture”
Klein, Randy, “Pathways”
Wood, Nick and Maggie Kinloch, “Footsteps”
Lyddiard, Alan and Alison Andrews, “Tightrope Walking”
Howell, Anthony, “Walrus Moustache”
Trencsenyi, Katalin, “Under Dog”
Branigan, Katie, “Making Maps”
Callery, Dymphna, “Theatre Mechanic”
Wilsher, Toby, “Outside Eye”
Trott, Lloyd, “Dramaturgical Dreaming”
Kinghorn, Sean, “Manager of Voices”
King, Ros, “Texts and Contexts”
Butler, Samantha and David Harradine, “Naming Names”
Llewellyn, David, “Resident Philosopher”
Toop, David, “Drama of Sound”

*Danmar, Alan. “Profiles of the American Dramaturg: A Survey of the Use of Dramaturgs in Theatres throughout the United States,” 1990: unpublished; available from author.

*Davis, Ken and William Hutchings. “Playing a New Role: The English Professor as Dramaturg.” College English 46 (1984): 560-69.

*De Marinis, Marco. “Dramaturgy of the Spectator.” The Drama Review 31.2 (1987): 100-114.

*”Dramaturgy and Physics: panel discussion moderated by James Leverett with James C. Nicola, Richard Dresser, Morgan Jenness, and Tim Sanford.” Journal of the Stage Directors and Choreographers Foundation 5.1 (1991): 4-21.
Ellwood, William R. “Preliminary Notes on the German Dramaturg and American Theater.” Modern Drama 13.3 (1970): 254-258.

*Fjelde, Rolf. “Lost in Translation.” Theatre Communications 6.2 (1984): 1-4.

*Friedman, Dan. “The Dramaturg: Help or Hindrance?" Backstage 27 September - 3 October, 2002: 30-33..

*Fujiwara, Denise, DD Kugler, and Tama Soble, “Care to Dance Dramaturge? The Invention of a New Craft.” Theatrum 11(fall 1988): 17-20.

*Gowen, David R. The Role of the Professional Dramaturg in Contemporary North American Theater. Masters Thesis. Univ. of Calgary, 1993.

Grimes, William. “A Power Behind the Play Emerges Into the Light.” The New York Times 2 Feb. 1997: Arts and Leisure.

*Haley, Gretchen. Toward a Dramaturgical Sensibilitly: Rent and the Historical Moment of the Dramaturg(e) in American Theatre. Masters Thesis. Univ. of Colorado at Boulder, 2000.

*Hall Nor. “Changing the Subject: Behind the Scenes in Psychotherapy’s Theatre.” Sphinx: A Review for Archetypal Psychology and the Arts (1994).

*Hay, Peter. “American Dramaturgy: A Critical Reappraisal.” Performing Arts Journal 7.3 (1983): 7-24.

*---. “Dramaturgy: Requiem for an Unborn Profession.” Canadian Theatre Review 8 (1975): 43-46.

*Helbo, Andre, et al. Approaching Theatre. Bloomington: Indiana UP, 1991. 174-84.

Hornby, Richard. The End of Acting: A Radical View. New York: Appaluse, 1992. 246-247.

*Jonas, Susan, Michael Lupu, and Geoff Proehl, Eds. Dramaturgy in American Theater: A Source Book. Ft. Worth: Harcourt Brace, 1997.

*Journal of Dramatic Theory and Criticism. Special Supplement: “Contemporary Issues in Dramaturgy.” 13.1 (1998). Sharon L. Sullivan, Ed.:

Proehl, Geoff, “Rehearsing Dramaturgy: 'Time is Passing'”
Lutterbie, John, “The Politics of Dramaturgy”
Austin, Gayle, “Feminism and Dramaturgy: Musings on Multiple Meanings”
Haedicke, Susan Chandler, “Dramaturgy in Community-Based Theater”
Ramirez, Elizabeth, “Chicanas/Latinas in Performance on the American Stage: Current Trends & Practices”
Kuftinec, Sonja, “Playing with the Borders: Dramaturging Ethnicity in Bosnia”

*Kindelan, Nancy. Shadows of Realism: Dramaturgy and the Theories of Practices of Modernism. Westport, CT: Praeger, 1996.

