ABSTRACT

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).

chapter |16 pages

Introduction

ByMAGDA ROMANSKA

part |2 pages

PART I World dramaturgy in the twenty-first century

chapter 1|6 pages

Robert Blacker looks at the past and future of American dramaturgy

ByJACOB GALLAGHER-ROSS AND ROBERT BLACKER

chapter 2|5 pages

Contemporary new play dramaturgy in Canada

ByBRIAN QUIRT

chapter 3|5 pages

Collaborative dramaturgy in Latin American theatre

ByMARGARITA ESPADA

chapter 4|5 pages

Documentary dramaturgy in Brazil

ByJULIE ANN WARD

chapter 5|5 pages

The place of a dramaturg in twenty-first-century England

ByDUŠKA RADOSAVLJEVIC´

chapter 6|5 pages

On German dramaturgy

ByBERND STEGEMANN TRANSLATED BY JOHANNES STIER

chapter 7|7 pages

The making of La Dramaturgie in France

ByKATE BREDESON

chapter 8|5 pages

Dramaturgy and the role of the dramaturg in Poland

ByAGATA DA˛BEK TRANSLATED BY MICHAEL LEONARD KERSEY MORRIS

chapter 9|6 pages

The new play dramaturgy in Russia

ByPAVEL RUDNEV TRANSLATED BY JESSICA HINDS-BOND

chapter 10|7 pages

Dramaturgy in post-revolution Iran: problems and prospects

ByMARJAN MOOSAVI

chapter 11|6 pages

Performing dramaturgy in Syria: observations and interview with Mayson Ali

Bywith Mayson Ali FADI FAYAD SKEIKER

chapter 12|6 pages

Official and unofficial dramaturgs: dramaturgy in China

ByWILLIAM HUIZHU SUN

chapter 13|7 pages

Dramaturgy of separated elements in the experimental Japanese theatre

ByEIICHIRO HIRATA

chapter 14|5 pages

Dramaturgy in Indian theatre: a closer view

ByKETAKI DATTA

chapter 15|6 pages

Dramaturgy in Australia and the case of Avast and Doku Rai

ByPETER ECKERSALL

chapter 16|6 pages

Dramaturgies in/of South Africa

ByMARIÉ-HELEEN COETZEE AND ALLAN MUNRO

part |2 pages

Part II Dramaturgy in the age of globalization

chapter 17|5 pages

The dramaturg as globalist

ByTOM SELLAR

chapter 21|5 pages

Intercultural dramaturgy: dramaturg as cultural liaison

ByWALTER BYONGSOK CHON

chapter 23|6 pages

Reading and (re)directing “racial scripts” on and beyond the stage

ByFAEDRA CHATARD CARPENTER

chapter 25|5 pages

The dramaturgical process and global understanding

ByROBYN QUICK

chapter 26|4 pages

European dramaturgy in the twenty-first century: a constant movement

ByMARIANNE VAN KERKHOVEN

part |2 pages

PART III Dramaturgy in motion: demolitions, definitions, and demarcations

chapter 27|4 pages

Dramaturgy on shifting grounds

ByHANS-THIES LEHMANN AND PATRICK PRIMAVESI

chapter 28|6 pages

Dramaturgy as skill, function, and verb

ByLAWRENCE SWITZKY

chapter 31|5 pages

Who is the dramaturg in devised theatre?

ByTERESA STANKIEWICZ

chapter 32|5 pages

Finding our hyphenates: a new era for dramaturgs

ByJESSICA KAPLOW APPLEBAUM

chapter 35|4 pages

The art of collaboration: on dramaturgy and directing

ByANNE BOGART, JACKSON GAY

chapter 36|6 pages

Dramaturgy in action … even if it’s not as a dramaturg

ByTHOMAS A. OLDHAM

part |2 pages

PART IV Dramaturgs as artistic leaders and visionaries: privileges and responsibilities of the office

chapter 37|5 pages

Dramaturgs as artistic leaders

ByGIDEON LESTER

chapter 39|5 pages

On dramaturgy and leadership VICKI STROICH

chapter 40|4 pages

Leadership advice to a dramaturgy student

ByANNE CATTANEO

chapter 41|6 pages

Season planning: challenges and opportunities

ByEDWARD SOBEL

chapter 42|5 pages

The dramaturg’s role in diversity and audience development

ByJULIE FELISE DUBINER

chapter 43|5 pages

Guthrie Theater’s debt to women and diversity

ByMARIANNE COMBS

part |2 pages

Part V Dramaturg as mediator and context manager: transculturalism, translation, adaptation, and contextualization

