2020-21 Msg Theatre Lab Play Development Program in Partnership with Playwrights Theatre Centre
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University of California Santa Cruz Dissecting
UNIVERSITY OF CALIFORNIA SANTA CRUZ DISSECTING DRAMATURGICAL BODIES: Self, Sensibility, and Gaze in Contemporary Dramaturgy A thesis submitted in partial satisfaction of the requirements for the degree of MASTER OF ARTS in THEATER ARTS by Patrick Denney This thesis of Patrick Denney is Approved by: _____________________________________ Professor Michael Chemers, PHD, Chair _____________________________________ Professor Gerald Casel, MFA _____________________________________ Professor Philippa Kelly, PHD _____________________________________ Tyrus Miller Vice Provost and Dean of Graduate Studies Table of Contents Abstract………………………………………………………………………………………………………………………………………………….iv Dedication………………………………………………………………………………………………………………………………………………v “Killing” Theater: A Survey of Popular Depictions of Dramaturgy……………………………………………………………1 Brecht’s Electrons: Positioning the Dramaturg in The Messingkauf Dialogues and Beyond…………………….5 Doctor to Dramaturg, and Back Again: Defining the Dramaturgical Gaze………………………………………………10 Pharmaturg to Dramaturg: Pharmakos and Dionysian Dramaturgy………………………………………………………18 Works Cited………………………………………………………………………………………………………………………………………….33 iii ABSTRACT: DISSECTING DRAMATURGICAL BODIES: Self, Sensibility, and Gaze in Contemporary Dramaturgy By Patrick Denney Dramaturgy is an art form that is still, after decades of existence in the American theater, misunderstood, and often feared, by many theater artists. From quasi-realistic portrayals of TV Shows such as SMASH, to the pulpy B-movie depiction of Law and Order: Criminal -
To View Our Program
About Villanova University Since 1842, Villanova University’s Augustinian Catholic intellectual tradition has been the cornerstone of an academic community in which students learn to think critically, act compassionately and succeed while serving others. There are more than 10,000 undergraduate, graduate and law students in the Univer- sity’s six colleges – the College of Liberal Arts and Sciences, the Villanova School of Business, the College of Engineering, the College of Nursing, the College of Professional Studies and the Villanova University School of Law. As students grow intellectually, Villanova prepares them to become ethical leaders who create positive change everywhere life takes them. In Gratitude The faculty, staff, and students of Villanova Theatre extend sincere gratitude to those generous benefactors who have established endowed funds in support of our efforts: Marianne M. and Charles P. Connolly, Jr. ’70 Dorothy Ann and Bernard A. Coyne, Ph.D. ̓55 Patricia M. ’78 and Joseph C. Franzetti ’78 Peter J. Lavezzoli ’60 Mary Anne C. Morgan ̓70 and Family & Friends of Brian G. Morgan ̓67, ̓70 Anthony T. Ponturo ’74 For information about how you can support the Theatre Department, please contact Heather Potts-Brown, Director of Annual Giving, at (610) 519-4583. Villanova Theatre gratefully acknowledges the generous support of its many patrons & subscribers We wish to offer special thanks to our 14-15 Benefactors: This list is updated as of November 1, 2014 A Running Friend Delia Mullaney Bill & Mimi Nolan John L. Abruzzo, M.D. Peggy & Bill Hill Beverly Nolan Donna Adams-Tomlinson Nancy & Joseph Hopko Dr. & Mrs. Bruce Northrup Loretta Adler Kerri L. -
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. -
6 X 10 Long.P65
Cambridge University Press 0521849632 - Dramaturgy: A Revolution in Theatre Mary Luckhurst Excerpt More information 1 Introduction In Germany, Eastern Europe, Scandinavia and the Netherlands drama- turgs and literary managers are a lynchpin of mainstream, state-funded theatre, and have been officially employed for well over two centuries. Playreaders, advisers on repertoire and textual, critical and practical experts working in partnerships with directors and/or writers are accepted as an integral part of theatre-making. Similarly, though the history is much more recent, advances in American theory and practice since the 1960s mean that dramaturgy and literary management are now embedded