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The Dramaturgy of History (Focus on Dramaturgy)
by Tom BryantIn this book, dramaturg Tom Bryant shares with readers and writers his insights into the process of historical adaptation. The book uses case studies from Bryant's collaborations with playwrights on successful Broadway and regional productions to work through the fundamental questions of historical adaptation: Why do you want to adapt history? For what purpose? What is your approach? How does that approach affect the portrayal of events? How does that choice by the playwright and the dramaturg then determine the framing and focus in the story, the selection of the key events and the choice of characters? What is the meaning you want the audience to take away from the events? How is your adaptation of past events relevant to contemporary times? In addition, the author explores the moral and ethical responsibilities involved for the dramaturg and the playwright in the adaptation of history and how issues of diversity, equity and inclusion impact the presentation of historical material. This is an indispensable resource for anyone whose craft brings them to the task of adapting historical material for the stage—in postgraduate work, teaching or professional practice.
Dramaturgy of Migration: Staging Multilingual Encounters in Contemporary Theatre (Focus on Dramaturgy)
by Yana Meerzon Katharina PewnyDramaturgy of Migration: Staging Multilingual Encounters in Contemporary Theatre examines the function of dramaturgy and the role of the dramaturg in making a theatre performance situated at the crossroads of multiple theatre forms and performative devices. This book explores how these forms and devices are employed, challenged, experimented with, and reflected upon in the work of migrant theatre by performance and dance artists. Meerzon and Pewny ask: What impact do peoples’ movement between continents, countries, cultures, and languages have on the process of meaning production in plays about migration created by migrant artists? What dramaturgical devices do migrant artists employ when they work in the context of multilingual production, with the texts written in many languages, and when staging performances that target multicultural and multilingual theatregoers? And, finally, how do the new multilingual practices of theatre writing and performance meet and transform the existing practices of postdramatic dramaturgies? By considering these questions in a global context, the editors explore the overlapping complexities of migratory performances with both range and depth. Ideal for scholars, students, and practitioners of theatre, dramaturgy, and devising, Dramaturgy of Migration expresses not only the practicalities of migratory performances but also the emotional responses of the artists who stage them.
The Dramaturgy of Performing Science: New Work in Interdisciplinary Contexts (ISSN)
by Jules Odendahl-JamesThis is a concise survey of new play projects that bring together the worlds of science and performance, and the benefits that dramaturgical praxis can bring to both disciplines.Three approaches common to both performance and science – collaboration, experimentation, and interpretation – are reflected in a series of case studies that demonstrate the ways in which dramaturgical tools can inform the wider public about scientific knowledge and practice, provide a truly reciprocal model of co-operation in collaboration that happens early on in the research process, and inspire the creation of new dramatic forms that enact, rather than translate, the dynamics of scientific research.Part of the Routledge Focus on Dramaturgy series, this is a vital account of collaborative work for scholars and practitioners of theatre and performance, as well as readers across the sciences.
The Dramaturgy of Senecan Tragedy
by Kohn Thomas D.The first-century Roman tragedies of Seneca, like all ancient drama, do not contain the sort of external stage directions that we are accustomed to today; nevertheless, a careful reading of the plays reveals such stage business as entrances, exits, setting, sound effects, emotions of the characters, etc. The Dramaturgy of Senecan Tragedy teases out these dramaturgical elements in Seneca's work and uses them both to aid in the interpretation of the plays and to show the playwright's artistry. Thomas D. Kohn provides a detailed overview of the corpus, laying the groundwork for appreciating Seneca's techniques in the individual dramas. Each of the chapters explores an individual tragedy in detail, discussing the dramatis personae and examining how the roles would be distributed among a limited number of actors, as well as the identity of the Chorus. The Dramaturgy of Senecan Tragedy makes a compelling argument for Seneca as an artist and a dramaturg in the true sense of the word: "a maker of drama. " Regardless of whether Seneca composed his plays for full-blown theatrical staging, a fictive theater of the mind, or something in between, Kohn demonstrates that he displays a consistency and a careful attentiveness to details of performance. While other scholars have applied this type of performance criticism to individual tragedies or scenes, this is the first comprehensive study of all the plays in twenty-five years, and the first ever to consider not just stagecraft, but also metatheatrical issues such as the significant distribution of roles among a limited number of actors, in addition to the emotional states of the characters. Scholars of classics and theater, along with those looking to stage the plays, will find much of interest in this study.
