ABSTRACT
This chapter presents the core of the authors’ successful stage productions over a 30-year period. It applies to simple, pragmatic methods within concert dramaturgy, which places emphasis on the artistic part of stage production.
The author uses the term composing and not just programming or organising to develop a series of stage programmes. In this context, the term dynamic not only implies variation in volume, but variations in a scenic entirety of music, dance, drama, and projection design. Furthermore, the programme composition can release energy with friction and flow, growth, or other changes within the tension contour or the tension curves. For these processes, the author introduces the holistic models provided by vertical and horizontal production sheets or storyboards.
The author points to five practical approaches for developing the programme concepts: (1) Overall aim and function; (2) Context and target groups; (3) Programme content and programme structure; (4) Ensemble types; and (5) Arena types.
In addition, four thematic approaches are explored: (1) Historic-based—masters and their works and special events; (2) Inspired by music, pictures, films, and various forms of textual sources; (3) Value-based or message-based topics—often connected to trends in societies; (4) Reputation building, international profiling, cultural exchange, and cross-cultural potential.
A modified and updated version of the model Theatre Hierarchy (Kizer, 2013), demonstrates the importance of interaction between the different competence groups of administration, creation and performance, design and technical.