*Koeger, Alicia Kae. “Dramaturgical Criticism: A Case Study of The Gospel at Colonus. Theatre Topics. 7.1 (March 1997): 23-35.

*Kott, Jan. “The Dramaturg.” New Theatre Quarterly 6.21 (1990): 3-4.

*Kugler, DD. “Dramaturgical Allegiance,” Canadian Caucus Newsletter (July, 2000): 1.

Levine, Mindy. “How Does a Literary Manager Manage?” Theatre Times Feb. 1983.

*Loup, Alfred J. “Vienna's Burgtheater in the 1970's.” Theatre Journal 32 (1980): 55-70.

*McAnuff, Des. “Observations: A Place in the Room for Dramaturgs,” American Theatre April 1986: 42-43.

*McCabe, Terry, “A Good Director Doesn’t Need a Dramaturg.” The Chronicle Review 29 June 2001: Letters responding to McCabe piece from Ralf Remshardt, David J. Pasto, and Alice Kae Koger. The Chronicle Review 3 August 2001.

Maes, Nancy. “Drama-what? Dramaturg--the behind-scenes interpreter.” Chicago Tribune 23 May 1986, sec. 7: 5+.

*Marowitz, Charles. “Frontlines: The Dramaturg’s Lament.” American Theatre ???.

*Mazer, Cary M. “Offstage Presence: What’s a dramaturg to do? More than meets the eyes.” City Paper 11-18 January 2001.

*McKenna, Maryn. “The Dramaturg: Towards a Job Description.” Dramatics April 1987: 28-31.

*Miles, Linda. “Split Subject Technique for a Feminist Good Person: A Dramaturgical Study.” Theatre Topics * (1995): 151-166.

*Miller, Susan W. "Resident Expert on the World in a Play," Los Angeles Times 4 August 2002.

*Olf, Julian M. “Reading the Dramatic Text for Production.” Theatre Topics 7.2 (1997): 153-169.

*Napoleon, Davi. “Schoolbiz: On Sex and Study Guides.” Theater Week 22 April 1996: 38-40.

*Paran, Janice. “How to Succeed in Dramaturgy Without Really Trying.” American Theatre October 1995: 85-86.

*Mufson, Daniel. “The Critical Eye: Interpret This.” Theatre 24.3 (*1993): 116-119. ??? confirm details

*Pavis, Patrice. Languages of the Stage: Essays in Semiology of Theatre. New York: Performing Arts Journal, 1982. 27-28, 98, 100.

*Pinna, Lenny. “Puppeturgy? Puppet Theatre Art from a Dramaturg’s Perspective.” The Puppetry Journal 44.3 (1993): 14-15.

*Price, Antony. “The Freedom of the German Repertoire.” Modern Drama 13.3 (1970): 237-246.

*Proehl, Geoffrey S. “Rehearsing Dramaturgy: Olivia’s Moment.” Theatre Topics 9.2 (1999): 197-202.

*Schechter, Joel. “American Dramaturgs.” The Drama Review 20.2 (1976): 88-92.

*---. “Heiner Muller and Other East German Dramaturgs.” yale/theatre 8.2 and 3 (1977): 152-54.

*---. “Lessing, Jugglers, and Dramaturgs.” yale/theatre 7.1 (1975/1976): 94-103.

*Shyer, Laurence. “Playreaders, Dramaturgs and Literary Managers: A Bibliography.” Theater 10.1 (1978): 60-61.

*---. “Writers, Dramaturgs, and Texts.” Robert Wilson and His Collaborators. New York: Theatre Communications Group, 1989. 87-152.

*Stephanie Shapiro. “English Swing Meets ‘90s Edge.” The [Baltimore] Sun.

*Skopnik, Gunter. “An Unusual Person—Der Dramaturg—Une Institution Proprement Allemande” World Theatre 9.3 (1960): 233-238.