both in subsidised theatre and as recognised disciplines in academic curri- cula at over forty universities.1 The latest edition of Brockett’s standard theatre history contains significant new sections on both fields, seeking to define differences while acknowledging that the concept of the dramaturg is still not widely understood.2 England is now belatedly following in the wake of continental and US practice, and its dramaturgical cultures have undergone an extraordinary transformation, particularly in the last decade – a pace of change still so great that it is difficult to keep abreast of developments. Though literary managers became official only in 1963 with the arrival of Tynan at the National Theatre, and professionalisation was at first slow, it quickened exponentially in the 1990s and the number of appointments continues to rise. Literary managers are now key figures intheartisticrunningofmanytheatres,andthedeploymentofdrama- turgs, who in England most commonly develop new plays, has become widespread. This book explores the origins and causes of this recent and revolutionary sea change in English theatre culture: the profession- alisation of literary management and dramaturgy. -
February 19 - March 22, 2020
Based on the Motion Picture Written and Directed by JOHN CARNEY Directed by MARK CUDDY Book by ENDA WALSH Music Director Music and Lyrics by DON KOT GLEN HANSARD Choreography by and MARKÉTA IRGLOVÁ WHITNEY G-BOWLEY A Co-production with SYRACUSE STAGE February 19 - March 22, 2020 Lead Co-Producers: Co-Producer: Associate Producer: Media Sponsors: Honorary Producers: Ken & Joan Slater 1 ABOUT GEVA THEATRE CENTER Geva Theatre Center is your not-for-profit theatre company dedicated to creating and producing professional theatre productions, programs and services of a national standard. As Rochester’s flagship professional theatre, Geva is the most attended regional theatre in New York State, and one of the 25 most subscribed in the country, serving up to 160,000 patrons annually, including 20,000 students. Founded in 1972 by William Selden and Cynthia Mason Selden, Geva was originally housed in the Rochester Business Institute building on South Clinton Avenue. In 1982, Geva purchased and converted its current space – formerly a NYS Arsenal designed by noted Rochester architect Andrew J Warner and built in 1868 – and opened its new home at the Richard Pine Theatre in March 1985. Geva operates two venues – the 516-seat Elaine P. Wilson Stage and the 180-seat Ron & Donna Fielding Stage. As one of the country’s leading theatre companies and a member of the national League of Resident Theatres, Geva produces a varied contemporary repertoire from musicals to world premieres celebrating the rich tapestry of our diverse community. We draw upon the talents of some of the country’s top actors, directors, designers and writers who are shaping the American Theatre scene. -
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. -
UC Santa Cruz Electronic Theses and Dissertations
UC Santa Cruz UC Santa Cruz Electronic Theses and Dissertations Title Dissecting Dramaturgical Bodies: Self, Sensibility, and Gaze in Contemporary Dramaturgy Permalink https://escholarship.org/uc/item/82f5012r Author Denney, Patrick Publication Date 2016 License https://creativecommons.org/licenses/by/4.0/ 4.0 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA SANTA CRUZ DISSECTING DRAMATURGICAL BODIES: Self, Sensibility, and Gaze in Contemporary Dramaturgy A thesis submitted in partial satisfaction of the requirements for the degree of MASTER OF ARTS in THEATER ARTS by Patrick Denney This thesis of Patrick Denney is Approved by: _____________________________________ Professor Michael Chemers, PHD, Chair _____________________________________ Professor Gerald Casel, MFA _____________________________________ Professor Philippa Kelly, PHD _____________________________________ Tyrus Miller Vice Provost and Dean of Graduate Studies Table of Contents Abstract………………………………………………………………………………………………………………………………………………….iv Dedication………………………………………………………………………………………………………………………………………………v “Killing” Theater: A Survey of Popular Depictions of Dramaturgy……………………………………………………………1 Brecht’s Electrons: Positioning the Dramaturg in The Messingkauf Dialogues and Beyond…………………….5 Doctor to Dramaturg, and Back Again: Defining the Dramaturgical Gaze………………………………………………10 Pharmaturg to Dramaturg: Pharmakos and Dionysian Dramaturgy………………………………………………………18 Works Cited………………………………………………………………………………………………………………………………………….33 -
