“Almost Invisible Until Now” Antigone, Ismene, and the Dramaturgy of Tragedy
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Thesis Slabaugh Ms072117
THE NECESSITY AND FUNCTION OF THE DRAMATURG IN THEATRE A Thesis Presented to The Graduate Faculty of The University of Akron In Partial Fulfillment of the Requirements for the Degree Master of Arts Melanie J. Slabaugh August, 2017 THE NECESSITY AND FUNCTION OF THE DRAMATURG IN THEATRE Melanie J. Slabaugh Thesis Approved: Accepted: ______________________________ ______________________________ Advisor School Director James Slowiak J. Thomas Dukes, Ph.D. ______________________________ ______________________________ Faculty Reader Dean of the College Durand L. Pope John Green, Ph.D. ______________________________ ______________________________ Faculty Reader Dean of the Graduate School Hillary Nunn, Ph.D. Chand Midha, Ph.D. ii TABLE OF CONTENTS CHAPTER I. INTRODUCTION ……………………………………………………………….. 5 II. HISTORY AND DESCRIPTION OF DRAMATURGY ……………………… 3 Gotthold Ephraim Lessing and the Hamburg National Theatre ……… 4 Lessing’s Influence on the Dramaturgical Movement …………………. 8 Dramaturgy in American Theatre ……………………………………….. 16 III. PRODUCTION DRAMATURGY ……………………………………………. 13 The Production Dramaturg/Director Relationship ……………………. 15 New Production Dramaturgies …………………………………………… 18 IV. NEW PLAY DEVELOPMENT ………………………………………………… 20 The Role of the Dramaturg in New-Play Development …………..…… 22 The Dramaturg as Supporter ………………………………………..….… 22 The Dramaturg as Guardian ………………………………..………….…. 26 The Dramaturg as Questioner …………………………………..……….. 29 V. DEVISED THEATRE ………………………………………….…………..……. 32 The Tasks of the Dramaturg in Devised Theatre ………………….….… -
Dramaturgy Handbook
Marat/Sade Emerson Stage 2007-08 Photo Brendan Koons DRAMATURGY STUDENT HANDBOOK Compiled by Magda Romanska, Ph.D. Head of Theatre Studies and Dramaturgy Advisor Emerson College Department of Performing Arts 120 Boylston St Boston, MA 02116 [email protected] 2 TTAABBLLEE OOFF CCOONNTTEENNTTSS WHAT IS DRAMATURGY? ........................................................................... 4 DRAMATURGY AND THE LIBERAL ARTS ............................................... 6 INSTITUTIONAL DRAMATURGY .............................................................. 7 PRODUCTION DRAMATURGY ................................................................. 9 AMERICAN VS. EUROPEAN DRAMATURGY ........................................ 13 DRAMATURGY PORTFOLIO .................................................................... 14 RECOMMENDATION LETTERS ............................................................... 15 DRAMATURGY CAREER RESOURCES ............................................... 17 INTERNSHIPS ......................................................................................... 17 GRADUATE PROGRAMS - M.F.A. /Ph.D. ............................................... 24 JOURNALS ......................................................................................................28 CONFERENCES & ORGANIZATIONS .................................................... 49 OTHER CAREER RESOURCES ............................................................. 53 DRAMATURGY BEYOND THEATRE DRAMATURGY FOR FILM SCRIPTS..................................................... -
Reconsidering Brechtian Elements in Process Drama1
Ankara University, Journal of Faculty of Educational Sciences, Year: 2015, Vol: 48, No: 2, 19-36 Reconsidering Brechtian Elements in Process Drama1 Özgehan UŞTUK, MA Balıkesir University [email protected] ABSTRACT. It is known that process drama is parallel to non-Aristotelian structure of Brecht’s epic theatre in certain ways. Techniques and structure as the elements of these two notions (O’Neill’s process drama and Brecht’s epic theatre) resemble to each other not only by the usage and also by the relationship between the process and the participants as well. Brecht intended to engage actively with the audience and makes them engage with the play critically; similarly in process drama structures, participants are actively engaged with the material and the theme of the work. Moreover, in process drama, participants are assigned as meaning-makers throughout the process since they actively shouldered the role of writer, director, actor/actress and the audience. This quality lets them engage with the process in ways that are not only aesthetic but also critical and purposeful. Thus, there are also some elements that Brechtian plays and O'Neill's structures may share but they are included with different intentions. Taking all the similarities and differences that can be referred from texts into consideration, it can be suggested that further discussion is needed to reveal the dichotomy. This paper intends to build a direct link between drama in education and theatre and to explain this link from a structural point of view by comparing and contrasting examples from plays of Brecht and process drama sessions of O'Neill. -
