The Routledge Companion to Dramaturgy 1st Edition by Magda Romanska 9780415658492 0415658497

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ISBN 10: 0415658497 
ISBN 13: 9780415658492 
Author: Magda Romanska

Dramaturgy, in its many forms, is a fundamental and indispensable element of contemporary theatre. In its earliest definition, the word itself means a comprehensive theory of “play making.” Although it initially grew out of theatre, contemporary dramaturgy has made enormous advances in recent years, and it now permeates all kinds of narrative forms and structures: from opera to performance art; from dance and multimedia to filmmaking and robotics. In our global, mediated context of multinational group collaborations that dissolve traditional divisions of roles as well as unbend previously intransigent rules of time and space, the dramaturg is also the ultimate globalist: intercultural mediator, information and research manager, media content analyst, interdisciplinary negotiator, social media strategist. This collection focuses on contemporary dramaturgical practice, bringing together contributions not only from academics but also from prominent working dramaturgs. The inclusion of both means a strong level of engagement with current issues in dramaturgy, from the impact of social media to the ongoing centrality of interdisciplinary and intermedial processes. The contributions survey the field through eight main lenses: world dramaturgy and global perspective dramaturgy as function, verb and skill dramaturgical leadership and season planning production dramaturgy in translation adaptation and new play development interdisciplinary dramaturgy play analysis in postdramatic and new media dramaturgy social media and audience outreach. Magda Romanska is Visiting Associate Professor of Slavic Languages and Literatures at Harvard University, Associate Professor of Theatre and Dramaturgy at Emerson College, and Dramaturg for Boston Lyric Opera. Her books include The Post-Traumatic Theatre of Grotowski and Kantor (2012), Boguslaw Schaeffer: An Anthology (2012), and Comedy: An Anthology of Theory and Criticism (2014).

The Routledge Companion to Dramaturgy 1st Table of contents:

Part I World Dramaturgy in the Twenty-First Century
1 Robert Blacker looks at the past and future of American dramaturgy
On the La Jolla Playhouse
On the Sundance Theatre Labs
On the Stratford Shakespeare Festival of Canada
On the state of American dramaturgy
2 Contemporary new play dramaturgy in Canada
3 Collaborative dramaturgy in Latin American theatre
Actor training, group culture, collective creation
The construction of the spectacle: the applied training
Notes
4 Documentary dramaturgy in Brazil
Notes
5 The place of a dramaturg in twenty-first-century England
Place
Dramaturg
Notes
6 On German dramaturgy
7 The making of La Dramaturgie in France
Notes
8 Dramaturgy and the role of the dramaturg in Poland
Notes
9 The new play dramaturgy in Russia
10 Dramaturgy in post-revolution Iran: Problems and prospects
Notes
11 Performing dramaturgy in Syria: observations and interview with Mayson Ali
Notes
12 Official and unofficial dramaturgs: dramaturgy in China
Various meanings of the term
Official/unofficial dramaturgs
Dramaturgs in professional theatres
Notes
13 Dramaturgy of separated elements in the experimental Japanese theatre
From assimilation to separation
The theatrical experience of distance and disconnection
Interrupted narrations
Pathos of the distance
Notes
14 Dramaturgy in Indian theatre A closer view
Notes
15 Dramaturgy in Australia and the case of Avast and Doku Rai
Black Lung Theatre’s fragmented dramaturgy
Precarious dramaturgy – “Dead Man, I Don’t Believe You”
Notes
16 Dramaturgies in/of South Africa
Historical context
Roles and functions of the dramaturg
Notes

Part II Dramaturgy in the Age of Globalization
17 The dramaturg as globalist
Notes
18 Freelance dramaturgs in the twenty-first century Journalists, advocates, and curators
Notes
19 The National Theatre goes international Global branding and the regions
Notes
20 From alienation to identity Transnational communication of Russian-Israeli theatre
“Them” and “Us”
Gesher – the company
Host culture reception
Choosing the borderline
Playing in Hebrew
The method
Mixed company: The Holocaust Project
Rehearsing in Hebrew
Village
Conclusion
Notes
21 Intercultural dramaturgy Dramaturg as cultural liaison
Note
22 The dramaturgical bridge Contextualizing foreignness in multilingual theatre
Dramaturgy is a mode of translation
Strategize foreignness
Cultivate awareness
Embrace the challenge
Notes
23 Reading and (re)directing “racial scripts” on and beyond the stage
Parsing the racial through-line: definitions, projects, and scripts
Notes
24 Transcultural dramaturgy methods
Notes
25 The dramaturgical process and global understanding
Notes
26 European dramaturgy in the twenty-first century A constant movement
Notes