Dramaturgy of Sex on Stage in Contemporary Theatre (Focus on Dramaturgy)
by Kate MulleyDramaturgy of Sex on Stage in Contemporary Theatre explores the dramaturgy of sex in contemporary works for the stage in the social, cultural and historical context of the time and place during which they were written and performed. Comprising chapters by writers from across North America and Europe, the book covers an expansive range of plays, musicals and dance performances, from Broadway to the Fringe, from post-AIDS epidemic to post-COVID-19 pandemic. Analysing these intimate moments—both textually and as staged—through an intersectional and critical lens illuminates the way power structures are maintained and codified, and how they can be queered and dismantled onstage and off. This examination of depictions of sex on stage attempts to understand from a dramaturgical and sociological perspective how these depictions have developed over time, and how the rise of intimacy directors has responded to the changes within the contemporary theatrical landscape and in the world at large. This is an essential companion for any scholar or practitioner looking to stage, discuss or understand intimacy in performance.
Dramaturgy of Sound in the Avant-garde and Postdramatic Theatre
by Mladen OvadijaSound is born and dies with action. In this surprising, resourceful study, Mladen Ovadija makes a case for the centrality of sound as an integral element of contemporary theatre. He argues that sound in theatre inevitably "betrays" the dramatic text, and that sound is performance. Until recently, theatrical sound has largely been regarded as supplemental to the dramatic plot. Now, however, sound is the subject of renewed interest in theatrical discourse. Dramaturgy of sound, Ovadija argues, reads and writes a theatrical idiom based on two inseparable, intertwined strands - the gestural, corporeal power of the performer's voice and the structural value of stage sound. His extensive research in experimental performance and his examination of the pioneering work by Futurists, Dadaists, and Expressionists enable Ovadija to create a powerful study of autonomous sound as an essential element in the creation of synesthetic theatre. Dramaturgy of Sound in the Avant-garde and Postdramatic Theatre presents a cogent argument about a continuous tradition in experimental theatre running from early modernist to contemporary works.
Dramaturgy of Sound in the Avant-garde and Postdramatic Theatre
by Mladen OvadijaSound is born and dies with action. In this surprising, resourceful study, Mladen Ovadija makes a case for the centrality of sound as an integral element of contemporary theatre. He argues that sound in theatre inevitably "betrays" the dramatic text, and that sound is performance. Until recently, theatrical sound has largely been regarded as supplemental to the dramatic plot. Now, however, sound is the subject of renewed interest in theatrical discourse. Dramaturgy of sound, Ovadija argues, reads and writes a theatrical idiom based on two inseparable, intertwined strands - the gestural, corporeal power of the performer’s voice and the structural value of stage sound. His extensive research in experimental performance and his examination of the pioneering work by Futurists, Dadaists, and Expressionists enable Ovadija to create a powerful study of autonomous sound as an essential element in the creation of synesthetic theatre. Dramaturgy of Sound in the Avant-garde and Postdramatic Theatre presents a cogent argument about a continuous tradition in experimental theatre running from early modernist to contemporary works.
