Once the interviews are complete, the ethnodramatist needs to transcribe them – which is to write out every word that was said in the interview. This is usually a time-consuming process, so it is important for the ethnodramatist to choose their interview questions carefully.
Following the transcription process, the ethnodramatist is ready to begin scripting the interviews into a theatrical script. Generally, monologues are a key feature in Ethnodrama because we want to present the interview subject’s words just as they said them – and since they weren’t having conversations with the other interview participants, they will often speak alone – and that’s what a monologue is: a character in a play speaking alone.
Of course, the ethnodramatist can be inventive while scripting. Some extended responses might be shortened for length and impact, provided that the interview subject’s intent is maintained. If multiple interview participants spoke about similar topics or used similar wording, their lines might be interwoven – almost like poetry or into a dialogue: when characters in a play have a conversation with each other.
The essential elements of the scripting process are:
Additionally, the ethnodramatist might consider adding material from other sources to provide emphasis. Definitions, quotes, poems, music, newspaper excerpts, or other research can provide additional material to craft an aesthetic experience for an audience.
There are many possible ways to approach this process, and the ethnodramatist should be encouraged to engage creatively – but the best place to start is with the ethnographic monologue – just find a story in the interview transcript that responds to the research questions while also telling a story that an audience would want to hear.
Once the scripting process is complete, a director will come in to stage the new play with cast, sets, costumes, sound, and lights – just as would happen with any other play script.