*Slavic and East European Arts 4.1 (1986). Issue devoted to dramaturgy in Russia and Eastern bloc nations; E.J. Czerwinski and Nicholas Rzhevsky, Eds.; partial list of articles:

“The Dramaturg and Dramaturgy”
Berlogea, Illeana, “The Role of the Dramaturg in Contemporary Romanian Theatre”
Ivic, Sanja and Vesna Cvjetkovic, “The Dramaturg in Yugoslavia”
Hedbavny, Zdenek, “Dramaturgs in Czechoslovakia”
Szanto, Judith, “Dramaturgs in Hungary”
Mintchev, Aleco, “The Dramaturg in the Theatres of Bulgaria”
Voelker, Klaus, “Responsibilities and Functions of the Dramaturg in West Germany”
Schumacher, Ernst, “The Power and Impotence of the Dramaturg: The Image of a Profession and Its Problematic Nature”
Londre, Felicia Hardison, “A Note on Soviet Dramaturgs”
Kazantsev, Alexey, “Soviet Dramaturgy Today”
Rzhevsky, Nicholas, “The Program as Performance Text”
Czerwinski, E. J., “Jozef Szajna's Replika: Expanding the Scope of Dramaturgy”
“The American View: The Future for Dramaturgs on U.S. Campuses”

Sobieski, Lynn Ann. “The Crisis in West German Dramaturgy.” DA 47.12 (1987): 4239A. New York U.

*Theater 10.1 (1978); Issue devoted to dramaturgy; Joel Schechter, Ed.:
Schechter, Joel, “Enter Dramaturgs”

Shyer, Laurence, “America's First Literary Manager: John Corbin at the New Theatre”
“Dramaturgs in America: Eleven Statements”: Jonathan Alper, Andre Bishop, Oscar Brownstein, Ann Cattaneo, Barbara Field, John Lahr, Steve Lawson, Jonathan Marks, Bonnie Marrance, Mira Rafalowicz, Douglas Wager
Kleb, William, “Dramaturgy at A.C.T.: An Interview with Dennis Powers and William Ball of the American Conservatory Theatre”
Beacham, Richard, “Literary Management at the National Theatre, London: An Interview with John Russell Brown”
Rosen, Carol, “Literary Management at the RSC Warehouse, London: An Interview with Walter Donohue”
Esslin, Martin, “The Role of the Dramaturg in European Theatre”
Rischbieter, Henning, “Dramaturgy in Berlin: An Interview with Ernst Wendt”
Stumm, Reinhardt, “Dramaturgy in Stuttgart: An Interview with Hermann Beil”
Schechter, Joel, “Brecht and Other Dramaturgs”
Shyer, Laurence, “Playreaders, Dramaturgs and Literary Managers: A Bibliography”

*Theater 17.3 (1986). Issue devoted to dramaturgy; Mark Bly, Special Ed.:
Bly, Mark, “American Production Dramaturgs: An Introduction and Seven Interviews”

“Dramaturgy at the Eureka: An Interview with Oskar Eustis”
“Dramaturgy at the Mark Taper Forum: An Interview with Russell Vandenbroucke”
“Dramaturgy at the Magic and the O'Neill: An Interview with Martin Esslin”
“Dramaturgy at Second Stage and the Phoenix: An Interview with Anne Cattaneo”
“Dramaturgy at Large: An Interview with Arthur Ballet”
“Dramaturgy at the Yale Rep: An Interview with Gitta Honegger”
“Dramaturgy at the Brooklyn Academy of Music: An Interview with Richard Nelson”
Moore, David, Jr., “Dramaturgy at the Guthrie: An Interview with Mark Bly”
Jenkins, Linda Walsh and Richard Pettengill, “Dramaturgy at the Court and Wisdom Bridge”
Greene, Alexis, “A Note on Literary Managers and Dramaturgs of America”
Schäfer, Helmut, “On the Necessary Non-Sense of Production Dramaturgy,” Trans. Mona Heinze
Lord, Mark, “Sweepstake for a Vision: ‘Classics in Context’ in Context”

*Theaterschrift. no. 5-6 (1994): issue devoted to dramaturgy.

