By Magda Romanska
Dramaturgy, in its many varieties, is a primary and vital component to modern theatre. In its earliest definition, the note itself capability a entire concept of "play making." even though it before everything grew out of theatre, modern dramaturgy has made huge, immense advances lately, and it now permeates every kind of narrative kinds and constructions: from opera to functionality artwork; from dance and multimedia to filmmaking and robotics.
In our worldwide, mediated context of firm staff collaborations that dissolve conventional divisions of roles in addition to unbend formerly intransigent ideas of time and house, the dramaturg is usually the final word globalist: intercultural mediator, details and learn supervisor, media content material analyst, interdisciplinary negotiator, social media strategist.
This assortment makes a speciality of modern dramaturgical perform, bringing jointly contributions not just from lecturers but additionally from favorite operating dramaturgs. The inclusion of either potential a powerful point of engagement with present matters in dramaturgy, from the influence of social media to the continued centrality of interdisciplinary and intermedial methods.
The contributions survey the sector via 8 major lenses:
- world dramaturgy and international perspective
- dramaturgy as functionality, verb and skill
- dramaturgical management and season planning
- production dramaturgy in translation
- adaptation and new play development
- interdisciplinary dramaturgy
- play research in postdramatic and new media dramaturgy
- social media and viewers outreach.
Magda Romanska is traveling affiliate Professor of Slavic Languages and Literatures at Harvard college, affiliate Professor of Theatre and Dramaturgy at Emerson university, and Dramaturg for Boston Lyric Opera. Her books comprise The Post-Traumatic Theatre of Grotowski and Kantor (2012), Boguslaw Schaeffer: An Anthology (2012), and Comedy: An Anthology of conception and Criticism (2014).
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Additional resources for The Routledge Companion to Dramaturgy
Schwartz, The Lonely American: Drifting Apart in the Twenty-First Century (Boston: Beacon Press, 2009), 135. com/news/articles/SB1000 1424052702304866904579266882201324884 (accessed December 25, 2013). hpt=hp_t2 (accessed January 8, 2014). 1 (March 2003): 161, see also 162–3. 18 Patrice Pavis, Languages of the Stage: Essays in the Semiology of the Theatre (New York: PAJ, 2001). mt=8 (accessed October 14, 2013). 15 This page intentionally left blank Part I WORLD DRAMATURGY IN THE TWENTY-FIRST CENTURY This page intentionally left blank 1 Robert Blacker looks at the past and future of American dramaturgy Jacob Gallagher-Ross and Robert Blacker Dramaturgy in America was a European ideal grafted onto native aspirations.
As Ken Cerniglia notes in his essay, to reach a broad audience, theatres must start considering the dramaturgy of appeal. New collaborative technologies, peer-to-peer exchange platforms, and user-driven feedback create new opportunities for virtual literary oﬃce management that can change our season-planning practices. In Europe, such an approach has been implemented in a number of countries for over a decade. com). nnpn. org) is leading the way in transforming the practice of literary oﬃce management and dramaturgical leadership.
The changes in the US population have led to the decline of these traditional audiences, provoking re-examination of these longstanding leadership models. Looking at two case studies with two diﬀerent season-planning strategies, one at the Guthrie Theater and the other at the Oregon Shakespeare Festival, illustrates some of the most salient aspects of literary oﬃce management and dramaturgical leadership. The Guthrie is one of the best, but certainly not the only, example of outdated season-planning practices, as illustrated by the short-lived outburst over its all-male, all-white 2012–13 season.
The Routledge Companion to Dramaturgy by Magda Romanska