Synopses & Reviews
A broad definition of “dramaturgy” is “play-making.” The word issometimes used to mean a playwright. Editor Romanska begins with this broad and dual understanding and goes on to explore the reach ofdramaturgy and the role of the dramaturg in both the world of theater and the bigger world. This book contains 85 essays by over 90contributors, divided into eight parts. The first two parts, World Dramaturgy in the Twenty-First Century, and Dramaturgy in the Age ofGlobalization, evaluate the current status of dramaturgy in a dozen countries, and the changing outlines of its context. A dramaturg'sjob has become often to act as a liaison between cultures, and this activity comes to the fore in several essays. The 10 essays in Partthree, Dramaturgy in Motion: Demolitions, Definitions, and Demarcations, examine, among other things, the shifting ground fordramaturgy now that theater has taken on many different forms and its active function in theater even when there is no actualdramaturg. The writers of Parts four and five inspect the dramaturg's roles as artistic leaders and visionaries, as well as inmediating the ingredients of a theatrical offering. Part six is Dramaturgy Among Other Arts: Interdisciplinary, Transdisciplinary andTransvergence. In it, the writers address puppet theater, musical theater, dance theater, film, opera, games, new media and evenscience. Part seven is titled “Dramaturg As Systems Analyst: Dramaturgy of Post-Dramatic Structures.”Finally, Part eight considersthe dramaturg as public relations manager, responsible for talkbacks, lobby displays, and social networks.Annotation ©2014 Ringgold, Inc., Portland, OR (protoview.com)
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).