“On dramaturgy”
“Fragments Of “The Intersubjective Encyclopedia Of Contemporary Theatre,” Parts 1-4
Jans, Erwin, “Speaking About Silence”
Feral, Josette, “Towards a Theory of Fluid Groupings”
Interview With Jan Kott, “Purged of All Falseness”
Cufer, Edna And Emil Hvratin, “The Politics of Space”
Rafalowicz, Mira, “On Pub and Kitchen Dramaturgy”
Van Kerkhoven, Marianne “Looking Without Pencil in Hand”
Interview With Norman Frisch, “Just Deal With It!”
Interview With Elisabeth Lecompte, “A Library of Cultural Detritus”
Interview With Robert Lepage, “Theatre as a Meeting Point of Arts”
Interview With BAK-Truppen, “Dinner with BAK-Truppen”
Maayan, David, “The Passive Spectator Does Not Exist”
Interview With Jan Loris Lamers, “A Continuing Dialogue”
Interview With Alexander Kluge, “The Resistance Forced Upon Us by Reality”

*Theatre Symposium: A Journal of the Southeastern Theatre Conference 3 (1995): “The Voice of the Dramaturg.” Paul Castagno, Ed.; issue devoted to dramaturgy:

Part I: Voice of the Dramaturg
Castagno, Paul, “Voice of the Dramaturg”
Bly, Mark, “The Questioning Spirit and the Creative Process
Walsh, Paul, “Listening: The Art of Collaboration at Theatre de la Jeune Lune”
Cattaneo, Anne, “Compiling and Shaping the Performance Text”
Willis, Susan, “Dramaturgy and the Community: Audience Development at the Alabama Shakespeare Festival”
Jiggets, Shelby, “‘Mission’ and Multiculturalism”
Lupu, Michael, “There Is Clamor in the Air”
Symposium Discussion
Part II: Selected Papers
Longman, Stanley V., “The Dramaturg and the Will of the Play”
Malacher, Jay, ‘Komische Welt! schone Welt!”: Georg Buchner’s Woyzeck as Dramaturgical Proving Ground”
Haedicke,Susan C., “Breaking the Silence: Dramaturgy, Multicultural Collaboration, and White Privilege”
Allen, Janet, “Confronting the Fear of Otherness: Indiana Repertory Theatre’s Production of The Cherry Orchard
Pender, Thomas, “The Dramaturg, the Past, and the Present: Period Pieces in Contemporary Society”
Zachary, Samuel J., “The Personality Profile: A Useful Character Analysis Tool for Dramaturgs”
LeNoir, Nina, “Improving Director/Dramaturg Collaboration”
Smith, Harry, “Performance Practice in a Literary Classroom: Plan Process, and Validation”

*Theatre Topics: Dramaturgy Special Issue. 13.1 ((2003): tba, list of contributors and articles.

*Tynan, Kenneth. “A Rehearsal Logbook.” The Sound of Two Hands Clapping. London: Jonathan Cape, 1975. 119-26.

*Wolff-Wilkinson, Lila. “Comments on Process: Production Dramaturgy as the Core of the Liberal Arts Theatre Program.” Theatre Topics 3.1 (1993): 1-6.

*Wodehouse, P.G. “The Science of Dramaturgy.” Louder and Funnier. London: Faber, 1932, ???.

Zipes, Jack. “John Lahr, Critic-at-Guthrie Theatre Rehearsals.” Variety 16 Oct. 1968, 2.

*---. “Utopia as the Past Conserved: An Interview with Peter Stein and Dieter Sturm of the Schaubuhne am Halleschen Ufer.” Theater 9.1 (1977): 50-57.

Note: Related theoretically to dramaturgy is “dramaturgism,” a form of sociological analysis that views social interaction in dramatic and theatrical terms. The approach may have some applications to dramaturgical work in the theatre. For an overview of “dramaturgism,” see Dennis Brissett and Charles Edgley, eds., Life as Theatre: A Dramaturgical Sourcebook (Hawthorne, New York: Aldine de Gruyter, 1990) 1-46. For an overview and a comprehensive bibliography, see *Art Borreca, “Political Dramaturgy: A Dramaturg's (Re)View,” The Drama Review (1993).

Section II: New Play Development

*Abramowitz, Rachel. “Is there a script doctor in the house?” 27 October 2002: ???.

