Dramaturgy
the above images are diagrams used in the creation of Dreamsick. I use these kind of tools frequently.

I work as company dramaturg for all Emergency Chorus shows, and spent a lot of time during my MA developing a particular method of dramaturgy. I think it is something I am particularly good at, and I would like a chance to do more of it.

In terms of what I can offer you as a dramaturg: I think of myself as a ‘mathematical dramaturg’. I draw a lot of graphs and diagrams, and attempt to understand a show’s structure as it develops, and to work with artists to explore how the show speaks to itself and resonates with itself. This is particularly applicable to devised work, but absolutely can be applied to scripted work as well.

I am not best used as a researcher, I believe, though I am willing and able to do research for you if called upon. I do not see myself as an ‘outside eye’ when working as a dramaturg. I reject the idea that an objective outside eye is either possible or desirable. Rather I see myself as an ‘inside eye’: looking at a piece through its own hidden internal perspectives, when possible. How do its meanings sit with each other? Which parts draw things to the centre or centres, which parts that throw things out to the edges?  Where it is like a storm, or ground after rain?

In practical terms, though it is always desirable to be in the room as much as possible, I am most useful when intervening at an early idea organisation stage, or a later ‘putting things together’ stage. I have some experience with work that incorporates text and also dance.

I am particularly interested on working as a dramaturg on projects that take concepts from maths and science as part of their subject matter. I think these things are hard to treat rigourously in art, but as a theatremaking maths grad, the idea of doing so excites me a lot.