Dramaturgy /ˈdraməˌtərjē,ˈdräməˌtərjē/

Our Antigone cast is roughly 1 month into blocking. That means, we’ve made a great deal of progress; the production is beginning to incorporate several aspects envisioned by our set, props and costumes departments. Not only are we accomplishing great amounts during rehearsal times, but during our Saturday morning workshops as well. One of the greatest aspects of teen shows at STC is that cast members design the set, props and costumes for the show all by themselves, the show is built by teens, for teens. However, one production team doesn’t take part in the physical aspects of the production, but rather the intellectual side… and that’s the dramaturgy team.

This is my third teen show being on the dramaturgy team, and each year I’m enthralled by the new things I learn and what we get to research. As the dramaturgs, it’s our job to study “the theory and practice of dramatic composition”. We dedicate ourselves to the analysis of the script, history, and language of the play. This year, we go all the way back to 440 B.C.E. when Sophocles first wrote Antigone. These past few weeks during workshops, our dramaturgy team has read, and interpreted the Oedipus Rex Series or the Theban plays, a trilogy written by Sophocles between 440 B.C.E., and 405 B.C.E. We’ve also read the story of The Seven Against Thebes written by Aeschylus in 467 B.C.E. In order, the plays goes like so: Oedipus the King, Oedipus at Colonus, The Seven Against Thebes, and Antigone.

Antigone is last in the series, so it’s especially crucial for our cast to have information about their characters from the earlier plays. The best way for them to thoroughly understand their personal character development though, would be for them to read each of the plays. Sometimes, that’s not possible, and that is where the dramaturgy team comes in to help out. We provide a basis of knowledge about key plot points, and and summarize the series for our cast members. We are open to questions, and are happy to research. That right there, is what makes dramaturgy fun for me. We hope to extend our knowledge within the next month of workshops, and be prepared for another presentation soon into the future. Go Dramaturgs!!

“There is a point at which even justice does injury.” ~ Sophocles  

Jayna Wanamaker

Messenger/Tracy

Dramaturgy

Transition Time!

Not only is it important to be be actively engaged in scene, but while out of scene too. It’s very important to know when you’re involved in a scene change or a task offstage; other cast members are counting on you. This became very important when STC started tackling the transitions between vignettes this past Thursday.

Usually, there are transitions in a play for the sole purpose of getting props and set pieces on and off stage expeditiously in order to move on to the next scene. The unique thing about Almost, Maine is that we didn’t necessarily create the transitions in the hope of being expeditious. We decided to create the community of Almost, Maine by using the transitions effectively to shown character interactions. This was a really cool idea, but we had to remain with the idea that these transitions were not supposed to be “precious”. There’s a very good line in the director’s concept statement for Almost, Maine: “Our production will attempt to shuck the preciousness from the scenes, allowing these scenes to operate as the mirrors they are, accurately displaying the ambivalence that springs from the pursuit of love.” We can’t use transitions as an excuse to not follow the pursuit of love. Most scenes end in a spot of tension or questioning. We don’t know what’s about to happen, so the transitions should hopefully continue those feelings.

The first transition was from the prologue into the Her Heart. It had already been roughly planned out and shown to the rest of the cast a few rehearsals earlier. I hadn’t been in attendance the first night the transition was blocked so I was given the privilege to watch as Kivan worked out some kinks with the cast. I learned here, or a least I now believe that it’s just as important to sit back, take it all the information in, and process the images on stage as it would to get up and do it. My perspective was completely changed. I watched Kivan make only slight changes, but with considerate enhancements to the transition. This may have been the way two people acknowledged one another, or how one took another’s hand, or if recognition of a face created this facial expression or a different one. Once it was done right, you could almost hear the magical “click” as the pieces slid into place, it was very satisfying. After the transition was running smoothly, it was time for my character to be added.

First, Kivan asked me to walk with Rhonda as she entered, and I felt like it probably could have worked, but something just didn’t feel right. We tried it once or twice, but then Kivan asked me to enter with Gayle instead. Gayle and I know each other in Almost, I’ve given her love advice before, so it only seemed fit if we were talking together. Gayle then has an interaction with Lendall where then, we exit. The next of the transitions went according to plan and we finished 4 more transitions.

