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Notes
1 I am aware that not all dramaturgs experience the job satisfaction of a co-creative working environment on every project. See D. J. Hopkins, ‘Research, Counter-Text, Performance: Reconsidering the (Textual) Authority of the Dramaturg’, Theatre Topics, 13.1 (2003), 1–17 for a discussion of the relative authority of the dramaturg in the rehearsal room.
2 D. J. Hopkins, ‘Editor’s Note’, Theatre Topics, 24.1 (2014), vii–viii (p. vii); emphasis in original.
3 Geoffrey S. Proehl, Toward a Dramaturgical Sensibility: Landscape and Journey (Madison, NJ: Fairleigh Dickinson University Press, 2011), p. 10.
4 Emphasis on ‘collaborative scholarship’ added. My thanks to Solga for introducing me to this fine phrase. Kim Solga, ‘On Harry Ritchie’s Fabulous English for the Natives’, The Activist Classroom, 11 April 2014 <http://theactivistclassroom.wordpress.com/2014/04/11/on-harry-ritchies-fabulous-english-for-the-natives/> [accessed 5 May 2014].
5 Proehl, Toward a Dramaturgical Sensibility, p. 17.
6 Shelley Orr, ‘Critical Proximity: A Case for Using the First Person as a Production Dramaturg’, Theatre Topics, 24.3 (2014), 239–45.