The Dramaturgy of the Door
by Stuart Andrews Matthew WagnerThe Dramaturgy of the Door examines the door as a critical but under-explored feature of theatre and performance, asking how doors function on stage, in site-specific practice and in performances of place. This first book-length study on the topic argues that doors engage in and help to shape broad phenomena of performance across key areas of critical enquiry in the field. Doors open up questions of theatrical space(s) and artistic encounters with place(s), design and architecture, bodies and movement, interior versus exterior, im/materiality, the relationship between the real and the imaginary, and processes of transformation. As doors separate places and practices, they also invite us to see connections and contradictions between each one and to consider the ways in which doors frame the world beyond the stage and between places of performance. With a wide-ranging set of examples – from Shakespeare’s Macbeth to performance installations in the Mojave desert – The Dramaturgy of the Door is aimed at performance makers and artists as well as advanced students and scholars in the fields of performance studies, cultural theory, and visual arts.
The Dramaturgy of the Spectator: Italian Theatre and the Public Sphere, 1600–1800 (Toronto Italian Studies)
by Tatiana KorneevaThe Dramaturgy of the Spectator explores how Italian theatre consciously adjusted to the emergence of a new kind of spectator who became central to society, politics, and culture in the mid-seventeenth and eighteenth centuries. The author argues that while a focus on spectatorship in isolation has value, if we are to understand the broader stakes of the relationship between the power structures and the public sphere as it was then emerging, we must trace step-by-step how spectatorship as a practice was rooted in the social and cultural politics of Italy at the time. By delineating the evolution of the Italian theatre public, as well as the dramatic innovations and communicative techniques developed in an attempt to manipulate the relationship between spectator and performance, this book pioneers a shift in our understanding of audience as both theoretical concept and historical phenomenon.
Dramaturgy to Make Visible: The Legacies of New Dramaturgy for Politics and Performance in Our Times (ISSN)
by Peter EckersallThis book argues that dramaturgy makes things visible and does so in two distinct and interrelating ways: creative processes and formal elements of performance are rendered visible and readable; and performance dramaturgy becomes an expanded practice in which performance is a locus for creating wide-ranging events and activities.This exploration defines dramaturgy as a perceptibly transforming agency in the construction, presentation and reception of contemporary performance; and it shows how contemporary performance has an intrinsic dramaturgical aspect whose proliferation of dramaturgical practices has led to a far-reaching reinvention of what contemporary theatre is. In doing so, this book deals with a careful selection of performance practices, including theatrical adaptations, new media dramaturgy, contemporary dance, installation-performance, postdramatic theatre, visionary works by auteurs, and revivals of well-known stage shows.This study will be of great interest to students and scholars in theater studies, performance studies, cultural studies, curating, and dance scholarship.
Draping Period Costumes: (The Focal Press Costume Topics Series) (The Focal Press Costume Topics Series)
by Sharon SobelOne way of creating a theatrical costume is called flat patterning. This is when a costume designer uses a pattern made to the wearer's measurements to cut out and sew together a costume. In many cases flat patterning is the more appropriate method for creating a period costume - skirts, pants, and sleeves, for example. However, working in two-dimensions often does not translate correctly onto a three-dimensional dress form or person. Often a designer will need to tweak style lines on a garment once they see it worn, or a costume will need a quick adjustment right before going on stage. In those cases, designers need to know how to correctly drape a costume. Draping is also the best way to construct a period costume right from the start. The construction of garments in earlier centuries often constricted movement, especially in the area of the armhole. The very different size and proportions of contemporary people compared to those in previous centuries makes the use of period patterns difficult. A well-draped garment can give the impression of period accuracy while permitting the wearer greater freedom of movement. Having a mock-up pinned to the form in its early stages is quicker and easier to adapt than drafting a flat pattern, cutting it out of muslin and sewing it. It also provides the opportunity for greater creativity and adaptation as well as a better understanding of what fabric will and won't do. In Draping Period Costumes, Sharon Sobel explains in step-by-step detail the basics of draping and demonstrates the use of those basic skills in the creation of a representative selection of period costumes from a variety of time periods. Chapters are broken into time periods and have two parts: an analysis of how clothing was made and worn during that specific time period, and detailed instruction on draping techniques to construct the costume. Copiously illustrated, images allow this visual audience to easily follow along with detailed instructions. A part of the Costume Topics series, this book will be 256 pages, a snazzy 8.25 x 7.5 trim size, and spiral bound-a format consistently requested by our audience so that they can lay the book flat while working from it.
