I collaborate with artists and organizations to turn bold ideas into striking and unconventional live experiences.
I also write about theatre and the performing arts. I strive to break deep and difficult insights down into crisp, clear English. Whatever I'm responding to, my angle always prizes the big ideas over the glitz and glam.
This is how I approach dramaturgy. I view writing, directing, and dramaturgy as three interdependent ways of looking at story. Yes, I have scholarly roots. But when it comes to devised work, or a revival of a classical play, I prefer to have skin in the game, collaborating as more of a co-creator than as a dramaturg in the old-fashioned sense. When working with a playwright or screenwriter, my job is more straightforward: I just want to help you get your story right. Whatever the role, I'm here to follow your lead.
Unless you catch me in a classroom. I view teaching as an important complimentary practice to art-making. For me, teaching keeps artistry grounded in simple, replicable methodologies, and keeps communication skills and strategies sharp. It doesn't matter if I'm making plays with nine-year-olds or tutoring college students; my pedagogy remains rooted in the philosophy that anyone who wants to learn, can.
I currently offer freelance services as a dramaturg, writer, and editor. Rates vary and are available upon request.
Ned Moore is a theatre artist and writer currently based in New Orleans, LA. He currently serves as the dramaturg for a new immersive project with EMURSIVE LLC (American producers of Sleep No More). He has recently worked as Pittsburgh Public Theater's Artistic Engagement Associate and Pittsburgh CLO's Artistic Assistant at the SPARK Festival of New Musicals. His translation of Euripides’ Bakkhai premiered at The Fisher Center for Performing Arts in 2013, directed by Lileana Blain-Cruz. Bakkhai and was restaged in 2015 at the Marigny Opera House in New Orleans. Since then, Ned has received fellowships from The Croatian National Theatre, The Eugene O'Neill Theater Center, Tulane University, and Columbia University. In New York, he has helped develop new plays at the O’Neill Center, The New Group, and New York Theatre Workshop. He has worked as an assistant and co-director on many productions, most recently: Verdi's Aida (dir. Marin Blazević, The Croatian National Theatre) Wrecked and Uncle Vanya (dir. Kim Kerfoot) and Waiting (dir. Anne Cecilia Haney, Columbia University). His critical writing appears in Culturebot and TDF Stages magazines. BA Languages and Literature, Bard College. MFA Dramaturgy, Columbia University.