Dramaturgy Handbook
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
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 ………………….….… -
“Almost Invisible Until Now” Antigone, Ismene, and the Dramaturgy of Tragedy
NORDIC THEATRE STUDIES Vol. 31, No. 1. 2019, 141-154 “almost invisible until now” Antigone, Ismene, and the Dramaturgy of Tragedy KRISTINA HAGSTRÖM-STÅHL ABSTRACT This essay discusses Sophocles’ Antigone in relation to its Hegelian legacy, engaging with the play from a directorial perspective. Drawing on the work of Judith Butler, Anne Carson , Bonnie Honig, Peggy Phelan and Cecilia Sjöholm, I attempt to envision a contemporary mise en scène that repositions feminine subjectivity within the dramaturgy of tragedy. Centering on the relationship between Antigone and Ismene, as well as on the possibility of revaluing Ismene’s position in terms of political and dramaturgical agency, I hope to challenge dramaturgical conventions that assume binary, heteronormative relations as the primary framework of interpretation for female characters, and death and destruction as the only possible outcome for what is positioned as feminine. This resituated reading of the drama examines the function of embodied performance in processes of meaning-making, and offers dramaturgical structure as a site for strategies of resistance. KEYWORDS dramaturgy, tragedy, Hegelian dialectics, feminist theory, performance practice ISSN 2002-3898 © Kristina Hagström-Ståhl and Nordic Theatre Studies PEER REVIEWED ARTICLE Open access: https://tidsskrift.dk/nts/index Published with support from Nordic Board for Periodicals in the Humanities and Social Sciences (NOP-HS) DOI: 10.7146/nts.v31i1.113013 “almost invisible until now” “almost invisible until now” Antigone, Ismene, and the Dramaturgy of Tragedy1 Elle pense qu’elle va mourir, qu’elle est jeune, et qu’elle aussi, elle aurait bien aimé vivre. Mais il n’y a rien à faire. -
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. -
Chapter 2: Understanding Theory
UNDERSTANDING THEORY Kathleen S. Lowney We all have perspectives or ways of seeing the world, but few of us are aware of alternative points of view. © iStockphoto.com/Simondistribute Dannhauer or CHAPTER 2 CHAPTER post, copy, not Do Copyright ©2021 by SAGE Publications, Inc. This work may not be reproduced or distributed in any form or by any means without express written permission of the publisher. LEARNING QUESTIONS because of social solidarity, or the moral order of society. Why and how do sociologists use Families, religion, education, and other institutions teach 2.1 theoretical perspectives? individuals to help society function smoothly. 2.2 What is structural functionalism? CONSIDER THIS 2.3 What is a conflict perspective? Do you believe anyone can “make it” in society if they 2.4 What is symbolic interaction? just work hard enough? Or do you think some have more advantages than others? How have your life How do structural functionalism, conflict perspectives, and symbolic interaction work experiences influenced the “glasses” you use to see 2.5 together to help us get a more complete the world? view of reality? Durkheim and Types of Societies Émile Durkheim, writing in the early 1900s, examined What Is Theory? social solidarity throughout history. In smaller, preindus- trial societies, social solidarity derived from the similarity 2.1 Why and how do sociologists use of its members, what Durkheim referred to as mechanical theoretical perspectives? solidarity. Most diddistribute similar types of labor (working the land) and had similar beliefs (based on religion). Children often will try on another person’s glasses. -
European Modernism and the Resident Theatre Movement: The
European Modernism and the Resident Theatre Movement: The Transformation of American Theatre between 1950 and 1970 Sarah Guthu A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2013 Reading Committee: Thomas E Postlewait, Chair Sarah Bryant-Bertail Stefka G Mihaylova Program Authorized to Offer Degree: School of Drama © Copyright 2013 Sarah Guthu University of Washington Abstract European Modernism and the Resident Theatre Movement: The Transformation of American Theatre between 1950 and 1970 Sarah Guthu Chair of the Supervisory Committee: Dr. Thomas E Postlewait School of Drama This dissertation offers a cultural history of the arrival of the second wave of European modernist drama in America in the postwar period, 1950-1970. European modernist drama developed in two qualitatively distinct stages, and these two stages subsequently arrived in the United States in two distinct waves. The first stage of European modernist drama, characterized predominantly by the genres of naturalism and realism, emerged in Europe during the four decades from the 1890s to the 1920s. This first wave of European modernism reached the United States in the late 1910s and throughout the 1920s, coming to prominence through productions in New York City. The second stage of European modernism dates from 1930 through the 1960s and is characterized predominantly by the absurdist and epic genres. Unlike the first wave, the dramas of the second wave of European modernism were not first produced in New York. Instead, these plays were often given their premieres in smaller cities across the United States: San Francisco, Seattle, Cleveland, Hartford, Boston, and New Haven, in the regional theatres which were rapidly proliferating across the United States. -
