ABSTRACT
Over the past half century, devising theatre practices have been growing and developing into an established and recognized (though still ever evolving) set of performance-making methodologies. As we work our way into the twenty-first century, these modes of performance-making are receiving newfound attention, becoming popular and visible against the backdrop of, and even within, traditional performance practices. The visibility of these “alternative methods” of collaboration and creation demonstrate that performing is, in and of itself, an act of dramaturgy. This necessitates an evolution in our field: one that opens the space for the dramaturg to embody her practice and specify her own dramaturgical methodologies.