Demarcating Dramaturgy
Demarcating Dramaturgy Mapping Theory onto Practice Jacqueline Louise Bolton Submitted in accordance with the requirements for the degree of Doctor of Philosophy The University of Leeds Workshop Theatre, School of English August 2011 The candidate confirms that the work submitted is his/her own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. 11 Acknowledgements This PhD research into Dramaturgy and Literary Management has been conducted under the aegis of an Arts and Humanities Research Council Collaborative Doctoral Award; a collaboration between the University of Leeds and West Yorkshire Playhouse which commenced in September 2005. I am extremely grateful to Alex Chisholm, Associate Director (Literary) at West Yorkshire Playhouse, and Professor Stephen Bottoms and Dr. Kara McKechnie at the University of Leeds for their intellectual and emotional support. Special thanks to Professor Bottoms for his continued commitment over the last eighteen months, for the time and care he has dedicated to reading and responding to my work. I would like to take this opportunity to thank everybody who agreed to be interviewed as part of this research. Thanks in particular to Dr. Peter Boenisch, Gudula Kienemund, Birgit Rasch and Anke Roeder for their insights into German theatre and for making me so welcome in Germany. Special thanks also to Dr. Gilli Bush-Bailey (a.k.a the delightful Miss. Fanny Kelly), Jack Bradley, Sarah Dickenson and Professor Dan Rebellato, for their faith and continued encouragement. -
Aristotle's Poetics, Bharatamuni's Natyasastra, and Zeami's Treatises: Theory As Discourse
ORE Open Research Exeter TITLE Aristotle's Poetics, Bharatamuni's Natyasastra, and Zeami's Treatises: Theory as Discourse AUTHORS Ley, Graham JOURNAL Asian Theatre Journal DEPOSITED IN ORE 26 January 2009 This version available at http://hdl.handle.net/10036/48013 COPYRIGHT AND REUSE Open Research Exeter makes this work available in accordance with publisher policies. A NOTE ON VERSIONS The version presented here may differ from the published version. If citing, you are advised to consult the published version for pagination, volume/issue and date of publication Aristotle's Poetics, Bharatamuni's Natyasastra, and Zeami's Treatises: Theory as Discourse Author(s): Graham Ley Source: Asian Theatre Journal, Vol. 17, No. 2 (Autumn, 2000), pp. 191-214 Published by: University of Hawai'i Press Stable URL: http://www.jstor.org/stable/1124489 Accessed: 26/01/2009 04:32 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=uhp. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. -
Leopold and Wolfgang Mozart's View of the World
Between Aufklärung and Sturm und Drang: Leopold and Wolfgang Mozart’s View of the World by Thomas McPharlin Ford B. Arts (Hons.) A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy European Studies – School of Humanities and Social Sciences University of Adelaide July 2010 i Between Aufklärung and Sturm und Drang: Leopold and Wolfgang Mozart’s View of the World. Preface vii Introduction 1 Chapter 1: Leopold Mozart, 1719–1756: The Making of an Enlightened Father 10 1.1: Leopold’s education. 11 1.2: Leopold’s model of education. 17 1.3: Leopold, Gellert, Gottsched and Günther. 24 1.4: Leopold and his Versuch. 32 Chapter 2: The Mozarts’ Taste: Leopold’s and Wolfgang’s aesthetic perception of their world. 39 2.1: Leopold’s and Wolfgang’s general aesthetic outlook. 40 2.2: Leopold and the aesthetics in his Versuch. 49 2.3: Leopold’s and Wolfgang’s musical aesthetics. 53 2.4: Leopold’s and Wolfgang’s opera aesthetics. 56 Chapter 3: Leopold and Wolfgang, 1756–1778: The education of a Wunderkind. 64 3.1: The Grand Tour. 65 3.2: Tour of Vienna. 82 3.3: Tour of Italy. 89 3.4: Leopold and Wolfgang on Wieland. 96 Chapter 4: Leopold and Wolfgang, 1778–1781: Sturm und Drang and the demise of the Mozarts’ relationship. 106 4.1: Wolfgang’s Paris journey without Leopold. 110 4.2: Maria Anna Mozart’s death. 122 4.3: Wolfgang’s relations with the Weber family. 129 4.4: Wolfgang’s break with Salzburg patronage. -
Review: the Journal of Dramaturgy, Volume 23, Issue 1
