The rehearsal room is a unique space—part laboratory, part playground, part sacred ground. For dramaturgs, knowing how to navigate this space effectively is one of the most crucial skills to develop.

The Dramaturg as Witness

First and foremost, the dramaturg in rehearsal is a witness. You are there to:

• Observe what's being discovered
• Track what's being tried
• Notice what's working and what's not
• Hold space for the process to unfold

This witnessing is active, not passive. You're not just watching—you're tracking patterns, connections, and possibilities.

When to Speak

One of the most common questions from emerging dramaturgs is: "When should I speak up in rehearsal?"

There's no simple answer, but here are some guidelines:

Speak When

• You have a genuine question (not a veiled critique)
• You notice a pattern that might be useful to name
• You have information that directly addresses a question being explored
• The director invites your input
• Something fundamentally isn't working and no one else is naming it

Hold Back When

• The team is in the middle of a discovery process
• Your comment would interrupt momentum
• You're reacting emotionally rather than thoughtfully
• Your input would be more effective shared privately with the director
• You're not sure what you're trying to say yet

The Art of the Question

In rehearsal, how you speak is as important as what you say. Questions are usually more productive than statements:

Instead of: "That scene feels too slow."

Try: "What story is the pacing of that scene telling? Is that the story we want?"

Instead of: "The relationship between these characters is unclear."

Try: "What do we know about their history together? What don't we know? Do we need to know?"

Finding Your Position in the Room

Where you sit in the rehearsal room matters:

• Next to the director: You're positioned as a close collaborator, but might be seen as part of the directorial authority
• Among the actors: You're accessible and approachable, but might blur boundaries
• In the back: You can see everything, but might feel separate from the action
• Moving around: You can shift perspective, but might be distracting

There's no perfect position—it depends on the production, the team, and what phase of rehearsal you're in. Be intentional about your choice and willing to adjust.

Note-Taking in Rehearsal

Your rehearsal notes serve multiple functions:

For Yourself

• Track discoveries and decisions
• Record questions to explore later
• Note patterns and connections
• Document what's been tried

For the Director

• Provide an outside eye on what's happening
• Remind them of earlier discoveries
• Suggest connections they might have missed
• Flag inconsistencies or unclear moments

For the Production

• Create a record of the creative process
• Document interpretive choices
• Track changes to text or staging
• Build institutional memory

Managing the Director Relationship

Your relationship with the director is crucial. Some directors want a dramaturg who:

• Challenges their ideas actively
• Serves primarily as a researcher
• Acts as a sounding board
• Functions as an assistant director

Understanding what your director needs—and communicating what you can offer—prevents frustration on both sides.

Regular Check-Ins

Schedule time outside rehearsal to:

• Discuss what you're observing
• Clarify your role and responsibilities
• Address any tensions or concerns
• Share research or resources more extensively

Supporting Actors

Actors are rarely your direct responsibility, but you can support their work by:

• Providing research relevant to their characters
• Answering questions about context or text
• Offering perspective on their character's journey
• Being available without being intrusive

Important: Always channel feedback through the director. Going directly to actors with notes can undermine the director's authority and create confusion.

Reading the Room

Every rehearsal has an energy, and good dramaturgs learn to read it:

When the room is stuck

• Offer a new perspective or question
• Suggest a break or shift in approach
• Bring in research that might unlock something

When the room is flowing

• Get out of the way
• Take detailed notes
• Trust the process

When there's tension

• Be aware of power dynamics
• Don't add to the tension
• Consider whether your input would help or hurt

Different Phases of Rehearsal

Your role shifts throughout the process:

Table Work

• Facilitating text exploration
• Providing historical/cultural context
• Asking questions about interpretation
• Establishing shared understanding

Blocking

• Tracking staging choices
• Noting visual storytelling
• Flagging practical issues
• Mostly observing and documenting

Working Rehearsals

• Offering perspective on what's emerging
• Providing research as needed
• Helping solve problems
• Maintaining big-picture view

Run-Throughs

• Watching like an audience member
• Taking detailed notes
• Identifying patterns
• Preparing thoughtful feedback

Tech and Previews

• Focusing on pacing and clarity
• Considering audience experience
• Noting technical issues
• Supporting final adjustments

What You're Not

It's also important to be clear about what a dramaturg is not:

• Not an assistant director (unless that's also your role)
• Not a critic or reviewer
• Not responsible for fixing everything
• Not the final arbiter of meaning

Taking Care of Yourself

Rehearsal can be long and intense. Remember to:

• Take breaks when you need them
• Maintain boundaries around your time
• Ask for what you need
• Remember that you're part of the team, not separate from it

The Invisible Work

Much of dramaturgical work in rehearsal is invisible. When it's going well:

• Actors feel supported in their exploration
• The director has space to focus on staging and performance
• Questions get asked at the right time
• The production deepens organically

This invisibility is not a problem—it's a sign that you're doing the work effectively.

Trust the Process

Finally, remember that rehearsal is a process of discovery. Not everything needs to be figured out immediately. Sometimes the best dramaturgical work is simply creating the conditions for good theatre to emerge.

Your job is to serve the work. Everything else is negotiable.