Part III Dramaturgy in Motion: Demolitions, Definitions, and Demarcations
27 Dramaturgy on shifting grounds
Media worlds
Dramaturgies of the body
Politics of discourse/beyond interpretation
Training
Notes
28 Dramaturgy as skill, function, and verb
Dramaturgy as skill
Dramaturgy as function
Dramaturgy as verb
Notes
29 Interactual dramaturgy: intention and affect in interdisciplinary performance
Notes
30 The expansion of the role of the dramaturg in contemporary collaborative performance
Stage one: dramaturgy without a writer
Stage two: two writers, two dramaturgs
Stage three: three dramaturgs and a scripting writer
Conclusion: collaborative dramaturgy and the text
Notes
31 Who is the dramaturg in devised theatre?
Notes
32 Finding our hyphenates: a new era for dramaturgs
Notes
33 Dramaturgy as a way of looking into the spectator’s aesthetic experience
Re-inventing the concept of dramaturgy
One-way and interactive dramaturgy
“The taste of experience savors its ingredients”
Notes
34 Dramaturgy as training: a collaborative model at Shakespeare’s Globe
Notes
35 The art of collaboration: on dramaturgy and directing
Anne Bogart
Jackson Gay
36 Dramaturgy in action … even if it’s not as a dramaturg
Notes

Part IV Dramaturgs as Artistic Leaders and Visionaries: Privileges and Responsibilities of the Office
37 Dramaturgs as artistic leaders
Notes
38 Dramaturgical leadership and the politics of appeal in commercial theatre
Notes
39 On dramaturgy and leadership
What is leadership?
Dramaturgical skills that are also leadership skills
Listening and research
Interpretation, synthesis, and articulation
Vision
Planning and collaboration
Constructive critique
Renewal
And finally …. a balanced ego
In conclusion ….
40 Leadership advice to a dramaturgy student
41 Season planning: challenges and opportunities
Mission
To theme or not to theme, that is the question
“We’ll just do the Black play in February”
Practical idealism and priorities
Balance/flow
Advocating for the new
Notes
42 The dramaturg’s role in diversity and audience development
Who are we doing this for?
Why should anyone care what the dramaturg thinks?
The Oregon Shakespeare Festival as case study
Where are we now?
43 Guthrie Theater’s debt to women and diversity
Joe Dowling, in his own words
The difference a big building makes
Public funding and a mission that includes diversity
A self-fulfilling prophecy and a national problem
Notes
44 Reimagining the literary office: designing a department that fulfills your purpose
The mission
The examination
The effect
The response
45 The National New Play Network Collaborative Literary Office: new tools for old tricks

Part V Dramaturg as Mediator and Context Manager: Transculturalism, Translation, Adaptation, and Contextualization
46 A view from the bridge: the dramaturg’s role when working on a play in translation
The different paradigms of translation for the stage
Practices at the Royal Court and at the National Theatre
The dramaturg’s role in the process
Notes
47 Lost in translation
Notes
48 The dissemination of theatrical translation
Notes
49 Literary adaptation for the stage: a primer for adaptation dramaturgs
Notes

Part VI Dramaturgy among Other Arts: Interdisciplinarity, Transdisciplinarity, and Transvergence
56 Complex in-betweenness of dramaturgy and performance studies
Notes
57 The dramaturg(ies) of puppetry and visual theatre
Meta-narrative and The Lion King
Ur-narrative and War Horse
Tracking visual narratives
Notes

Part VII Dramaturg as Systems Analyst: Dramaturgy of Postdramatic Structures
66 Postdramatic dramaturgy
Postdramatic theatre: the moments of the performance
Postdramatic dramaturgy, or the dramaturg as text
Notes

Part VIII Dramaturg as Public Relations Manager: Immersions, Talkbacks, Lobby Displays, and Social Networks
76 Dramaturgy and the immersive theatre experience
Theatrical immersion: two facets and three degrees
Step 1: physical integration vs. breaking down frontality
Step 2a: sensory immersion vs. sensory vertigo
Step 2b: dramaturgical immersion vs. dramatic identification
Immersive fluctuations between the real and the imaginary
Notes

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