New Dramaturgy: International Perspectives on Theory and Practice

Description

Recent shifts in the theatrical landscape have had corresponding implications for dramaturgy. The way we think about theatre and performance today has changed our approaches to theatre making and composition. Emerging new aesthetics and new areas of dramaturgical work such as live art, devised and physical theatre, experimental performance, and dance demand new approaches and sensibilities. New Dramaturgy: International Perspectives on Theory and Practice is the first book to explore new dramaturgy in depth, and considers how our thinking about dramaturgy and the role of the dramaturg has been transformed. Edited by Katalin Trencsényi and Bernadette Cochrane, New Dramaturgy: International Perspectives on Theory and Practice provides an unrivalled resource for practitioners, scholars, and students. Title Page Copyright Page Contents List of Illustrations Foreword New dramaturgy: A post-mimetic, intercultural, process-conscious paradigm References Acknowledgements Part One Towards a New Theory Chapter 1 Dramaturgy in ‘Postdramatic’ Times References Chapter 2 Dramaturgy as Ecology A Report from The Dramaturgies Project Theatre-ecology: The conditions for performance in the new century? Ecologies of collaboration Dramaturgy and diversity Pedagogy and the dramaturgical intelligence Closing References Chapter 3 Respect and Perspective Art, Structure and Ownership References Part Two Text Chapter 4 Telling Stories Across Forms Chapter 5 Towards Performed Dramaturgy Departures The process Performed dramaturgy References Chapter 6 Disruption as Revealing the Essence of Truth Part Three Devising Chapter 7 The Feeling of Devising Introduction Emotion and cognition: A summary How people feel about ideas The social anxieties of collaboration Conclusion References Chapter 8 ‘A Way of Listening’ Chapter 9 The Appliance of Science Context: Dramaturgies of the alternative science plays Rationale: Bloodlines, ‘BloodLines’ and the search for felt form Experiments: Devising with science HLA-Dance Cell monologue Pascal’s Triangle Conclusion: The devised/alternative science play as postdramatic dramaturgy? References Part Four Dance Chapter 10 Time and a Mirror Dramaturgy Time and a Mirror: Dramaturgy in an Indigenous context Context: Contemporary Indigenous art Haunting as a Way of Knowing: A dramaturgy of talking to ghosts Fantasy and Biography: A dramaturgy of ‘dreaming with our eyes open’ References Chapter 11 Going ‘Au-delà’: A Journey into the Unknown Chapter 12 Re-Membering Zero Degrees Introduction Part One: A dance dramaturg’s notebooks. A subjective memory of what I contributed How I got involved From the first day, you are there to question the obvious Re-membering always involves editing. Editing always involves re-membering Part Two: Two distinctive ways of re-membering dance12 The principle of synchronicity Memory as a somatic experience Conclusion References Part Five Spectatorship Chapter 13 Porous Dramaturgy and the Pedestrian What, in performance terms, constitutes a ‘void space’? Is it appropriate to consider the audience as a single body? When is permeability important and when might we want to think about porosity as a ‘holding environment’ or embrace? What is the importance of fragility and strength in artistic structure? Conclusion: Porosity as a spatial structure References Chapter 14 Dialectical Theatre and Devising Introduction Alfonsina, the plot and perverted logic Dialogue with the audience Conclusion References Chapter 15 Acts of Spectating The emergence of relational dramaturgy Instance One: Roman Tragedies, Toneelgroep Amsterdam Instance Two: Money, Shunt Instance Three: Hotel Medea, Zecora Ura/ParaActive Sensing the ‘Mise en Event’: Shaking up the spectating relations Double exposure: The ‘I’ of the spectator References Afterword In lieu of a conclusion Reference Notes Foreword Chapter 1 Chapter 2 Chapter 3 Chapter 5 Chapter 7 Chapter 9 Chapter 10 Chapter 11 Chapter 12 Chapter 13 Chapter 14 Chapter 15 Afterword Contributors Index