Bargaining Power on Broadway: Why Congress Should Pass the Playwrights Licensing Antitrust Initiative Act in the Era of Hollywood on Broadway Ashley Kelly
Journal of Law and Policy Volume 16 | Issue 2 Article 8 2009 Bargaining Power on Broadway: Why Congress Should Pass the Playwrights Licensing Antitrust Initiative Act in the Era of Hollywood on Broadway Ashley Kelly Follow this and additional works at: https://brooklynworks.brooklaw.edu/jlp Recommended Citation Ashley Kelly, Bargaining Power on Broadway: Why Congress Should Pass the Playwrights Licensing Antitrust Initiative Act in the Era of Hollywood on Broadway, 16 J. L. & Pol'y (2008). Available at: https://brooklynworks.brooklaw.edu/jlp/vol16/iss2/8 This Note is brought to you for free and open access by the Law Journals at BrooklynWorks. It has been accepted for inclusion in Journal of Law and Policy by an authorized editor of BrooklynWorks. KELLY 7/21/08 4:06 PM BARGAINING POWER ON BROADWAY: WHY CONGRESS SHOULD PASS THE PLAYWRIGHTS LICENSING ANTITRUST INITIATIVE ACT IN THE ERA OF HOLLYWOOD ON BROADWAY Ashley Kelly∗ INTRODUCTION The presence of “pic-to-legit musicals” on Broadway has been around for decades.1 In recent years, Broadway has seen its share of motion pictures turned into musical hits2 as well as ∗ Brooklyn Law School, Class of 2009; B.A. Barnard College, 2004. The author wishes to thank Ralph Sevush and David Faux, Brooklyn Law School ‘05, for giving her the opportunity to intern with the Dramatists Guild. She would also like to thank her parents, Hugh and Suzy Kelly, and her brothers, Chris and Sean, for understanding why she could not come home for Thanksgiving. Finally, she wishes to thank Will Page for keeping her head on straight. -
Artistic Science: an Exploration of Dramaturgy Through Inquiry-Based Learning for Youth Artists" (2021)
University of Central Florida STARS Electronic Theses and Dissertations, 2020- 2021 Artistic Science: An Exploration of Dramaturgy through Inquiry- Based Learning for Youth Artists Sam DiRosa University of Central Florida Part of the Dramatic Literature, Criticism and Theory Commons Find similar works at: https://stars.library.ucf.edu/etd2020 University of Central Florida Libraries http://library.ucf.edu This Masters Thesis (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2020- by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation DiRosa, Sam, "Artistic Science: An Exploration of Dramaturgy through Inquiry-Based Learning for Youth Artists" (2021). Electronic Theses and Dissertations, 2020-. 672. https://stars.library.ucf.edu/etd2020/672 ARTISTIC SCIENCE: AN EXPLORATION OF DRAMATURGY THROUGH INQUIRY- BASED LEARNING FOR YOUTH ARTISTS by SAM DIROSA B.A. University of Tampa, 2004 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Theatre in the College of Arts and Humanities at the University of Central Florida Orlando, Florida Summer Term 2021 Major Professor: Julia Listengarten © 2021 Sam DiRosa ii ABSTRACT In the unique world of a play, dramaturgy provides the essential multi-dimensional foundation for comprehensive exploration. As the identity of dramaturgy is complex and continues to evolve, the artistic value discovered through practice positively contributes to the theatrical experience for both artists and audience members. This substantial element is mostly absent from theatrical experiences for youth, usually making a meaningful appearance in professional and collegiate theatre productions. -
Dance Resume 2019