chapter 47|6 pages

Lost in translation

ByGITTA HONEGGER

chapter 48|6 pages

The dissemination of theatrical translation

ByADAM VERSÉNYI

chapter 50|4 pages

Intermingling literary and theatrical conventions

ByTOMASZ WIS´NIEWSKI

chapter 51|4 pages

Research strategies in dramaturgical practice

ByMATT DICINTIO

chapter 52|5 pages

Dramaturg as context manager: a phenomenological and political practice

ByGRAÇA P. CORRÊA

chapter 53|4 pages

New play explorations in the twenty-first century

ByMARK BLY

chapter 54|5 pages

Thinking like an actor: a guide for the production dramaturg

ByANDREW IAN CARLSON

part |2 pages

Part VI Dramaturgy among other arts: interdisciplinarity, transdisciplinarity, and transvergence

chapter 56|6 pages

Complex in-betweenness of dramaturgy and performance studies

ByMARIN BLAŽEVIC´

chapter 57|7 pages

The dramaturg(ies) of puppetry and visual theatre

ByDASSIA N. POSNER

chapter 58|6 pages

A method for musical theatre dramaturgy

ByBRIAN D. VALENCIA

chapter 59|6 pages

Borderless dramaturgy in dance theatre

ByVESSELA S. WARNER

chapter 60|5 pages

The role of the dramaturg in the creation of new opera works

ByANDREW EGGERT

chapter 61|5 pages

Dramaturgy and film

ByGERRY POTTER

chapter 62|6 pages

Phronesis for robots: (re)covering dramaturgy as an interdiscipline

ByMICHAEL CHEMERS

chapter 63|5 pages

Dramaturgical design of the narrative in digital games

ByKLAUS P. JANTKE

chapter 64|6 pages

New media dramaturgy

ByPETER ECKERSALL, HELENA GREHAN, EDWARD SCHEER

chapter 65|8 pages

The science of dramaturgy and the dramaturgy of science

ByJULES ODENDAHL-JAMES

part |2 pages

Part VII Dramaturg as systems analyst: dramaturgy of postdramatic structures

chapter 66|6 pages

Postdramatic dramaturgy

ByGAD KAYNAR

chapter 67|6 pages

Teaching deconstructively

ByBARBARA JOHNSON

chapter 68|5 pages

EF’s visit to a small planet: some questions to ask a play

ByELINOR FUCHS

chapter 69|6 pages

Dramaturging non-realism: creating a new vocabulary

ByTORI HARING-SMITH

chapter 70|6 pages

On dramaturgy in contemporary dance and choreography

BySANDRA NOETH

chapter 72|5 pages

The bead diagram: a protean tool for script analysis

BySHELLEY ORR

chapter 73|7 pages

Method for a new dramaturgy of digital performance

ByJODIE MCNEILLY

chapter 74|10 pages

Drametrics: what dramaturgs should learn from mathematicians

ByMAGDA ROMANSKA

chapter 75|9 pages

Parallel-text analysis and practical dramaturgies

ByTOBY MALONE

part |2 pages

Part VIII Dramaturg as public relations manager: immersions, talkbacks, lobby displays, and social networks

chapter 76|7 pages

Dramaturgy and the immersive theatre experience

ByCATHERINE BOUKO

chapter 77|6 pages

Barrack-dramaturgy and the captive audience

ByANDRÁS VISKY

chapter 78|7 pages

Framing the theatrical experience: lobby displays

ByMIRIAM WEISFELD

chapter 79|5 pages

Dramaturg as public relations manager

ByKATIE RASOR

chapter 80|6 pages

Talkbacks: asking good discussion questions

ByJODI KANTER

chapter 81|5 pages

Talkbacks for “sensitive subject matter” productions: the theory and practice

ByMARTINE KEI GREEN-ROGERS

chapter 82|5 pages

Dramaturgies for the digital age

ByILINCA TODORUT¸

chapter 83|6 pages

Digital engagement: strategies for online dramaturgy

ByTANYA DEAN