Allison, Ralph. “England's National Theatre: An Interview with Kenneth Tynan.” Performance 1 (1972): 82-86.

*Anderson, Douglas. “The Dream Machine: Thirty Years of New Play Development in America.” The Drama Review 32.3 (1988): 55-84.

*Ballet, Arthur. “Fifteen Years of Reading New Plays: Reflection on the Closing of the Office for Advance Drama Research.” Theater 9.2 (1978): 41-4.

*---. “Playwrights for Tomorrow: the Work of the Office for Advanced Drama Research.” Theatre Quarterly 8.29 (1978): 12-28.

*Bryden, Ronald. “'Dear Miss Farthingale, Thank You for Your Tragedy. . .'“ New York Times 7 Dec. 1975, sec. 2: 1.

*Cattaneo, Anne. “Backtalk: Institutionalizing the Blind Date, The Theatre and the Playwright.” Performing Arts Journal 8.3: 100-104.

*Cohen, Edward M. Working on a New Play: A Play Development Handbook for Actors, Directors, and Playwrights. New York: Prentice Hall, 1988.

*Cook, Judith. “John Russell Brown: Head of Script Department.” The National Theatre. London: Harrap, 1976. 67-72.

Copelin, David. Practical Playwriting. Boston: The Writer, Inc., 1998.

Daniels, Barry, ed. Joseph Chaikin & Sam Shepard: Letters and Texts, 1972-1984. New York: New American Library, 1989.

*Esslin, Martin. “Giving Playwrights Experience.” West Coast Plays 2 (1978): 213-16.

---, et al. “Playwrights' Polemic: A Shortage of Themes.” West Coast Plays 10 (1981): 73-100.

Gibson, William. The Seesaw Log: A Chronicle of the Stage Production, with the Text. New York: Alfred Knopf, 1959.

*Granville-Barker, Harley. The Exemplary Theatre. London: Sidwick & Jackson Ltd., 1922. 185-92.

*---. A National Theatre. London: Sidwick and Jackson, 1930. 40-42.

*Hay, Peter. “Canadians at the O'Neill.” Canadian Theatre Review 21 (1979): 17-26.

*Kerrigan, Sheila. The Performer’s Guide to the Collaborative Process. Portsmouth, NH: Heineman, 2001.

*King, W.D. “Dramaturgical Text and Historical Record in the New Theatre: The Case of Rumstic Road.” Journal of Dramatic Theory and Criticism 7.2 (1992): 71-88.

*Kugler, DD. “Learning to Hate the Bingo Scenario.” Canadian Theatre Review: The Process Issue. 97 (Winter, 1998): 48-51.

*Lahr, John. “Green Room: I Lost It at the Theatre.” Plays and Players 20.4 (1973): 12-13.

Leverett, James. “Dramaturgs and Literary Managers: A Major Conference to Define the Role.” Theatre Communications 2 (1981).

Matetzschk, Judy. “New Play Dramaturgy Takes Focus at IUPUI Youth Theatre Playwriting Contest.” LMDA Review 5.1: 1+.

McNamara, Brooks. “The Shubert Brothers and the 'Box-Office' Play.'“ LMDA Review 5.1: 1-5.

Mednick, Murray. “The Playwright as Author.” Newsletter: The Audrey Skirball-Kenis Theatre, Inc. 1.3 (1992): 7+.

*Mendenhall, Marie Elaine Powell. The Playwright’s Path: An Analysis of the Canadian Play Development Process As Practiced by the Saskatchewan Playwrights Centre, 1982. Masters Thesis. Univ. of Regina, 2001.

*Morrow, Lee Alan and Frank Pike. Creating Theater: The Professionals' Approach to New Plays. New York: Vintage Books, 1986.
Newsletter: The Audrey Skirball-Kenis Theatre, Inc. (address: 9478 West Olympic Blvd., Suite 308, Beverly Hills, CA 90212).

