THE RENDITION MEETS TITILOLA DAWUDU
The role of a dramaturg has its origins rooted in 18th-century Germany, emerging alongside the development of modern theater. Over time, the importance of dramaturgy has grown, as many recognise the invaluable depth and insight they bring to each project.
Titilola Dawudu serves as the Associate Dramaturg at the Bush Theatre, where she leads the Literary department. Collaborating with the Artistic and Associate Artistic Directors, she commissions and cultivates new plays and ideas, working closely with playwrights and overseeing writing groups as well as the talent development pipeline.
In this instalment of Rendition Meets, we speak with Titilola to gain insight into the role of a dramaturg, the evolving stages of theatrical production, and the personal experiences that have shaped her journey.
“I’m really passionate about advocating for writers because it gets noisy, because you’ve got the director and the assistant director and the stage manager - there a re a lot of voices and because these writers are new on their journey - they might not know how to advocate for themselves or they might need the back up - and I’m that.”
QUESTION: What are the primary responsibilities of a dramaturg in the theatre-making process?
Titi: So essentially it really it's really a script editor, almost for a film or a book for a film or a book. A dramaturg supports that writing by helping the writer tell the story the why they want to tell it. It’s about making sure that the play is stage ready and that can mean a lot of things to different people, but essentially - I work with a writer and in my process, I get to know the writer first. What’s good about working in the Bush is that I’m afforded time, so our first session is always about getting to know each other because I want to know how a writer works; how they think, how they process - because each writer is different.
By then, I have an understanding of what the concerns are, what their fears are just by having those sessions and then it’s really about (figuring) what they need from me for this play; what are the challenges, what’s important to you. For example, in My Fathers Fable by Faith Omole, it was really important to her that this was a play that really highlighted that people who are from other countries, like nigeria, that when they come here it’s not because they want to use up all the resources. They’re happy where they have come from, they are here to visit. The two people who had accents were the most powerful, because in society that’s not always the assumption.
So I will work with you to make sure not all the characters are 3D, but what is the sweet spot you want to get out of the play. It’s a bespoke way, it can’t be a one size fits all because the writers are different - so for me it’s listening.
QUESTION: How does the dramaturg's work evolve through different stages of a production—from development to rehearsal to performance?
Titi: It depends.
At the Bush, I work with the writer however many months before it gets to production, so with Wolves on Road, I’ve worked with Bearu for about 9 months because he was commissioned earlier. With The Real Ones, Waleed was commissioned in a short amount of time. It’s also really about getting it down because within that time there is an R&D, so we make sure there is a version ready for the R&D.
The R&D is the real moment where we tear the script apart, assess if it works; and then we have another draft ready for rehearsal. So for me, I’m there all the way till like previews, I might not be there everyday in rehearsals - but I’m there making sure to support the writer before it gets locked in.
The play is different from when I’m working with the writer; just me and that person to the point it gets to rehearsals. Once actors are involved, it’s going to change - so I’m an advocate for the writer to ensure what they want translates.
I’m really passionate about advocating for writers because it gets noisy, because you've got the director and the assistant director and the stage manager - there a re a lot of voices and because these writers are new on their journey - they might not know how to advocate for themselves or they might need the back up - and I’m that.
Additionally, what's really great about new writing and about the Bush is that we get to play and explore and we get to try things that if it doesn't work, it’s okay. These are things that haven’t been done before and we don’t have to fit in boxes, right? So I always try to remind the writers as much as possible.
QUESTION: How do you balance supporting a playwright’s vision while offering critical feedback?
Titi: I'm an artist myself so I fully understand, so I always lead with care and share with them that I am here to listen and support. I always share in the beginning of the relationship that I am quite an open, honest and transparent person. I've never had a playwright say I don't care about a particular character - of course not you know it's speaking in the truth to them.
