In a Word... Erica Kopyto, Dramaturg/Literary Manager, Nightwood Theatre

Small/Big Question: What IS a Dramturg(e)

In any given day I can google: vagina dentata, lotus slippers, consensual sibling incest and polyamourus relationships.

CHARPO: I think of a dramaturg as someone who tries to bring cohesiveness to a script; is that anywhere near what a dramaturg does?

KOPYTO: I think it is now agreed upon that finding a singular definition of what a dramaturg is or does will never be satisfactory. It is forever destined to be one of those things that  takes a few sentences to explain. I think trying to bring cohesiveness is likely as good an explanation as any. Of course, dramaturgically I would problematize this by suggesting not every script wants cohesion. At times it might benefit the project to bring chaos to the script.  Diagnosing with the playwright and possibly producers and directors what the overreaching goal of the story is, breaking it down into viable, doable tasks and supporting the creators to get those tasks done is more or less what I do in the script development portion of my job. Providing context for the narrative and the production also seems to be something worth mentioning.

CHARPO: Is a dramaturg an editor?

KOPYTO:Sometimes we edit.  Depending on my relationship with the writer and the project, I might question what the effects would be of reordering a passage, bulking up a story line, clarifying a climax.   Prior to a read or production draft I will copy edit for typos, clarity, grammar. I've worked with many writers whose mother tongue is not English and in those cases I've been asked to revise passages for language usage and to ensure clarity. In the Literary Manager side of my job, curating ideas, commissioning projects and season planning also fall into some duties that might be akin to what an Editor does with a publication.

CHARPO: What appealed to you about being a dramaturg?

KOPYTO: It is a great job for diletantes! In any given day I can google: vagina dentata, lotus slippers, consensual sibling incest and polyamourus relationships.  I love working with people and I'm a great "number 2".  This isn't to imply that dramaturgs don't have their own agenda or don't come in all forms and with their own approaches but I think being a staunch Type A is not always conducive to dramaturgical work. You need to facilitate collaboration. It's hard if you always need to be right or if your idea needs to be the chosen one.  I love ushering-in other people's ideas, helping them gain a little objectivity and problem solve to the next stage.  I also love my role as Literary Manager: meeting with writers, sourcing scripts, keeping active in the community.  

CHARPO: Were you ever interested in acting or directing?

KOPYTO: When I started studying theatre I had never heard of the word Dramaturg and there were certainly no courses that were readily available. Now you can graduate with a PhD in Dramaturgy.  I was definitely interested in being an actor. When I realized I was truly terrible, I then decided I would pursue directing. That felt like a good fit but I loved the geeky heady place of analysing literature. And directors, at some point, need to get out of their head so they can pursue their own art.  I've never really felt like an artist. I still do employ my directorial skills when running workshops or preparing for readings. Often there is a director in the room but not always. 

CHARPO: Is being a dramaturg satisfying, rewarding work?

KOPYTO: The work I do can be both ephemeral and tangible. A mix I find very satisfying.  Sometimes chatting with a writer about the political context of their play might encourage them to dig deeper into a scene or inspire them to think about certain plot points.  A lot of what I do is just have conversations and it's not always clear how they translate or affect a final project. Other times the work is very specific, weighing the efficacy of one word versus its synonym. I remember working on a section with a playwright, when I was still emerging, and then seeing my specific questions answered in the final script. It's a great thing to know you've collaborated with others to create meaningful work.  That's not to say I love all aspects of my job. I deal with a lot of big personalities who are in very stressful situations. At times, it can get emotional and be rife with conflict. Also, it's not always a fun thing to read unsolicited submissions.  

CHARPO: I've seen dramaturg spelled with and without an e at the end; which is correct and is there a difference?

KOPYTO: There have been entire conferences built around this question. A lot of people use the "e".  It sounds lovely, less harsh.  Phonetically I like the sound, but I omit the "e" for two reasons: My professional association (LMDA, Literary Managers and Dramaturgs of the Americas) uses "Dramaturg." As well, because "dramaturge" translates to "playwright" in french, I prefer to differentiate myself from that profession. Especially living in bilingual Canada.