The growth of a scene, transition, or play as a whole is really important if it can be looked from different perspectives.  Sometimes on stage, we may think what we’re doing is really clear but to the audience it may not. So having feedback for things like that is crucial. I’m glad I got to see both sides of it on Thursday. We’ve now got all but two transitions blocked and I’m so excited to see how the last two transitions go!

Jayna Wanamaker

Marvalyn / Head of Dramaturgy

Transitions

“On Thursday’s rehearsal we worked on building the transitions between the different vignettes. Connecting the different scenes without making the play feel disjointed as a whole seemed like a daunting task, and I definitely had my doubts about our plan. After figuring out the first two, though, I understood where Kivan was coming from and how these would work. Instead of just bringing on the next set pieces, the transitions embody the community of Almost; though each transition is different, the atmosphere of the town is maintained between each individual scene.”  - Lena Menefee-Cook

“This week we worked on transitions. We discussed and tried many different ways to get all (or most) of the characters on stage to give the feeling of a hustling small town. I enjoyed working our characters and their stories into the transitions. Even if crossing the stage silently, we can show a lot about our characters and the town.” - Ben Teske

“Working on transitions helped build the community of Almost. It helped us realize the relationships between everyone in Almost, and not just those in a scene together.” - Anna Suski

“Not only is it important to be be actively engaged in scene, but while out of scene, too. We worked four transitions this Thursday. The first one, which had already been roughly planned out and shown to the rest of the cast a few rehearsals earlier, came to life as I watched from the sidelines, having not been in attendance at that previous rehearsal. I learned here, or a least I now believe, that it’s just as important to sit back, take it all in and process the images on stage as it is to get up and do it. I watched Kivan make only slight changes, but with considerate enhancements to the transition. This may have been the way two people acknowledged one another, or how one took another’s hand, or if recognition of a face created this facial expression or a different one, but once it was done right, you could almost hear the magical “click” as the pieces slid into place. I was given the privilege of watching these “clicks” start popping up more and more as small adjustments were made. It may seem weird, but I was almost sad to stop watching, and start physically engaging in the scene. I’ve learned both ways, though, are very important for the growth of a scene, transition, or play as a whole. I’m glad I got to see both sides of it on Thursday.” - Jayna Wanamaker

Dramaturgy, Maine

The professionalism and dedication shown by STC members never ceases to amaze me, especially with this show. At production meetings, ideas are carefully thought out for costumes, set, and props. New tasks are then delegated to the production team heads for them to convey back to their specific teams (Set, Costumes, Props, and Dramaturgy). Work days have been essential for completing these tasks. Work days are the chance for the four production teams to group up individually and work together on the given tasks within the group. I am a part of the Dramaturg production team.

Being the lead dramaturg, there are a lot of different responsibilities involved: delegating tasks, conducting research, and bringing information back to production meetings. The literal definition of dramaturgy is “The theory and practice of dramatic composition.” but for our purposes, the point of the dramaturgs are to keep this show honest, and true. We are aiming to stay away from the clichés and stereotypes of small town folk, and we are presenting information to the cast members with hopes to spark interests, and inspire the actors. We want to inspire them to think more about their characters and how they interact with their surroundings, which is small town Almost, Maine, and with the other Almost, inhabitants. This is where our research comes in.

Ryan, Zander, and I have started preliminary investigations on given topics related to Almost, Maine. Some examples are, congenital analgesia, aurora borealis, clichés, and effects of alcoholism on emotions. We’ve also started researching information on the state of Maine. Looking through maps, and books on Aroostook County, we’ve pinpointed or at least come very close to locating Almost, Maine. Township 13, range 7 on a map is the exact location. The fact that Almost is a fictional town, may be what interests me so much about the show.

Within each vignette is the main story but, it also tells another one, hidden underneath as if in in layers. You peel back the shell of one story to find the next layer. This ties back to the dedication of STC members. It’s our job to make the audience see the subsequent layers of each scene, but this won’t come easy. The hard work put forth in rehearsals to live the lines given to them is what will really pay off. The more honestly the cast can portray their characters without the stereotypes and clicés will be what gives the show its magic.

With this show, the magic of the play is what drives it. Magical realism, “If you can explain it, it’s not magical realism.” By avoiding these stereotypes and clichés, hopefully, that will then make the show even more special. “Imagination is the highest form of research.” -Albert Einstein. It is our job to create the world of Almost, Maine… the small, petite, hidden away town of ordinary people, living quite extraordinary lives.

Jayna Wanamaker

Marvalyn / Lead Dramaturg