A Hub for Dramaturgical Connections

Photo credit: Pavel Bogolepov

Written by Katalin Trencsényi | Dramaturgs' Network co-founder and member of the d'n Council

When sitting in Hanna Slättne’s kitchen in London’s Tooting Bec in 2001, two early-career dramaturgs arriving in the UK from Europe in the 1990s, we did not dream that the organisation we were about to establish would still be running a generation later. At that time, what we longed for was to bring together people who identify as dramaturgs and find peer support in a theatre landscape where, most of the time, we heard was that: “Dramaturgs don’t exist in the UK! It is a European concept.”

Talking in that friendly kitchen, clearly the heart of that home, decorated in Scandinavian style, we felt that this may not be true; only we, two European migrants, have just to find our colleagues, working unnoticed, and connect with them. We believed that, through these connections, we can find and map this profession in the country, discover its genealogy, and building on its history, advocate for the role in the UK.

Fortunately, at that time, a lively conversation began about the function of dramaturgy and the role of the dramaturg in the UK. Inevitably, since each generation redefines its way of theatre-making, and consequently, as the field changes, it necessitates a new discourse on dramaturgy, rethinking its relationship with the profession and the world.

The first years of the network, therefore, were about engaging in this debate through various forums, articulating what dramaturgy can be here and now in the UK. Outreach, advocacy, education, and generating conversations characterised our work, while also serving as a hub for collegial support. Since we were a small organisation, it felt like being amongst friends. At the AGMs, we could still fit in the aforementioned kitchen with the Swedish stripy rug carpets.

Over the years, as we grew as an organisation, we faced a dilemma: how do we want to develop and professionalise? Whether we want to go towards becoming a union, an equity, fighting for better working conditions for dramaturgs, or remain a loose network of peer support? We chose a third option: focusing on offering continuous professional development for dramaturgs. At that time, this seemed most relevant, since there were few opportunities for it.

By the time we reached the 10th anniversary of the Dramaturgs’ Network, an important milestone, considering that we were running this organisation on membership fees alone, without any financial support. That year saw the professionalisation of the organisation (creating a more structured framework for running it with an elected leadership, a constitution, and even a logo). This was also the year when we launched the Kenneth Tynan award, the first and only recognition in the UK for the work of dramaturgs.

It was the highlight of my leadership: seeing Southwark Playhouse full of people celebrating a day of dramaturgy. Our international partners delegated participants to the round table discussions, a jazz band was playing in the bar, a huge free buffet was provided from in-kind donations, a raffle of theatre books that the participants brought, an improvised Seagull performance by The Factory, where the roles were decided on the spot, and at the end of the evening the award ceremony, followed by the inspirational Dramaturgy Paper speeches. The motto for the award featured a line from Kenneth Tynan: “Rouse tempers, goad and lacerate, raise whirlwinds.”

I see the Dramaturgs’ Network’s strength in being a relatively small and informal organisation, situated in the liminal area between individual artists and large equities. This gives us the flexibility and the opportunity to respond quickly to the needs of the field, create events, and develop as an organisation accordingly.

I am proud that under my leadership, we devised, produced, and organised the first (weeklong!) dance dramaturgy masterclass in the UK, led by dramaturg Hildegard de Vuyst from les ballets C de la B. Another achievement I value is that, under Mary-Ann Huslak’s leadership, the d’n took part in the In Batallions studies, which surveyed the impact of the Arts Council England funding cuts on new drama development. I am delighted that we were among the first organisations to move from a hierarchical to a collaborative leadership model, a decision made during Penny Black’s d’n presidency. I appreciate that we were the only organisation who officially responded to the open letter from hundreds of Black and Asian playwrights, We need to talk about Dramaturgy, who raised concerns about Eurocentric approaches in dramaturgy and their impact on curatorial choices.

And I am also equally proud of many other achievements – the frames of this essay would not be enough to describe them. The long list of collaborations with UK theatres and higher educational institutions, our strong relationship with the Literary Managers and Dramaturgs of the Americas, various international projects, including the International Dramaturgy Lab, an idea devised and facilitated by d’n co-founder Hanna Slättne; the Invisible Diaries series, a 12 week-long journal written daily by a diverse group of international dramaturgs during the pandemic; developing the dramaturgs’ contract package, and many more.

I am happy that, as a result of our work, today the establishment of the d’n is considered as the mark of a pivotal moment in solidifying dramaturgy as a recognised profession in the UK, and I am proud to have played my part in it. Today, I volunteer on the d’n Council – the place for long-serving Board members to ‘retire’ and serve as the organisation’s memory: be consulted or support the network through expertise or connections if needed.

I am immensely proud of the d’n: its achievements, the energy and passion of its current Board and members, and the organisation’s ongoing meaningful contribution to the field. May it be this way for a long time!

Katalin Trencsényi | Dramaturgs' Network co-founder and member of the d'n council | 26 January 2026