While the term ôdramaturgö usually refers toáaáplaywright ináthe Russian theatre, weáuse itáquite differently ináthe United States. Aádramaturg ináAmerica can lend conceptual support toáaádirector, bringing structural, historical, and textual research toáthe rehearsal process. Dramaturgs can translate oráadapt existing texts, orádevelop aánumber ofáeclectic sources into new theatre pieces. Dramaturgs also work with playwrights asátheir new plays are produced, helping them toáorganize and rewrite throughout the process. Lastly, dramaturgs communicate with and reach out toáaudiences, writing articles and holding discussions about the plays produced inátheir theatres.
We are aágroup ofáfive American students pursuing our Master ofáFine Arts degrees inádramaturgy from the Moscow Art Theatre School/American Repertory Theatre Institute for Advanced Theatre Training atáHarvard University ináCambridge, Massachusetts. Over two-and-a-half years ofátraining, weátake classes inádramatic structure, play adaptation, production dramaturgy, new play development, structural aesthetics, and drama history, among other subjects. Weáread numerous plays and essays toádevelop our analytical skills and our base ofáknowledge. Throughout our training, weáalso provide dramaturgical support for plays produced byáthe American Repertory Theatre and byáthe Institute for Advanced Theatre Training.
Beginning ináMarch ofáour first year, weáspend three months atáthe Moscow Art Theatre School. InáMoscow, weástudy Russian theatre history and contemporary Russian theatre with Professor Anatoly Smeliansky. Weámeet with Russian theatre professionals ináaávariety ofáfields toálearn how theatre isáproduced ináthis country. Weáhave spent these months talking with journalists, directors, designers, executive directors, and press representatives. Additionally, weáhear aáseries ofálectures atáthe Bakhrushin Theatre Museum onáthe history ofáRussian stage design. Finally, and perhaps most importantly, weáattend more than fifty plays, ballets, and operas ináorder toáget aásense ofátrends ináartistic production onáthe Russian stage.
By writing the following articles onáour impressions ofátheatrical life ináRussia, weáhope toáprovide anáoutside perspective for Russians familiar with the system and anáinside view for unfamiliar Americans. Although weáare returning toáCambridge toácontinue our studies for another year, weáhope toábring with usáthe lessons weáhave learned during our three months ináRussia. Weáleave behind these essays, our attempts toáreport onáand interpret what weáhave seen. They range from assessments ofáproductions toáthe most trivial elements ofáseeing plays, but together they form aámulti-dimensional picture ofáone ofáthe world's most vibrant theatre cities.