Welcome to Dramaturgy in Region 4!

All participants in this year’s Dramaturgy program will be considered for the LMDA/KCACTF Student Dramaturgy Award, take part in professional development workshops led by a nationally-recognized dramaturg, and serve as dramaturgs in the ten-minute play festival.

Who is Elligible?

Undergraduate and graduate students who work specifically as the dramaturg on a production or workshop, or who submit work created for a dramaturgy class. If the project is a workshop or production, the student must be credited as the dramaturg. The student does not need to be enrolled full-time to apply.

How Do I Apply?

Interested students should send a completed application in one large PDF file by January 10, 2020. The following materials should be included in the application:

  1. A title page identifying the dramaturg, the project, and the school. Please include your address, phone number, email address, and date of the project.
  2. Two personal statements written by the dramaturg: one delineating the project and its challenges and the other detailing the process from start to finish.
  3. A letter of nomination from a faculty member. If you wish, you may also include letters of support from persons directly related to the project or other individuals who are familiar with your work as a dramaturg.
  4. A dramaturgical packet or protocol that showcases the student’s research and work for the production. Suggested items for inclusion can be found at this link:  How to Prepare a Dramaturgy Casebook

All materials and questions should be sent by email to Dr. Sean Bartley, the KCACTF Region 4 Dramaturgy Coordinator:

Sean Bartley
University of Florida

LMDA/KCACTF Student Dramaturgy Award

The LMDA/KCACTF Student Dramaturgy Award is designed to recognize contributions by student dramaturgs to the conception, development, and production of theater within their colleges and universities or to educational projects in dramaturgy. The philosophical foundation of this award – like that of dramaturgy itself – rests in the belief that art benefits from examination on the parts of both artist and audience, and that creative inspiration accompanied by analysis and reflection is most likely to lead to productions and projects that fulfill the spiritual, social and personal potential of the theatrical event.

Award Criteria

  • Distinctiveness – What is creative about the dramaturg’s approach and/or analysis?
  • Contextualization – How is the production or project enhanced by dramaturgical analysis or research; alternatively, how is the academic project in dramaturgy imaginatively projected into a larger social, political, academic or artistic setting?
  • Impact – In what way are the audience, artists or institution enriched by dramaturgical ideas and execution?
  • Ethics – How are issues that might be raised by the terms of the collaboration or changing responsibilities dealt with and/or resolved?
  • Significance – How does this project inform, challenge or advance the field of dramaturgy, in general and/or within the student’s school? – How does this project inform, challenge or advance the field of dramaturgy, in general and/or within the student’s school?

What Should I Expect At The Festival?

Dramaturgy participants will be busy.

Every day will feature both morning and afternoon workshops with our guest dramaturg. Students will also discuss their casebooks with our respondent in a 30-minute, one-on-one session.

Finally, students will participate in the NPP Ten Minute Play Festival, helping with the new play development process and authoring a program note. Plan on arriving for the first meeting on Tuesday evening at 7pm.

A detailed schedule of dramaturgical activities will be distributed to all participants after the application deadline.

Meet Our Respondent

Shirley Serotsky has been a director, dramaturg, artistic leader, educator and programmer in the Washington, DC area since 2001. She is currently the resident dramaturg for Mosaic Theater Company. Between 2008-2016 she served in a series of leadership positions (including Interim Artistic Director for the 2015-2016 season) at Theater J, a professional theatre company committed to producing timely, and often politically-charged, new plays and revivals. Previous to that, she served as the New Works Coordinator for Catalyst Theatre Company and she was a founding member and producer for Bouncing Ball Theatrical Productions. Shirley has taught and mentored students from the age of six to eighty-six in the fields of directing, acting, improvisation, dramaturgy, play analysis, theatre appreciation, new play development and auditioning techniques in both a classroom setting and for resident theatre education programs.

Selected directing credits include: The How and the Why, Another Way Home, The Call, Yentl, The Argument, The Hampton Years, The History of Invulnerability, The Moscows of Nantucket, Mikveh (Theater J); Rapture, Blister, Burn (Round House Theatre); The Jungle Book (Adventure Theatre); a 21/24 Signature Lab Workshop presentation of The Break (Signature Theatre); Other Life Forms, Working: The Musical (Keegan Theatre); Blood Wedding (Constellation Theatre); A Man, His Wife, and His Hat and Birds of a Feather (which won the 2012 Charles MacArthur Helen Hayes Award for Outstanding New Play, The Hub Theatre); Juno and the Paycock (Washington Shakespeare Company); Reals, Five Flights and Two Rooms (Theater Alliance); Crumble and We Are Not These Hands (Catalyst Theater); References to Salvador Dali Make Me Hot (Rorschach Theater, for which she received a 2007 Helen Hayes nomination for outstanding direction); Sovereignty (The Humana Festival of New Plays).

Training: BFA, The University of North Carolina School of the Arts; MFA, Catholic University.