Dramaturgy, Dramatic Criticism, and Theatre Studies

8.1 Teaching

• Participation in pedagogically oriented seminars and workshops within the College and professional organizations
• Creation of new courses and programs
• Effective use of technology to support teaching, where appropriate
• Effective service as an advisor to students
• Peer reviews
• Course syllabi should demonstrate revisions and additions to address the changing needs of students, as well as incorporate the results of the candidate’s ongoing research/professional experiences and the integration of this research/experience into course requirements.
  • Course expectations noted in the syllabi should demonstrate a commitment to academic quality.
  • Assignments to students in courses will be rigorous and relevant to the goals and expected learning outcomes of the course.

Teaching excellence may also be documented through the following supplemental evidence:

• Examples of exceptional student work done under a candidate’s mentorship as evidenced by their receiving prestigious fellowships, internships, employment and/or awards
• Record of alumni accomplishments where the faculty member has been actively engaged in a post-graduate mentorship role, as documented by the graduate in playbills and/or correspondence

8.2 Scholarship and Creative/Professional Work

The dramaturg (in collaboration with the stage director and playwright, if living) researches and analyzes the play to foster interpretation for the creative ensemble and audience and/or serves as a key collaborator in the development of new works/adaptations/translations. A dramaturg may also serve as a literary manager, read and select plays for the season in consonance with the theatre’s artistic mission, analyze multiple translations, and write program notes, study guides, publicity materials and essays to help the audience understand the meaning of the play. They may be involved in audience discussions and other events that serve to explore the play and production.

The range of proficiency typically required of the dramaturg includes:

Production Expertise

• Excellence in play analysis and conceptualization
• Ability to articulate the inner structure and meanings of the script in appropriate terms for actors, designers, directors, choreographers, musical directors, playwrights, voice and movement directors, and public relations staff
• Understanding of the rehearsal process, including traditional methods and devised or developmental rehearsal methods
• Ability to work and collaborate effectively with various artists and technicians in a variety of professional settings
• An understanding of professional ethics and practice associated with theatre and performance

Theatre, Drama, and Culture

• Knowledge of dramatic literature and its historical and cultural contexts
• Excellence in textual and structural analysis of scripts
• Knowledge of the history of theatre and theatrical production, including the history of acting and directing techniques, visual elements of scenery, properties, lighting, and costume
• Knowledge of theories of the theatre, performance, and dramatic theory in its relationship to critical theory
• Knowledge of the history of art (artists, historic styles, and genres), architecture, and décor as they pertain to theatre
• Knowledge of economic, political, social, and cultural history

Overall excellence from the dramaturg requires the ability to integrate knowledge consistently in the areas noted above. Dramaturgs must work with an understanding of the conceptual requirements of any given production to enhance the work of the director and designers in creating work of artistic merit and meaning. Such expertise is demonstrated by participation in realized production, off campus.

The candidate may excel in Scholarship AND Creative/Professional work or in Scholarship OR Creative/Professional work. If the candidate works in both areas, expectations for the volume of accomplishment must be adjusted accordingly.

Productivity and Criteria for Excellence: Scholarship

• A book or monograph (not an anthology) published or a completed manuscript and a contract-in-hand by a nationally recognized or academic press, OR
• In the probationary period, 5 single-authored, substantial articles in refereed journals with which the faculty member doesn’t serve in any editorial capacity, other than as an occasional reader of “blind” submissions. Essays published as chapters in books or anthologies edited by scholars recognized in one’s field are also equivalent.

Activities that will supplement the case for scholarly accomplishment include:

• Editorial leadership of a nationally recognized print or online journal with a demonstrated reputation for excellence in the field.
• Additional publications, such as:
  • Interviews with directors, playwrights, performers
  • Reports from theatre festivals
  • Play and book reviews; educational web portals, digital venues, CD-ROMs
  • Contributions to and editorial positions for special issues of professional journals
  • Contributions to encyclopedias, anthologies, and online journals
• Leadership positions in professional organizations.

Productivity and Criteria for Excellence: Creative Work

• Dramaturgical collaborations on a minimum of 4 productions of published texts, adaptations, original plays and/or translations in the probationary, pre-tenure period, if this is the candidate’s sole focus of endeavor. Venues must be consistent with creative research trajectory – community, fringe or mid-sized semi-professional (NEAT contract) and/or large (LORT contract) professional venues known for high artistic quality.
• If the work is community-based, 4 projects that provide evidence of their artistic merit and engagement with and significant impact on the community, as demonstrated by civic and artistic leaders, community partners, and collaborators.
• Production work should have evidence of review by local and national media, where applicable.

Dramaturgical excellence may also be documented through the following supplemental evidence:

• Editorial leadership of a nationally recognized print or online journal with a demonstrated reputation for excellence in the field.
• Additional publications, such as:
  • Interviews with directors, playwrights, performers
  • Reports from theatre festivals; play and book reviews
  • Educational web portals, digital venues, CD-ROMs
  • Contributions to and editorial positions for special issues of professional journals
  • Contributions to encyclopedias, anthologies, and online journals
• Leadership positions in professional organizations.
• Appearances on and off campus as a speaker or panelist, or otherwise participating in the meetings or activities of nationally or internationally professional organizations.
• Prizes, awards, fellowships or other recognitions.
• Publication of written work such as books, articles, reviews, director’s notes, and cybertexts
• Published criticism and scholarship about productions dramaturged by the candidate.

Activities that will augment the case for creative accomplishment include:

• Professional activities in the field of dramaturgy, including production dramaturgy for professional theatre and film, and published theatre and film reviews.
• Literary office work such as artistic direction for professional theatres and film companies during pre-tenure leave.

For Promotion to Full Professor

8.2 Scholarship and Creative/Professional Work

• Evidence of continued engagement and excellence in Scholarship OR Creative/Professional Work or Scholarship AND Creative/Professional Work in the post-tenure period. For Scholarship, one book published or a completed manuscript with a contract-in-hand by a nationally recognized press OR 5 refereed articles in the post-tenure period. For Creative Work, dramaturgical collaborations on a minimum of 4 productions of published texts, adaptations, original plays and/or translations in the post-tenure period, if this is the candidate’s sole focus of endeavor.
  Venues must be consistent with creative research trajectory – community, fringe or mid-sized semi-professional (NEAT contract) and/or large (LORT contract) professional venues known for high artistic quality. If the work is community-based, 4 projects that provide evidence of their artistic merit and engagement with and significant impact on the community, as demonstrated by civic and artistic leaders, community partners, and collaborators.
• Demonstrated national and/or international recognition through published and/or produced work, national and international conference papers, panels, presentations and/or workshops, awards, fellowships, and/or favorable reviews for the work published and/or produced. This recognizes that Boston is a national media center and that some of the work created here may be seen and reviewed as on a national level. This further recognizes that critics do not always mention the contributions of individual artists in a production. This should not be considered to be detrimental to promotion.