








This presentation examines the increasing importance of emotional dramaturgy in the
presentation of traumatic material on stage. The work starts in the emotional world of the
play and addresses how actors enter into, live inside of, and exit from that emotional world.
Emotional dramaturgy seeks to create a rehearsal process responsive to the actor's
intertwined physical and psychological needs in roles depicting trauma, working with the
body and brain to promote safety for the performer.
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In the field of dramaturgy, there is “traditional” or factual dramaturgy, which questions what
can be known about a script and engages the text through an intellectual lens to discover
the historical, political and social implications. This type of dramaturgy attends to the mind.
There is also physical dramaturgy or ‘dramaturgy of the body’, which transmits traditional
dramaturgy into somatic, embodied representations through movement. This type of
dramaturgy attends to the body. Emotional dramaturgy attends to the mind/spirit to create a
holistic dramaturgy that allows performers to explore potentially traumatic work bravely.
Western realism often trains actors to portray traumatic stories in a hyper-realistic style,
allowing the audience to see the pain in their bodies and faces. Actors are instructed in
ways to take on a character and get to that vulnerability needed to give the performance the
rawness and open access traumatic roles require. However, they are not being taught
enough about closure to be able to safely walk away from the role. Actors’ mental health
has long been ignored. Emotional dramaturgy seeks to create training, rehearsal, and
performance processes responsive to the actor’s intertwined physical and psychological
needs in roles depicting trauma, working with the body and brain to promote safety for the
performer. I use the word “processes” as this is not a role, it is not necessary to hire an
emotional dramaturg. However, emotional dramaturgy should be practiced in all rehearsal
and training studios.