Levine Georgetown 0076M 12
ERVING GOFFMAN AND YOU A Thesis submitted to the Faculty of the Graduate School of Arts and Sciences of Georgetown University in partial fulfillment of the requirements for the degree of Master of Arts in Communication, Culture, and Technology By Sara Levine, B.A. Washington, DC April 1, 2014 Copyright 2014 by Sara Levine All Rights Reserved ii ERVING GOFFMAN AND YOU Sara Levine, B.A. Thesis Advisor: Wayne H. Osborn, Doctor of Philosophy. ABSTRACT Erving Goffman and You is an animated web series that explores the main tenets of sociologist Erving Goffman’s The Presentation of Self in Everyday Life. Goffman is best known for using theatrical terminology to analyze mundane interactions. Goffman explained his theories with anecdotal examples, but his anecdotes are not as relatable as they were when the book was published. Erving Goffman and You reboots Goffman’s concepts through six modern day examples. The web series relies on a knowledge base that includes both Goffman’s work and the work of Goffmanian scholars. The combination of updated examples and visually engaging content provides a fresh take on dramaturgical analysis for newcomers and fans of Goffman alike. iii Table Of Contents 1. Introduction .................................................................................................................. 1 2. The Presentation of Self in Everyday Life ................................................................... 2 2.1 Dramaturgical Analysis ............................................................................................ -
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. -
Short Synopsis a Young Woman Is
*** Please note: these production notes are for reference only and may contain spoilers. We would appreciate you not revealing the characters’ secrets in editorial or social postings without proper warning. The film is under embargo until Wednesday, February 21 at 10:30pm CET / 4:30pm EST / 1:30pm PST. Thank you. *** Short Synopsis A young woman is involuntarily committed to a mental institution where she is confronted by her greatest fear - but is it real or is it a product of her delusion? Long Synopsis Making a startling trip into thriller territory with Unsane, director Steven Soderbergh plunges audiences into the suspense and drama of a resilient woman’s (Claire Foy, The Crown) fight to reclaim her freedom even as she risks her own sanity. Scarred from the trauma of being stalked, quick-witted Sawyer Valentini (portrayed by Ms. Foy) has relocated from Boston to Pennsylvania for a new life. As her mother Angela (Academy Award nominee Amy Irving) misses her back home and her office job is hardly an ideal employment opportunity, Sawyer remains on edge following her two years of being terrorized. To consult with a therapist, she goes for follow-up treatment at the Highland Creek Behavioral Center. Sawyer’s initial therapy session at the suburban complex run by clinician Ashley Brighterhouse (Aimée Mullins, Stranger Things) progresses well — until she unwittingly signs herself in for voluntary 24-hour commitment. Unable to leave the premises, Sawyer finds herself in close quarters with previously committed hellion Violet (Juno Temple, The Dark Knight Rises) and savvy Nate (Jay Pharoah, Saturday Night Live), who is battling an opioid addiction. -
Downloaded by Michael Mitnick and Grace, Or the Art of Climbing by Lauren Feldman
The Dream Continues: American New Play Development in the Twenty-First Century by Gregory Stuart Thorson B.A., University of Oregon, 2001 M.A., University of Colorado, 2008 A thesis submitted to the Faculty of the Graduate School of the University of Colorado in partial fulfillment of the requirement for the degree of Doctor of Philosophy Department of Theatre This thesis entitled: The Dream Continues: American New Play Development in the Twenty-First Century written by Gregory Stuart Thorson has been approved by the Department of Theatre and Dance _____________________________________ Dr. Oliver Gerland ____________________________________ Dr. James Symons Date ____________ The final copy of this thesis has been examined by the signatories, and we Find that both the content and the form meet acceptable presentation standards of scholarly work in the above mentioned discipline. IRB protocol # 12-0485 iii Abstract Thorson, Gregory Stuart (Ph.D. Department of Theatre) The Dream Continues: American New Play Development in the Twenty-First Century Thesis directed by Associate Professor Oliver Gerland New play development is an important component of contemporary American theatre. In this dissertation, I examined current models of new play development in the United States. Looking at Lincoln Center Theater and Signature Theatre, I considered major non-profit theatres that seek to create life-long connections to legendary playwrights. I studied new play development at a major regional theatre, Denver Center Theatre Company, and showed how the use of commissions contribute to its new play development program, the Colorado New Play Summit. I also examined a new model of play development that has arisen in recent years—the use of small black box theatres housed in large non-profit theatre institutions. -
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.