University of Puget Sound Sound Ideas LMDA Review Other Publications Summer 2013 Review: The ourJ nal of Dramaturgy, volume 23, issue 1 Sydney Cheek-O'Donnell Vicki Stroich Martine Kei Greene-Rodgers Curtis Russell Will Daddario See next page for additional authors Follow this and additional works at: https://soundideas.pugetsound.edu/lmdareview Recommended Citation Cheek-O'Donnell, Sydney; Stroich, Vicki; Greene-Rodgers, Martine Kei; Russell, Curtis; Daddario, Will; Hollingshaus, Wade; and Becker, Becky, "Review: The ourJ nal of Dramaturgy, volume 23, issue 1" (2013). LMDA Review. 46. https://soundideas.pugetsound.edu/lmdareview/46 This Book is brought to you for free and open access by the Other Publications at Sound Ideas. It has been accepted for inclusion in LMDA Review by an authorized administrator of Sound Ideas. For more information, please contact [email protected]. Authors Sydney Cheek-O'Donnell, Vicki Stroich, Martine Kei Greene-Rodgers, Curtis Russell, Will Daddario, Wade Hollingshaus, and Becky Becker This book is available at Sound Ideas: https://soundideas.pugetsound.edu/lmdareview/46 The Journal of Dramaturgy Published by Literary Managers and Review Dramaturgs of the Americas ISSN 2157-1007 Volume 23, Issue 1 Summer 2013 TRAVELOGUE 3 “Dramaturgy and Risk in Pakistan” by Vicki Stroich BOOK REVIEW PHOTO: 7 The Process of Dramaturgy by Scott R. Irelan, Anne Fletcher, and Julie Felise Dubiner CHRISTOPHER MORRIS Reviewed by Martine Kei Green-Rogers and Curtis Russell PEER-REVIEWED CONTENT 10 “Emancipating Dramaturgy: From Pedagogy to Psychagogy” by Will Daddario and Wade Hollingshaus 20 “Directing Like a Dramaturg: The Art of Being a Whale” by Becky Becker PHOTO: JOHN W. -
Aesopic Voices
Aesopic Voices Aesopic Voices Re-framing Truth through Concealed Ways of Presentation in the 20th and 21st Centuries Edited by Gert Reifarth & Philip Morrissey Aesopic Voices: Re-framing Truth through Concealed Ways of Presentation in the 20th and 21st Centuries, Edited by Gert Reifarth and Philip Morrisey This book first published 2011 Cambridge Scholars Publishing 12 Back Chapman Street, Newcastle upon Tyne, NE6 2XX, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2011 by Gert Reifarth and Philip Morrisey and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-3443-2, ISBN (13): 978-1-4438-3443-8 We dedicate this book to the memory of Prof. Greg Dening (1931–2008), who believed that history is not something we learn but something that we perform, and who taught history by asking his students first to describe their present so that they could better hear the silences of the past. Contents List of Images and Texts x Acknowledgements xi INTRODUCTION 1 Gert Reifarth and Philip Morrissey Aesopic Voices: A Foreword 1 PART I AESOP IN TIME 2 Gert Reifarth Old Aesop and ‘Aesopics’: Facts and Fiction, Film and Fables 14 3 Justin Clemens The Slave, the Fable: A Political Hermeneutics of the Aesopic 45 PART II AESOP IN LITEraTURE 4 Erwin Rotermund ‘Concealed Writing’ (Verdeckte Schreibweise) in the ‘Third Reich’: Forms and Problems of Reception 76 5 Evgenia A. -
The Poetics of the Tragic in Tony Kushner's <I>Angels in America</I>
The Journal of American Drama and Theatre (JADT) https://jadt.commons.gc.cuny.edu The Poetics of the Tragic in Tony Kushner’s Angels in America by Julia Rössler The Journal of American Drama and Theatre Volume 31, Number 2 (Winter 2019) ISNN 2376-4236 ©2019 by Martin E. Segal Theatre Center The art of playwriting is not fundamentally a narrative art like novel writing; it is dialogic, it proceeds from contradiction, not cause and effect. -Tony Kushner, “Notes About Political Theater”[1] Since the post-war period, American drama and theatre has been shaped by a strong political consciousness: the Theater of the Ridiculous, queer and gay drama, and the growing public presence of Latin-American and African-American playwrights during the 1960s to 1980s reflect a thematic and aesthetic diversification of American drama that is unparalleled in its history. Some scholars relate new formal developments to the impact of postmodernism as the prime characteristic of a distinctly contemporary American drama and theatre.[2] Moreover, it shows a growing interest among dramatists to establish drama and theatre as a site for critical self-reflection and public debate in which “socio-political goals of challenging hegemonic political representations and presenting identities outside the established social ideal of how Americans ‘should be’” are a central function.[3] In the early 1990s, Tony Kushner, for instance, has received much critical attention for his landmark play Angels in America: A Gay Fantasia on National Themes (1992) in which he documents multiple ills of US-American society, culture, and politics during Ronald Reagan’s presidency in the 1980s. -
Review: the Journal of Dramaturgy, Volume 20, 2009/2010
