Catalyst for change: The dramaturge and performance development in New Zealand

Abstract

This thesis sets out to analyse the methodologies of the dramaturge and the contribution of the dramaturge to performance development. First used in Europe during the late 18th century, but not established in its contemporary sense until the 20th century, the dramaturge is a relatively new professional role that has developed different characteristics as it has been introduced and contested in different countries and contexts. The thesis begins by tracing the evolution of the dramaturge in Europe, America and Australia to map key moments of transition and the translation of practice. The research then focuses on New Zealand practice from 1974, when the role was first introduced by the playwright Robert Lord, through to 2012. I examine how the introduction of the dramaturge was caught up in the project to develop national identity but has evolved under the influence of post-colonialism, feminism, biculturalism and subaltern practice. In the last 20 years, through interdisciplinary practice, devised theatre, dance and performance art, the dramaturge has developed an expanded practice. I propose five actions of dramaturgical transition to understand these kinetic and reflective interventions: listening to the work; reflecting back the performance vision; questioning assumptions; facilitating dialogue; and suggesting new developments. Using Bourdieu’s theory of practice I examine the tension between embedded beliefs and new ways of working. I argue that the questioning process can unsettle habitual connections to create alternative possibilities for development. The research methodology employs detailed production case studies and 20 in-depth interviews with some of New Zealand’s leading dramaturges in order to deconstruct and extend practice. Deploying different metaphors of methodology (‘architect’, ‘midwife’, ‘conservationist’, ‘navigator’, ‘bridge-builder’ and ‘catalyst’), I test the multiple roles of the dramaturge and different ways of working. Deleuze’s philosophical concepts of ‘becoming’, ‘folding’ and ‘rhizome connection’ are used to deepen understanding and critique practice. My thesis shows how the dramaturge moves between ‘outside’ and ‘inside’ positions to inhabit a third space of collaborative experimentation. Drawing on the work of Braidotti (1994) and Bly (1997), I show how a ‘nomadic’ subjectivity can challenge siloed thinking and catalyse performance development.