The Asian Dramaturgs’ Network (ADN) is a new platform created in 2016 that aims to map and connect the region’s dramaturgical expertise, knowledge and practices. The ADN is borne out of a need to: connect with dramaturgs and practitioners concerned with the field of dramaturgy in the region; search for like-minded individuals and interested parties regarding dramaturgy; dialogue and debate on dramaturgy, dramaturging and the role(s) of the dramaturg.

To mark the launch of ADN, a two-day symposium titled “Mapping Out, In and About” will be held on 23 and 24 April 2016. The event features the inaugural gathering of more than 15 Asian-based dramaturgs from Malaysia, Singapore, Indonesia, India, Sri Lanka, China, Japan, Philippines, Korea and Australia. ADN speakers will present different perspectives on dramaturgy, dramaturging and the dramaturg within performance-making through a series of public talks and closed-door dialogues.

Centre 42 is proud to be the main organising partner for this new Asian Dramaturgs’ Network. Aligned with our mission of being an organisational intermediary to budding writers and artists, the fronting of the ADN is another instance of the centre’s support in the creation of new works and new opportunities. The centre provides the physical environment, supports the creative impetus, and encourages the intellectual rigour that it believes is the ideal approach to creating new and novel works in writing and performance.

More recently in 2015, the centre initiated the Apprentice Dramaturg Programme aimed at young artists and fresh theatre-based graduates looking to be trained as dramaturges, or existing practitioners looking to develop and diversify their skill sets.This programme hopes to fill a gap in the current dramaturgical practices in Singapore by providing common grounding on basic tools and practices in dramaturgy. While the pilot iteration is in its infancy and allows for only a handful of Apprentice Dramaturgs for each cycle, we are positive that the organisation and launch of the Asian Dramaturgs’ Network in Singapore will benefit the larger performance-making scene here and give rise to the discussion of Dramaturgy. The centre’s support to the ADN foregrounds our commitment to advancing and professionalising the dramaturgical cause. Dr Robin Loon, Centre 42’s Chief Consultant and Resident Dramaturg

“Mapping Out, In and About” marks the Centre’s first collaboration with Esplanade, bringing together two arts centres dedicated to supporting the development of the arts in Singapore and beyond. Through this, we aim to raise the awareness and the profile of the field of dramaturgy in contemporary performance-making in Singapore.

“Functioning as a critic and commentator within a production, the dramaturg is a highly valuable resource-without agency to dictate change. Embarking on this Apprenticeship with an open mind has allowed me to understand the intricacies involved with this vocation-one that I strongly believe is necessary for local theatre and dance productions alike.

The initial phase involved analyzing literature review and two mock dramaturgy tasks. The caucus and research element of the first Festival of Monodramas task pushed me out of my comfort zone due to the content. Nonetheless, my intention to specialize in dance dramaturgy has encouraged me to obtained scholarly writings on dance dramaturgy. Although I could draw on my expertise and experiences of working with Asian theatre practices-making the research work more manageable for the second intercultural theatre mock exercise-offering viable approaches to the intended host company was tricky but fulfilling.

A dramaturg provides research and approaches so that the director/choreographer can exercise artistic liberty. Building a relationship and interpersonal skills are extremely crucial.

In the upcoming phase where I am slated to be an observer-dramaturg for a few productions, I hope to hone this. This would sensitize the dramaturg to the performance integrity of the company before offering specialized knowledge for each unique production. This is what I am looking forward to.”

~ Nidya Shanthini Manokara, Dramaturg Apprentice 2015

“I began my apprenticeship both with excitement as well as some trepidation, mainly because I assumed I would be treading unfamiliar territory. Instead, I discovered that dramaturgy is already familiar ground, only I was going deeper into areas that had mainly been peripheral in my theatrical work, as well as giving a name to these areas, which till now had been somewhat miscellaneous and heterogeneous. Also, I had always connected dramaturgy mainly with research, but now I have a big-picture understanding of it – doing everything necessary to bring a theatrical production to its fruition, and integrating the many strands of a production together to create a unified final product.