Becca Sweitzer GTA, Lisa Lindholm www.beccasweitzer.com 818-843-9800 IG @beccasweitzerchoreo FILM (partial list) La La Land Dancer Mandy Moore/Damien Chazelle dir. Behind The Candelabra Showgirl Marguerite Derricks/Steven Soderbergh dir. Lucky Stiff Fantasy Maid Joey Pizzi/Christopher Ashley dir. Larry Gaye Cincinnati Erin Lamont/Sam Friedlander dir. Barry Munday Waitress Cornerstore/Chris D’Arienzo dir. Tropic Thunder Go-go Dancer Marguerite Derricks/Ben Stiller dir. Hairspray (2007) Darla Adam Shankman choreo/dir. Southland Tales Dancer Marguerite Derricks/Richard Kelly dir. Ripple Effect Jewelry Clerk GB/Philippe Caland dir. Austin Powers in Goldmember Dancer Marguerite Derricks/Jay Roach dir. Starsky & Hutch Cheerleader Marguerite Derricks/Todd Phillips dir. From Justin to Kelly Dancer Travis Payne/Robert Iscove dir. Not Another Teen Movie Cheerleader Anne Fletcher/Joel Gallen dir. TV SHOWS (partial list) Disjointed Dancer Chris Judd/Richie Keen dir. G.L.O.W. “Pilot” Jazzercise Dancer Marguerite Derricks/Jesse Peretz dir. Garfunkel & Oates “Eggs” Pregnant Lady Kathryn Burns/Raul B Fernandez dir. Smash “The Dramaturg” Dancer Josh Bergasse/Larry Shaw dir. Glee “Dream On” Dancer Zach Woodlee/Joss Whedon dir. Cold Case “World’s End” Dancer Travis Payne/Roxann Dawson dir. Scrubs “My Musical” Dancer Lance McDonald/Richard Wells dir. That 70’s Show “That 70’s Musical” Girl #1 Marguerite Derricks/David Trainer dir. Ally McBeal “I Will Survive” Dancer Joe Malone/Barnett Kellerman dir. TV - VARIETY & AWARDS SHOWS (partial list) Jimmy Kimmel -
Theatre Society Membership
ST. EDWARD'S UNIVERSITY THEATER ARTS STAFF AND FACULTY Dean of Humanities .. ......... ...... ..... Father Louis T. Brusatti . FULLCIRCLE Artistic Director/Area Coordinator .. .. ...... .. ....... Ev Lunning, Jr. Managing Director . ... .. ...... .. .... .. ...... Michelle S. Polgar Administrative Coordinator .. ... ... ...... Robin Grace Thompson BY Costume Shop Manager .... .. .. .... ...... ... T'Cie Mancuso Technical Director .......... ... ..... ........ ..... Chase Staggs CHARLES L. MEE Master Electrician ............ ... ( . Natalie George Costume Technical Specialist ........ ....... ... ..... Michelle Heath DAVID LONG Assistant Professors . David Long DIRECTOR Sheila Gordon Sara Medina-Pape Michael Massey LEILAH STEWART LAURA CANNON Adjunct Instructors ......... .... .......... ..... Dr. Brooks Barr SCENIC DESIGN COSTUME DESIGN Ann Mary Carney Bhagirit Crow DIANA DUECKER BUZZ MORAN Todd Dellinger LIGHTING DESIGN SOUND DESIGN Diana Duecker Kathy Dunn Hamrick ROBIN LEWIS TARA COOPER Babs George CHOREOGRAPHY MAKEUP/HAIR DESIGN Rachel Magee Bill McMillin MICHAEL MCKELVEY BROOKS BARR Dr. Michael McKelvey MUSIC DIRECTION PRODUCTION DRAMATURG Margita Pencevova Gary M. van der Wege KATE KAMPSCHROEDER* PRODUCTION STAGE MANAGER SPECIAL THANKS Joe Carpenter JILL BLACKWOOD* Pedro Gallardo GREG HOLT* Rude Mechanicals EQUITY GUEST ARTISTS Ike Machamer Mark Porter Isaac Ruiz Sponsored in part by Kerstin Somerholter School of Behavioral and Social Sciences Lindsey C. Taucher Robert Whyburn CHRONICLEliifA · 3 ,_ 9· FULL CIRCLE was originally -
Is Everyone Hanging out Without Me? (And Other Dramaturgical Concerns): Re-Centering Dramaturgy and Comedy As Feminist Tools for Social Change
University of Massachusetts Amherst ScholarWorks@UMass Amherst Masters Theses Dissertations and Theses August 2020 Is Everyone Hanging Out Without Me? (And Other Dramaturgical Concerns): Re-Centering Dramaturgy and Comedy as Feminist Tools for Social Change Shaila Schmidt University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/masters_theses_2 Part of the Feminist, Gender, and Sexuality Studies Commons, Film and Media Studies Commons, Race, Ethnicity and Post-Colonial Studies Commons, Television Commons, and the Theatre and Performance Studies Commons Recommended Citation Schmidt, Shaila, "Is Everyone Hanging Out Without Me? (And Other Dramaturgical Concerns): Re- Centering Dramaturgy and Comedy as Feminist Tools for Social Change" (2020). Masters Theses. 946. https://doi.org/10.7275/17672745 https://scholarworks.umass.edu/masters_theses_2/946 This Open Access Thesis is brought to you for free and open access by the Dissertations and Theses at ScholarWorks@UMass Amherst. It has been accepted for inclusion in Masters Theses by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. IS EVERYONE HANGING OUT WITHOUT ME? (AND OTHER DRAMATURGICAL CONCERNS): RE-CENTERING DRAMATURGY AND COMEDY AS FEMINIST TOOLS FOR SOCIAL CHANGE A Thesis Presented by SHAILA SCHMIDT Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of MASTER OF FINE ARTS May 2020