*Parabasis: Special Focus Dramaturgy. 5.2 (1998). Mead Hunter, Ed.:

Bilderback, Walter, “Double Duty”
Davidson, Bryan, Ed. “Resource Guide: Twelve Tall Dramaturgs”
Durling, Roger Arturo, “Slouching Toward Rapprochement”
“Q & A: As a Dramaturg, at what stages in a script's life are you most useful to the playwright?”
“Q & A: As a Playwright, when do you find it useful to work with a dramaturg?”
Carpenter, Bridget, “Collaboration: Fractured Notes from the Field”

*Rudakoff, Judith and Lynn M. Thomson. Between the Lines: The Process of Dramaturgy. Toronto: Playwrights Canada Press, 2002.

*Rush, David. “Talking Back: A Model for Postperformance Discussion of New Plays.” Theatre Topics 10.1 (March, 2000): 53-63.

*Trousdell, Richard, “Arts View—New Writers, New Plays: A Dramaturg Measures What’s Wrong (and Right) With Them” Theatre News 17.4 (March/April 1985): 2, 12.

*Tynan, Kenneth. “The Critic Comes Full Circle.” Theatre Quarterly 1.2 (1971): 37-48.

Wellman, Mac. “The Theatre of Good Intentions.” Performing Arts Journal 24 8.3 (1984): 59-70.

*White, George. “The O'Neill Experience: A Practical Experiment in Helping New Writers.” Theatre Quarterly 4.15 (1974): 32-53.

---. National Playwrights' Conference: 1965-1969. A Report to the Rockefeller Foundation.

*Windheim, Bennett I. “Tales from the Scripts: Conversations with Literary Managers.” Back Stage: The Performing Arts Weekly 14 Aug. 1992: 1, 18-21.

*Zipes, Jack. “The Mark Taper Forum's New Play Program.” West Coast Plays 1 (1977): 141-49.

Lynn Thomson and Rent: Some Citations

*Evans, Greg. “Dramaturg seeks ‘Rent’ share.” Variety 2-8 Dec. 1996.

---. “Noises Off: Supporting Roles.” Variety 7-13 Apr.1997

*Grimes, William. “A Power Behind the Play Emerges Into the Light.” New York Times 2 Feb. 1997.

---. “On Stage, and Off.” New York Times 29 Nov. 1996.

Guart, Al. “Prof seeks $40M in ‘Rent’ money.” New York Post 26 Nov. 1996.

Haley, Gretchen: See Section I. above.

Heller, Karen. “The Drama behind Rent.” Philadelphia Inquirer Sunday Magazine 1 June 1997.

“Lawsuits.” Entertainment Weekly 6 Dec. 1996.

“Rent Due, or Paid in Full?” Newsweek: available in LMDA Source Book, Vol.

Rose, Lloyd. “Whose Art Is It, Anyway?” Washington Post: available in the LMDA Source Book, Vol. II.

Simonson, Robert. “‘Rent Dramaturg Sues Larson Estate.” Back Stage 6-12 Dec. 1996.

Solomon, Alisa. “How About Money? Rent Dramaturgy Files Lawsuit.” The Village Voice 3 Dec. 1996: 48-49.

Stearns, David Patrick. “Broadway’s Blues.” USA Today 27 Nov. 1996.

Thomson, Lynn M. “Commentary: . . . and an Artist Is an Artist Is an Artist.” American Theatre. Sept. 1998: 8-9.

Turegano, Preston. “Rent adviser wants credit, check.” The San Diego Union-Tribune 4 Dec. 1996: Lifestyle.

Wright, Doug, et al. “Commentary: An Author Is an Author Is an Author.” American Theater Jul.-Aug. 1998: 6-7.

See also: The Dramaturgy Pages: www.dramaturgy.net

Section III: On Understanding the Dramaturgy of a Play and On the Relationship Between Script And Performance

*Ball, David. Backwards and Forwards: a Technical Manual for Reading Plays. Carbondale: Univ. of Illinois Press, 1983.

Barthes, Roland. “From Work to Text.” Textual Strategies: Perspectives in Post-Structuralist Criticism. Ed. Josu‚ V. Harari. Ithaca: Cornell, 1979. 73-81.

Beckerman, Bernard. Dynamics of Drama. New York: Alfred Knopf, 1970.