The Drawer Boy
by Michael HealeyA young actor from the big city lives with two aging bachelor farmers to gather stories about rural life. The farmers' lives are irrevocably altered when art attempts to imitate life and the line between truth and fiction is crossed.
Drawing and Rendering for Theatre: A Practical Course for Scenic, Costume, and Lighting Designers
by Clare P. RoweDrawing and Rendering for Theatre, A Practical Course for Scenic, Costume, and Lighting Designers is designed for those of you who are theatrical designers and want to improve your drawing and rendering skills.This gorgeous full-color book includes many examples of student drawings, analyzed and critiqued for areas that need improvement. It also includes numerous examples of design renderings by professional theatrical designers. In addition to the general sections on drawing and painting, it includes separate chapters on costume, scenic, and lighting rendering that include information specific to these design areas.
Drawing the Curtain: Cervantes's Theatrical Revelations (Toronto Iberic)
by Esther Fernández Adrienne L. MartínMiguel de Cervantes’s experimentation with theatricality is frequently tied to the notion of revelation and disclosure of hidden truths. Drawing the Curtain showcases the elements of theatricality that characterize Cervantes’s prose and analyses the ways in which he uses theatricality in his own literary production. Bringing together the works of well-known scholars, who draw from a variety of disciplines and theoretical approaches, this collection demonstrates how Cervantes exploits revelation and disclosure to create dynamic dramatic moments that surprise and engage observers and readers. Hewing closely to Peter Brook’s notion of the bare or empty stage, Esther Fernández and Adrienne L. Martín argue that Cervantes’s omnipresent concern with theatricality manifests not only in his drama but also in the myriad metatheatrical instances dispersed throughout his prose works. In doing so, Drawing the Curtain sheds light on the ways in which Cervantes forces his readers to engage with themes that are central to his life and works, including love, freedom, truth, confinement, and otherness.
Drawing the Line: Technical Hand Drafting for Film and Television
by David McHenryDrawing the Line: Technical Hand Drafting for Film and Television is the essential resource for students and aspiring professionals studying and working in film and television design. The book covers all aspects of scenic drafting by hand – a technique still used in film and television because of its unparalleled emotive and aesthetic qualities. Discover how to draw the iconic scroll of a classical column or learn the difference between Flemish bond and English bond brickwork – it is all here! Other key features include the following: Beautifully illustrated, approachable, step-by-step instructions for every aspect of scenic drafting – specific to film and television; Illustrated explanations of camera lenses, including calculating aspect ratios and projections; Coverage of the four types of drafting projection: isometric, oblique, orthographic and axonometric; A comprehensive glossary of terms, including an illustration of each entry. This beautiful book is clear, accessible, and a must-have for any student aspiring to work in film and television design.
Drawing the Surface of Dance: A Biography in Charts
by Annie-B ParsonSoloing on the page, choreographer Annie-B Parson rethinks choreography as dance on paper. Parson draws her dances into new graphic structures calling attention to the visual facts of the materiality of each dance work she has made. These drawings serve as both maps of her pieces in the aftermath of performance, and a consideration of the elements of dance itself. Divided into three chapters, the book opens with diagrams of the objects in each of her pieces grouped into chart-structures. These charts reconsider her dances both from the perspective of the resonance of things, and for their abstract compositional properties. In chapter two, Parson delves into the choreographic mind, charting such ideas as an equality in the perception of objects and movement, and the poetics of a kinetic grammar. Charts of erasure, layering and language serve as dynamic and prismatic tools for dance making. Lastly, nodding to the history of chance operations in dance, Parson creates a generative card game of 52 compositional elements for artists of any medium to cut out and play as a method for creating new material. Within the duality of form and content, this book explores the meanings that form itself holds, and Parson's visual maps of choreographic ideas inspire new thinking around the shared elements underneath all art making.