Sometimes I have to wider this stage and say think about the audience, think about the people that will be coming. Sometimes I have to take it home, I have to take it deep with them to give reason and context - reminding them that we are all on the same side and that is the side of the play. I hope that they trust all the work that I’ve done, and they trust my reputation. But there is always an exchange to see what they are open to and we work with that.
“No one has ever told me that they do not need a dramaturg, 100/100 a dramaturg is needed.”
QUESTION: You’ve written for Theatre Royal Arojah in Abuja—what excites you most about Nigerian theatre, and how has your experience working there influenced your approach as a dramaturg?
Titi: That was a really amazing time, it was such a long time ago, but I went up as a writer and for me I want to do more in Nigeria. I feel like Nigeria has got such a rich history of storytelling, thinking about my family and how we tell stories is so rich. I wanted to tap into my Nigerian side and then pair that with being British as well. There are still negative narratives about Nigeria, and for me it’s about showing the world the opposite.
Upon reflection, my time there has shaped me as a dramaturg now, it’s shaped me from the listening aspect because I can’t think I know it all coming in from a British mindset. So I couldn’t come in thinking the British or Western theatre mindset was the best, or the only way.
I learnt where stories originate from, and I learnt how to research when working with people from different backgrounds and cultures. For example I was working on a story about war, the amount of research I did on that to be able to support the writer; Wolves on Road for instance, that’s a story about cryptocurrency which is a whole other language (to me) and I had to go ham in how I researched about that.
For me, working within that Nigerian context taught me a lot about how important research is and I think sometimes that's overlooked.
QUESTION: As a Black woman working as a dramaturg, how has your identity shaped your experience in the industry? How do you see your role in helping to develop and diversify the theatre space, particularly in terms of the stories being told and the voices being amplified?
Titi: It’s the drum that I always beat, and I’ve done that in various aspects. I talk about it quite often because for me, the world only turns because of the rich diversity of humans, and my mantra is that the world is big enough, the theatre landscape is big enough for us to house all of our differences and we are all deserving to tell that story.
I really liked when I was announced at the Bush, the amount of Black female writers that were like “wow, I can’t wait to work with you” which was amazing and I really tried to meet with as many writers as I could. I know that the theatre space can be incredibly intimidating, so it could really help to just have a chat with them.
I know I can’t do everything and I don't take on a role to save all the Black women - but for me it’s really important that I keep on where I can. It’s really important for me as a dramaturg to support Black writers to tell their story how they want it to be told because there is so much tension -and I always ask how do you want to tell your story.
With Faith (My Fathers Fable), she wanted the Yoruba to be at the forefront and that’s important and for whatever type of story - that is important. I really love being a dramaturg and I really love black people seeing me, however people want to see me. But the way I work with writers, I thinks it's going to benefit people because I am black - it’s important because being black myself, I’m aware of the barriers that have been there for some people, or there have been situations that have been oppressive or stories not being told because some theatres don’t think they are worth the risk.
I also love opening up what dramaturgy is so that someone like me can be a dramaturg. I had never heard of dramaturgy, so I decided that I was ( a dramaturg), because of everything I had done before. I felt I was really great at being able to support a writer structurally or bringing out a character because of all the things I’ve done. I love that we are having the conversation more on how we need to diversify dramaturgy.
QUESTION: If you could work as the dramaturg on any play or production from history (or even a dream future production), which one would you choose and why?
Titi: Anything to do with Debbie Tucker Green.
I would love to work with Debbie Tucker Green, something that's meaty. I love her mindset, I love her work - and I would never call her Debbie, I’d be like “Hi Debbie Tucker Green”.
The role of the dramaturg may have taken root in German soil, yet over the years it has flourished and evolved, finding renewed significance across cultures. Today, individuals like Titilola Dawudu exemplify this evolution, recognising the vital importance of bringing fresh narratives to life. Approaching each piece with a careful and insightful examination, ensuring that every voice is honoured, and that each story resonates deeply, inclusively, and powerfully with its audience.
