Dramaturgy in the Making maps contemporary dramaturgical practices in various settings of theatre-making and dance to reveal the different ways that dramaturgs work today. It provides a thorough survey of three major areas of practice - institutional dramaturgy, production dramaturgy and dance dramaturgy - with each illustrated through a range of case studies that illuminate methodology and which will assist practitioners in developing their own 'dramaturgical toolbox'. In tracing the development of the role of the dramaturg, the author explores the contribution of Lessing, Brecht and Tynan, foundational figures who shaped the practice. She excavates the historical and theoretical contexts for each strand of the work, uniquely offering a history of dance dramaturgy and its associated theories. Based on extensive research, the volume features material from the author's interviews with fifty eminent professionals from Europe and North America, including: Robert Blacker, Jack Bradley, DD Kugler, Ruth Little and Hildegard De Vuyst. Through these, a detailed and precise insight is provided into dramaturgical processes at organisations such as the Akram Khan Company, les ballets C de la B (Gent), the National Theatre and the Royal Court (London), the SchaubÃ1⁄4hne (Berlin) and The Sundance Institute Theatre Lab (Utah), among others. Dramaturgy in the Making will prove indispensable to anyone working in theatre or wanting to better understand the dramaturgical processes in performance-making today. The book features a foreword by Geoff Proehl, author of Toward a Dramaturgical Sensibility: Landscape and Journey.
Dramaturgy, in its many forms, is a fundamental and indispensable element of contemporary theatre. In its earliest definition, the word itself means a comprehensive theory of "play making." Although it initially grew out of theatre, contemporary dramaturgy has made enormous advances in recent years, and it now permeates all kinds of narrative forms and structures: from opera to performance art; from dance and multimedia to filmmaking and robotics. In our global, mediated context of multinational group collaborations that dissolve traditional divisions of roles as well as unbend previously intransigent rules of time and space, the dramaturg is also the ultimate globalist: intercultural mediator, information and research manager, media content analyst, interdisciplinary negotiator, social media strategist. This collection focuses on contemporary dramaturgical practice, bringing together contributions not only from academics but also from prominent working dramaturgs. The inclusion of both means a strong level of engagement with current issues in dramaturgy, from the impact of social media to the ongoing centrality of interdisciplinary and intermedial processes. The contributions survey the field through eight main lenses: world dramaturgy and global perspective dramaturgy as function, verb and skill dramaturgical leadership and season planning production dramaturgy in translation adaptation and new play development interdisciplinary dramaturgy play analysis in postdramatic and new media dramaturgy social media and audience outreach. Magda Romanska is Visiting Associate Professor of Slavic Languages and Literatures at Harvard University, Associate Professor of Theatre and Dramaturgy at Emerson College, and Dramaturg for Boston Lyric Opera. Her books include The Post-Traumatic Theatre of Grotowski and Kantor (2012), Boguslaw Schaeffer: An Anthology (2012), and Comedy: An Anthology of Theory and Criticism (2014).
Dramaturgy: A Revolution in Theatre is a substantial history of the origins of dramaturgs and literary managers. It frames the explosion of professional appointments in England within a wider continental map reaching back to the Enlightenment and eighteenth-century Germany, examining the work of the major theorists and practitioners of dramaturgy, from Granville Barker and Gotthold Lessing to Brecht and Tynan. This study positions Brecht's model of dramaturgy as central to the worldwide revolution in theatre-making practices, and it also makes a substantial argument for Granville Barker's and Tynan's contributions to the development of literary management. With the territories of play and performance-making being increasingly hotly contested, and the public's appetite for new plays showing no sign of diminishing, Mary Luckhurst investigates the dramaturg as a cultural and political phenomenon.