A Dream
by Felicja KruszewskaThe translation of Felicja Kruszewska's A Dream introduces a major play by a twentieth-century female playwright to the English-speaking world. On March 7, 1927 A Dream - a large-scale expressionistic drama by an unknown poet - burst on the Polish theatrical scene in a dazzling debut production by the young actor Edmund Wiercinski, who would become one of the outstanding directors of his time. The play's hallucinatory visions of the rise of fascism and the heroine's longing for a providential savior on a white horse spoke directly to Polish audiences about their deepest anxieties. During the next two years A Dream received three additional stagings and became the subject of lively debate and controversy. The play, which has been successfully revived in 1974, is an outstanding example of European expressionism. The volume also contains An Excursion to the Museum, by the contemporary Polish poet, playwright, and short-story writer Tadeusz Rozewicz. A disturbing account of an utterly mundane visit to Auschwitz, the tale is a brilliant example of the playwright's technique of poetic collage.
Dream, Annie, Dream
by Waka T. BrownIn this empowering deconstruction of the so-called American Dream, a twelve-year-old Japanese American girl grapples with, and ultimately rises above, the racism and trials of middle school she experiences while chasing her dreams. <p><p> As the daughter of immigrants who came to America for a better life, Annie Inoue was raised to dream big. And at the start of seventh grade, she’s channeling that irrepressible hope into becoming the lead in her school play. <p><p> So when Annie lands an impressive role in the production of The King and I, she’s thrilled . . . until she starts to hear grumbles from her mostly white classmates that she only got the part because it’s an Asian play with Asian characters. Is this all people see when they see her? Is this the only kind of success they’ll let her have—one that they can tear down or use race to belittle? <p><p> Disheartened but determined, Annie channels her hurt into a new dream: showing everyone what she’s made of. <p><p> Waka T. Brown, author of While I Was Away, delivers an uplifting coming-of-age story about a Japanese American girl’s fight to make space for herself in a world that claims to celebrate everyone’s differences but doesn’t always follow through.
Dream Crust
by Roger KarshnerFull Length, Drama \ 3 m, 3 f, 1 boy \ Int. \ Frank Haynes, an earth loving farmer, has given up his hound-dogging and high times under the pressure of the family's admonition that "A man has got to get ahead." Haynes would be happy to do nothing but tend his farm and reap whatever profit it might generate. But he realizes that there are five mouths depending on him and the lure of big money available to him in a nearby big city factory too great to ignore. Set against a backdrop of the land locked Midwest, the play dramatizes a man's persistent, agonizing search for personal freedom and the sense of loss between father and son. \ "The play's spirit, its underlying warmth, particularly in the unspoken father son relationship, creates a world that's identifiable and that breathes."-L.A. Herald Examiner
Dream of a Common Language
by Heather McdonaldDrama / 2m, 3f, 1m child / This intriguing work produced at the Berkeley Repertory Theatre and in New York was inspired by an actual incident: women were banned from the artists' dinner to plan the first Impressionist painting exhibit in 1874, even though works by women were to be shown. In the play, the dinner is at the home of Victor, a successful artist, and Clovis, an artist who no longer paints. After helping with the preparations and being excluded from the dining room, Clovis devises a "women only" dinner to be held outdoors. Winner of three 1995 Helen Hayes Awards including Best New Play.
