Dramaturgy & Research
My Dramaturgical Philosophy
Western, particularly American playwriting raises Aristotelian storytelling structure above all others. My dramaturgical approach is irreverent to this structure. My most passionate dramaturgical approach is based in the study of phenomenology, particularly African American phenomenology, but I constantly find ways to apply this research to larger dramaturgy.
Cultures of people have told stories and histories in many ways. Sure, an Aristotelian hero's journey is great, but have you experienced the satisfaction of a story told in Kishontenketsu Japanese structure? Have you felt the empowerment that approaching a story about people of color from the perspective of Tongva tribal storytelling gives? Have you seen the community that can be created when you know of Ubuntu traditions? Through a multi-cultural approach to dramaturgy, I encourage living playwrights to think outside of the rules. Through this approach I can also help a director bring life to a play without a living playwright in the room to guide us.
Mutli-Cultural Dramaturgy asks the artists in the room to investigate the text from two perspectives: that of humanity and that of historiography. Whether the characters are bees, bugs, or ghouls, they do not exist outside of a timeline of their own and this approach to dramaturgy encourages us to ask more than what they ate for breakfast or why they have the psychology that they do. It asks us to consider community, heritage, and the stereotypes of the people asking the questions, thus opening our minds to new answers.