There’s more to dramaturgy than the definition. It is a combination of skills: playwrighting, directorial and theatre practice. It looks at the direction the play is going; discovering the playwright’s intentions as well as gauging the quality of the idea, its realization and its theatrical potential. It’s knowing what is there and what is possible; where the play is and where the play could be.
I am very aware of the loneliness of the long-distance playwright (or writer). While I was writing, I was constantly on the lookout for someone who I could trust intellectually and emotionally, who not only understood the artform I was working in but also the ideas I was playing with; plus also with the concept of placement of the results of the writing process.
It’s a hard act to juggle, but as a dramaturg I am not only concerned about the writing but the writer as well. The play is important but so is the development of the writer – the skills involved, the ideas and themes of the play and its plotting. To have someone who completes the process of creation before the play goes out into the world is a benefit – not only for the play itself, but for the playwright too.
The difference between assessment and dramaturgy is that I offer input. Solutions to problems are discussed as well as strengths and weaknesses to the writing.
With dramaturgy, I can extend, develop, question, offer suggestions. The length of the contact is dependent on the writer and their needs. This process is on-going and individual; often it’s used for the creation of a new draft.
The offers given are freely offered and given. I am of the school who believes that dramaturgical assistance is not part of the creation process; paying my fees separates my role from any part of the creation of the work.
Costs are timed. It does not include the time taken to read the work, take notes or assess it.
For a more detailed list of services, click on the button to see my schedule of services.
If you need a yardstick to gauge your work, I can reflect, interpret and confirm what is already on the page.
Depending on your needs, I offer small written assessments from 500 words through to 5 page ones (and beyond). Small assessments usually take the form of discussion of strengths and weaknesses, and perhaps areas of concern that may need addressing. Longer assessments can include the above as well as discussion of the skills areas in writing: language, characterization, stage/literary imagery, story, plotting, theatricality and originality.
I also offer to Australian playwrights the option of verbal assessments – where I can cover more skills areas in a shorter time as well as the overall strength of the work and its potential.
Assessments can be tailored to specific problems: for example; Is this play starting in the right place? Are the arcs of action strong enough? Where is this play going?
I can annotate your document and give you a blow by blow response, line by line.
Costs in assessments include the time taken to read, assess and take notes on the work. If you want manuscripts returned, postage is an added cost (unless self stamped and addressed envelope is included).
For a more detailed list of services, click on the button to see my schedule of services.
Where possible, I can meet the writer. This one-on-one dramaturgy is the most effective. It is not unusual to find the process infinitely faster with the process happening face to face.
Effective communication is the main issue: factors that can easily short circuit development that are sometimes not recognisable through the phone; subtext, irony, body language, sense of humour…. But face to face contact is the most effective process for dramaturgical development.
If this is not possible, I have found skype and then the phone equally useful, and lots cheaper (travel doesn’t factor into the discussion). The tyranny of that distance doesn’t need to slow creative development.
Costs are timed. It does not include the time taken to read the work, take notes or assess it. Costs do not include travel components or any extras.
For a more detailed list of services, click on the button to see my schedule of services.
I am a trained teacher, and have taken writing courses over an extended period for different level of skills areas in playwrighting. I have taught in tertiary institutions, creative camps, and learning institutions, from the hobbyist through to playwrights – from the emerging to the emerged – from playwrighting, to story development to film scriptwriting skills.
For a more detailed list of services, click on the button to see my schedule of services.
I am happy to read electronically supplied manuscripts. If you do decide to forward your manuscript by email, I ask that it is in either a .doc/x file that can be read by a word processor, or a .pdf file.
If you prefer to send hard copy, I am happy to accept it. If you want it returned, please supply sufficient postage to cover that (self-stamped and addressed envelope preferable). If it’s not supplied, the manuscript will not be returned.
I will invoice for my work once I have completed it.
If you want to send your script with an accompanying cheque I am equally happy to accept that. The cheque will not be banked until the service is completed.
I do not have facilities for credit card/eftpos purchases. But I am happy to supply bank details if you would prefer to pay via internet banking. Those details are supplied separately and on the invoice.
The fee covers the cost of the assessment (provided in the form of a four to five page written report), which becomes the property of the writer.
Peter Matheson is a freelance dramaturg and script assessor living on the north coast of NSW. He has a scattered stable of individual clients in all capital cities, and the regions of NSW, Victoria, Queensland, Northern Territory and Tasmania as well as New Zealand, USA, Hawaii and Britain.