University of Puget Sound Sound Ideas LMDA Review Other Publications 2010 Review: The ourJ nal of Dramaturgy, volume 20, 2009/2010 Jonathan Lee Chambers Geoff rP oehl Cathy Turner Synne K. Behrndt Sydney Cheek-O'Donnell See next page for additional authors Follow this and additional works at: http://soundideas.pugetsound.edu/lmdareview Recommended Citation Chambers, Jonathan Lee; Proehl, Geoff; Turner, Cathy; Behrndt, Synne K.; Cheek-O'Donnell, Sydney; Pisasale, Gina; Sobeck, Janine; Quick, Robyn; McCartney, Alison; Brueckner, Laura; and Ramey, Heather, "Review: The ourJ nal of Dramaturgy, volume 20, 2009/ 2010" (2010). LMDA Review. 41. http://soundideas.pugetsound.edu/lmdareview/41 This Book is brought to you for free and open access by the Other Publications at Sound Ideas. It has been accepted for inclusion in LMDA Review by an authorized administrator of Sound Ideas. For more information, please contact [email protected]. Authors Jonathan Lee Chambers, Geoff rP oehl, Cathy Turner, Synne K. Behrndt, Sydney Cheek-O'Donnell, Gina Pisasale, Janine Sobeck, Robyn Quick, Alison McCartney, Laura Brueckner, and Heather Ramey This book is available at Sound Ideas: http://soundideas.pugetsound.edu/lmdareview/41 T h e J o u r n a l o f D r a m a t u r g y P u b l i s h e d b y t h e L i t e r a r y M a n a g e r s a n d Review D r a m a t u r g s o f t h e A m e r i c a s Volume 20 2009 / 2010 ATHE 2009 OUTSTANDING BOOK AWARD: GEOFF PROEHL 2 Introduction, Jonathan Lee Chambers 3 Acceptance Speech, Geoff Proehl BOOK REVIEW 4 Dramaturgy and Performance, by Cathy Turner and Synne K. -
Introduction Magda Romanska
Introduction Magda Romanska Dramaturgy: an overview of the concept from Poetics to Smash In its broader and earliest definition, dramaturgy means a comprehensive theory of “play making.” The original Greek compound word, dramatourgos, meant simply a play maker, play composer, that is, a playwright. According to Aristotle, the root word “drama” came from the Attic verb that simply meant “action” (δραν = “to do” or “to make”). The second morpheme, “tourgos,” was derived from the Greek word “ergo” (έργο = “work” or “composition”), which meant “working together.” Aristotle often used it in its vernacular meaning, as the connector “therefore.” (This meaning eventually entered Latin, where it was most famously used by Descartes in his maxim cogito ergo sum –“I think therefore I am.”) Thus, originally, dramatourgos simply meant someone who was able to arrange various dramatic actions in a meaningful and comprehensive order. To this day, in many modern languages, including French, Spanish, and Polish, the word dramaturg also can mean playwright, adding to the confusion as the two roles continue to be conflated. As dramaturgy attempts to define itself separately from playwriting, the etymology of the word can help us illuminate its many his- torical and modern uses. Everyone can be a playwright (or, at least, everyone can write a bad play), but not everyone can be a dramaturg (that is, not everyone will actually know how to fix it). Dramaturgy requires the analytical skill of discerning and deconstructing all elements of dramatic structure. We can say that although Aeschylus was the first Western playwright, Aristotle, whose Poetics was the first Western book attempting to define the formal rules of well-structured drama, was the very first Western dramaturg. -
Catharsis: the Common Goal of Storytelling and Life
Catharsis: The Common Goal of Storytelling and Life Dr.Stanislav.Semerdjiev Full Professor of Screenwriting & Rector, NATFA [email protected] Catharsis: The Common Goal of Storytelling and Life 1. Classical Catharsis The term “catharsis” has been in circulation long before the times of Aristotle but nowadays we all accept that he is its reputed author. Unfortunately, the pages in Poetics containing its explanation though, have been irrevocably lost. On the other hand, we still have the passages in Politics where Aristotle defines the same term in respect to emotions and/or physiology, and those in Nicomachean Ethics from which an ethical interpretation could undeniably be derived. It is both impossible and unreasonable to try and trace all interpreters’ ideas in this short text. Therefore, I have chosen to roughly group them in three major trends. 1.1. Ethical or/and Aesthetic Catharsis The ethico-aesthetic interpretations probably started in 1634 with the presentation of the official rules of the French Academy for dramatic composition, which were centered on the notion of the audience’s emotional purgation (i.e., catharsis) as the main function of tragedy. For this to happen though, the public had to absolutely believe in what they saw on stage. By rationally comparing it to their own life (and finding out other people experienced the same and even worse situations) the audience, then, could feel relieved from their painful emotions. But this could only be achieved if the author used the rule of the three “dramatic unities” (those of action, time and place) attributed to Aristotle. The dogmatic view imposed on all dramatic works started the 200-year epic battle of “des anciens et des modernes”.