How Drama Activates Learning: Contemporary Research and Practice draws together leaders in drama education and applied theatre from across the globe, including authors from Europe, North America and Australasia. It explores how learning can be activated when drama pedagogies and philosophies are applied across diverse contexts and for varied purposes. The areas explored include: Â· history Â· literacy, oracy and listening Â· health and human relationships education Â· science Â· democracy, social justice and global citizenship education Â· bullying and conflict management Â· criticality Â· digital technologies Â· additional language learning Drawing on a range of theoretical perspectives, the contributors present case studies of drama and applied theatre work in school and community settings, providing rich descriptions of practice accompanied by detailed analysis underpinned by the theoretical perspectives of key thinkers from both within and beyond the field of drama.
The Triumphant Rise & Untimely Fall of America's Show Inventors
Author: David Lindsay
Category: Performing Arts
"A fascinating history of the unexpected intersection of science, technology and show business." -John Steele Gordon, author of Hamilton's Blessing "Once upon a time, American know-how flourished through show-how: spectacular demonstrations by ever resourceful technological entrepreneurs. David Lindsay brings back these glorious (and sometimes infamous) theatricals in a delightful, witty, narrative with a serious point: the American inventor, now relegated to endless rehearsals, needs to resume a rightful place on the national center stage. For admirers and critics of technology and for veteran and inspiring inventors, Madness in the Making will give pleasure and inspire debate." -Edward Tenner. Author of Why Things Bite Back
La 4e de couverture indique : "There is a growing interest in the notion and practice of dramaturgy, which is often discussed either as the work of the dramaturg, or as the compositional, cohesive or sense-making aspects of a performance. Drawing on such views, 'The Practice of Dramaturgy' addresses dramaturgy as a shared, politicized and catalytic practice that sets actions into motion in a more speculative rather than an instructive way. In the first part, 'Dramaturgy as Working on Actions', the editors and main authors of the book discuss three working principles that lie at the heart of their proposition, and return to the etymology of the term 'dramaturgy' ('drama'=action and 'ergon'=work) in order to scrutinize this further by relating it to debates on action, work and post-Fordist labour. The second part, 'Working on Actions and Beyond', opens up to different artistic, social and political perspectives that such understanding of dramaturgy may give rise to."
Whatever else they may be doing, human beings are also and always expressing themselves whenever they are in the awareness of others. As such, the metaphor of life as theater - of people playing roles to audiences who review them and then coordinate further action - is an ancient idea that has been resurrected by social scientists as an organizing simile for the analysis and understanding of social life. The Drama of Social Life examines this dramaturgical approach to social life, bringing together the latest original work from leading contemporary dramaturgical thinkers across the social sciences. Thematically organized, it explores: ¢ the work of classical and contemporary thinkers who have contributed most to this theoretical framework ¢ the foundational concepts of the dramaturgical approach ¢ a rich array of substantive areas of empirical investigation to which dramaturgy continues to contribute ¢ directions for future dramaturgical thinking. An indispensable collection that updates and extends the dramaturgical framework, The Drama of Social Life will appeal to scholars and students of sociology, social psychology, performance studies, cultural studies, communication, film studies, and anthropology - and all those interested in the work of Goffman and symbolic interactionist theory and practice.
Scenography has been acting as a transformative force to reform the traditionalexhibitionary complex. This has led to an unprecedented intersection wherescenography meets contemporary curating, which further informs a radical ideologicalshift in the frontier of the exhibition scene. This book aims to exploit a new land ofdiscussion to look into this intersection between scenographic practice andcontemporary curating, its mergence and the subsequent revolution it has caused. Byseeing museums and exhibition spaces as metaphorical stages, it fundamentallyreconfigures the infrastructure of curating practices, in terms of a shift in authorship,architectural embodiment of ideas, field of experience, layered narrative, dramaturgy andthe hybrid expressions of new media. Three case studies will demonstrate scenography’swide-ranged methodologies in dealing with contemporary issues. Cases include: BMWMuseum (Reopened in 2008), Cultures of the World (Opened in 2010) and Leonardo’sLast Supper: A Vision by Peter Greenaway (2008, 2010). The discussion cuts throughmajor discourses, both responding to the rise of the experience economy and theexpanding notion of curating, in parallel.