Dramaturgy & Literary Management Apprentices participate in all administrative and artistic aspects of one of the busiest literary departments in the country. They work alongside staff as assistants on mainstage and Humana Festival productions and take on key collaborative roles as the lead dramaturgs on Professional Training Company projects.
People who want to develop a facility for writing and talking about dramatic text and the many ways it can generate meaning in performance.
Learn to navigate varied rehearsal rooms as a dramaturg, and experience the spectrum of ways that dramaturgy can contribute to a production: through curating research materials, serving as a proactive and supportive collaborator, practicing the art of listening and diplomacy, and more.
Learn how new work is cultivated, evaluated, and selected for production at a theatre with a major new play development program. Gain hands-on experience with evaluating scripts.
Broaden your working knowledge of theatrical forms and styles, as well as playwrights and companies working in the contemporary American theatre.
Learn key literary organizational systems and administrative logistics: how to help track and manage submissions, support playwright residencies, and facilitate the smooth administrative functioning of a busy literary office.
Learn to write engaging, informative articles for theatre publications, and to revise your own work with feedback.
Working under the guidance of Literary Staff, apprentices will:
Work as a dramaturg for projects throughout the PTC Season, which include Solo Mios (written and performed by the Acting Apprentices), New Play Projects (pieces commissioned from playwrights for small groups of Acting Apprentices), and the New Voices Young Playwrights Festival.
Work as assistant dramaturgs for classic and/or contemporary plays during the mainstage season, and for world premieres in the Humana Festival—conducting research, attending rehearsals, helping facilitate script changes for new plays, and discussing notes with the lead staff dramaturg; assist with playwright residencies as needed.
Complete reading assignments and participate in informal seminars focused on the art of dramaturgy and reading new plays; write script coverage for new plays.
Write articles for Actors Theatre publications, including the in-house guide to the Humana Festival.
Master the organizational systems of the literary office and participate in its administrative functions. Maintain databases and script library, process mail, sort and log script submissions, and more.
Deep intellectual curiosity, a strong work ethic, and a demonstrated love of reading, seeing, and talking about plays and performances.
Excellent writing skills with the capacity to engagingly and clearly express complex thought.
Strong verbal communication and interpersonal skills, with a keen understanding of tact and diplomacy, as well as of the superpowers of active listening, empathy, and good humor.
The ability to juggle and prioritize multiple creative and administrative projects with thoughtfulness and exceptional attention to detail.
Well-developed research skills as well as a drive to seek contextual information beyond traditional library resources.
Flexibility to respond to the needs of collaborators and to changing circumstances and varied personalities; openness to diverse learning opportunities from a variety of projects that may require different types and levels of literary support.
We are interested not only in applicants with theatre and English training, but also in candidates with backgrounds in any arts, humanities or social sciences discipline who can demonstrate the ability to think critically about the art of theatre-making. We also seek qualified applicants outside of those paths who can demonstrate a serious interest in exploring dramaturgy and literary management for a season.
Helena Pennington (Literary and Library Management Associate, Eugene O’Neill Theater Center), Kathryn Zukaitis (Literary Manager/Public Programs Coordinator, Victory Gardens Theatre), Rachel Lerner-Ley (Literary Manager & Resident Dramaturg, Cleveland Play House), Charles Haugland (Director of New Work, Huntington Theatre Company), and Sarah Lunnie (Associate Artistic Director, Jungle Theater), as well as playwrights who have gone on to graduate programs: Vivian Barnes (University of California, San Diego), Dominic Finocchiaro (Columbia University), Emily Feldman (University of California, San Diego), and Brendan Pelsue (Yale School of Drama).
Throughout the season, apprentices will work on several overlapping projects simultaneously.
This is a full-time apprenticeship. Our work is sometimes limited to weekdays between 9 a.m. and 5 p.m., but there will be many rehearsals that fall during the evening and weekend hours that will require the presence of a Dramaturgy & Literary Management Apprentice. It is possible to hold an outside job (part-time) in the fall (August through December), but applicants should be aware that their apprenticeship schedule will be rigorous and irregular. We strongly discourage holding an additional part-time job between January and April.
One-page statement of purpose explaining your interest in dramaturgy and why you’re applying for this apprenticeship
Two letters of recommendation
One ten-page critical writing sample (The sample can be a paper for a Humanities course or a piece written in response to a performance; you may also submit several different samples equaling ten pages. Please do not send creative writing or research papers that simply collect other sources; writing that illustrates your ability to think critically and synthesize ideas will be most useful to us.)