*Carlson, Marvin. “Theatrical Performance: Illustration, Translation, Fulfillment, or Supplement?” Theatre Journal 37 (1985): 5- 11.

Clay, James H. and Daniel Krempel. “How Does a Play Mean?” and “The Process of Interpretation.” The Theatrical Image. New York: McGraw-Hill, 1967.

Field, Syd. Screenplay: the Foundation of Screenwriting. New York: Dell Pub. Co., 1982.

*Kott, Jan. Shakespeare, Our Contemporary. Trans. Boleslaw Taborski. New York: W.W. Norton & Co., 1974.

---. The Gender of Rosalind, Interpretations: Shakespeare, Buchner, Gautier. Trans. Jadwiga Kosicka and Mark Rosenzweig. Evanston:

Northestern U Press, 1992.

Helbo, Andre‚ et al. “Pedagogics of Theatre: Analysis of the text; Analysis of the Performance.” Approaching Theatre. Bloomington: Indiana UP, 1991. 135-64.

*Hornby, Richard. Script into Performance: A Structuralist View of Play Production. Austin: U of Texas, 1977.

*Koger, Alicia Kae. “Dramaturgical Criticism: A Case Study of The Gospel at Colonus.” Theatre Topics * (1997): 23-35.

Milhous, Judith and Robert D. Hume. Producible Interpretation: Eight English Plays, 1675-1707. Carbondale: Southern Illinois UP, 1985. 3-34.

Scanlan, David. Reading Drama. Mountain View, Ca.: Mayfield, 1988.

Schechner, Richard. “Drama, Script, Theater, and Performance.” Performance Theory. Rev. Ed. New York: Routledge, 1988. 68- 105.

Scolnicov, Hannah and Peter Holland. The Play Out of Context. Cambridge: Cambridge UP, 1989.

Styan, J.L. The Shakespeare Revolution: Criticism and Performance in the Twentieth Century. London: Cambridge UP, 1977.

*Taft-Kaufman, Jill. “How to Tell a True War Story: The Dramaturgy and Staging of Narrative Theatre. Theatre Topics * (2000): 17-38.

Thomas, James. Script Analysis for Actors, Directors and Designers. Boston: Focal Press, 1992.

Veltrusky, Jiri. “Dramatic Text as a Component of Theatre.” Semiotics of Art: Prague School Contributions. Ed. Ladislav Matejka and Irwin Titunik. Cambridge: MIT Press, 1976, 94-117.

Weber, Carl. “On Theatre Directing.” Master Teachers of Theatre: Observations on Teaching Theatre. Ed. Burnet M. Hopgood. Carbondale: Southern Illinois UP, 1988. 119-58.

Williams, Raymond. “Argument: Text and Performance.” Drama in Performance. Rev. Ed. New York: Basic Books, 1968. 172-191.

Section IV: General Resources

Canadian Caucus Newsletter, Brian Quirt, Ed.

The Groundling: Published by the Dramaturgs at Stony Brook, Michael X. Zelenak, Ed.

The LMDA Guide to Dramaturgy Programs: available online at www.lmda.org.

The LMDA Review: various editors,Vol 1.1 to Vol. 13.2.

The LMDA Script Exchange: www.lmda.org.

The LMDA Source Book: Resources on the Teaching of Dramaturgy: 1992, Vol. I, Susan Jonas, Ed.; 1997, Vol. II., Lee Devin and Susan Jonas, Eds.: Vol. III, Lee Devin

Meserve, Mollie Ann, ed. The Playwright's Companion: A Practical Guide to Script Opportunities in the U.S.A. New York: Feedback Theatrebooks, most recent edition.

Osborn, M. Elizabeth, ed. Dramatists Sourcebook: Complete Opportunities for Playwrights, Translators, Composers, Lyricists, and Librettists. New York: Theatre Communications Group, most recent edition.

Theatre Directory. New York: Theatre Communications Group, most recent edition.

Theatre Profile. New York: Theatre Communications Group, most recent edition.

Section VI: Online Resources

Listservs: The LMDA Discussion List

Geoff Proehl
Contact: gproehl@ups.edu

What is Dramaturgy Northwest?

Credits