I am now looking forward to being the observer-dramaturg to a couple of productions, which in turn would lead, I hope, to actual dramaturgical assignments in the future. I have some trepidation still. What if I find myself the dramaturg for a project that is highly unfamiliar to me, perhaps in its form, genre or in terms of the oeuvre by the company in question? I hope with sufficient experience, I will be able to meet this challenge one day.”

~ Nandabalan Panneerselvam, Dramaturg Apprentice 2015

“Phase 1 of The Garage, has been fulfilling thus far –despite my initial trepidation of coming into this programme as one of the youngest, and possibly most inexperienced. A large part of my initial ‘fear’ – if one could call it that – was the lack of industry knowledge perhaps, and lack of experience. I had, at that point, a vague sense of what dramaturgy was, and was intrigued perhaps by the opportunity I had to concretise this indistinct notion into a practice.

The first phase was divided into 2 parts – 2 research projects, preceded by some instruction regarding dramaturgical practices, and a fairly substantial number of readings on the basic theoretical foundations in dramaturgy. The readings largely gave me a greater awareness to the skills that I’ve intuitively cultivated when working on productions, and brought to the fore how these skills could also be better applied. The application bit, therefore was manifest in the two research projects we were given – the first, a monologue from the Singapore theatre canon, and the second, a classical naturalist piece by Chekhov.

Dramaturgy is a contentious practice, this, I soon realised as I delved into the readings. The metaphor that remained with me, which helped to resolve the fuzzy definition of dramaturgy I had, was one that likened a dramaturg in the theatre to one responsible for the architecture of the entire production. It is very much about seeing the bigger picture, the context, the narrative strategies, and the forms that exist outside of the frame of the production, or even the institution.

The first assignment was not too hard, although I had difficulty in communicating with the playwright and obtaining the actual script of the show I was working on. Yet, I faced considerable challenges in the second project – yet I thought that it was apt in the fact that it forced me out of my comfort zone – especially with having to deal with possibilities and translations, and with a ‘classical’ text. It made me more aware of my artistic inclinations as well as shortcomings.

These experiences in Phase 1 have helped me to grow in confidence especially with regard to my research capacities, as well as, the type of dramaturgy work I am inclined towards. I am also aware, that as I embark on the next phase of this apprenticeship, that it allow me to negotiate and apply myself to ‘living-breathing’ production –something that both intimidates and excites me.”

~ Olivia Vong, Dramaturg Apprentice 2015

“I remembered the very first question Dr Loon asked at the first session of The Garage was, “What do you think Dramaturgy is”? At that instant, I didn’t know. After all, I was someone who didn’t graduate with an arts-related degree.

I recalled that the dramaturgs I knew, in Singapore, were mostly academics. I guessed that the process of dramaturgy probably involved a lot of (academic) research. The dramaturg perhaps acts as a sounding board or the third-eye for the Director.

As I went into the readings prescribed by Dr Loon, dramaturgy became less and less of an amorphous concept. I particularly love the definition provided in Dramaturgy and Performance by Cathy Turner and Synne K. Behrndt; The dramaturgy of a play can best be described as its “composition”, “structure” or “fabric”, and in a more sophisticated phrase, “the contextual analysis where the performance is considered as part of a wider network of meaning”.

During the first phase of The Garage, I discovered that there are different models of dramaturgy (from the readings in Dramaturgy and Performance), that there is somewhat a framework to analyse performance (as introduced through the readings of Esslin and Pavis) and that there is indeed a need for a lot of research (as learnt through the two assignments set by Dr Loon). I also found out (and affirmed) my shortcomings, in particular, my inability to ascribe fuller meanings to concepts and vocabulary often used in the critical analysis of performance (because these terms were not a part of my vocabulary to begin with).

I am excited to see how the concepts and knowledge acquired from the first phase translates into something tangible during the phase of being an observer-dramaturg. I am also excited to observe the rehearsal practices of other practitioners during the 2^nd phase of The Garage.

After all, what is knowledge when it cannot be applied to practice? ”

~ Wang Liansheng, Dramaturg Apprentice 2015