The Dream of Emigrating at Twenty (Immigration #1)
by Ahmed SarireteAfter reaching his twentieth birthday, Mourad, a university student, never imagined that the first and riskiest decision that fate would push him to make in his new life would be to immigrate clandestinely, or as the Algerians call it "Harga". Luckily, he knew people who would help him achieve his dream without any financial compensation, but fate was against him every time he tried to accomplish his project, so he finally realized that the secret method of immigration was not designed for him, for a reason only God knows. Therefore, he decided to return home disappointed, after having left without informing his parents of his intention to emigrate. On his way back home, he was once again driven by fate to fulfill his dream of emigrating in another strange way, with a new hope and stimuli he had never imagined!
Dream on Monkey Mountain and Other Plays
by Derek WalcottOn a Caribbean island, the morning after a full moon, Felix Hobain tears through the market in a drunken rage. Taken away to sober up in jail, all that night he is gripped by hallucinations: the impoverished hermit believes he has become a healer, walking from village to village, tending to the sick, waiting for a sign from God. In this dream, his one companion, Moustique, wants to exploit his power. Moustique decides to impersonate a prophet himself, ignoring a coffin-maker who warns him he will die and enraging the people of the island. Hobain, half-awake in his desolate jail cell, terrorized by the specter of his friend's corruption, clings to his visionary quest. He will try to transform himself; to heal Moustique, his jailer, and his jail-mates; and to be a leader for his people. Dream on Monkey Mountain was awarded the 1971 Obie Award for a Distinguished Foreign Play when it was first presented in New York, and Edith Oliver, writing in The New Yorker, called it "a masterpiece."Three of Derek's Walcott's most popular short plays are also included in this volume: Ti-Jean and His Brothers; Malcochon, or The Six in the Rain; and The Sea at Dauphin. In an expansive introductory essay, "What the Twilight Says," the playwright explains his founding of the seminal dramatic company where these works were first performed, the Trinidad Theatre Workshop.First published in 1970, Dream on Monkey Mountain and Other Plays is an essential part of Walcott's vast and important body of work.
Dream Sequences in Shakespeare: A Psychoanalytic Perspective
by Meg Harris WilliamsThis book takes a new approach to Shakespeare’s plays, exploring them as dream-thought in the modern psychoanalytic sense of unconscious thinking. Through his commitment to poetic language, Shakespeare offers images and dramatic sequences that illustrate fundamental developmental conflicts, the solutions for which are not preconceived but evolve through the process of dramatisation. In this volume, Meg Harris Williams explores the fundamental distinction between the surface meanings of plot or argument and the deep grammar of dreamlife, applied not only to those plays known as ‘dream-plays’ but also to critical sequences throughout Shakespeare’s oeuvre. Through a post-Kleinian model based on the thinking of Bion, Meltzer, and Money-Kyrle, this book sheds new light on both Shakespeare’s own relation to the play and on the identificatory processes of the playwright, reader, or audience. Dream Sequences in Shakespeare is important reading for psychoanalysts, playwrights, and students.
The Dreamatics
by Michelle CuevasIn this exhilaratingly original novel, a fantastical theatre and its troupe perform a young girl&’s dreams, until nightmares take over. Will one devoted stagehand be able to bring joy back into the spotlight?Have you ever awakened from a dream and thought, what was THAT?! A platypus waddling through my school while singing the word farfanoogle? Well, that dream was performed by a dream theatre, and this is the story of one such place: The Lunarian Grand.The Lunarian is a magical theatre with a mind of its own, often redecorating on a whim or making it snow from the rafters. The theatre&’s troupe call themselves the Dreamatics, and together they grow sets from seeds, sew costumes that can change an actor&’s shape, and each night when a girl named Luna goes to sleep, they produce her spectacular dreams: dreams of memories, family, and her beloved dog, Murph.But when something devastating happens in Luna&’s waking life, the theatre falls under new management in the form of the Bad Dreams. Now it&’s up to a loyal stagehand named Dormir and the Dreamatics to put things right and restore balance in their world and in Luna&’s.Go behind the scenes of your dreams in this enchanting novel full of cozy magic, humor, and wonder.
Dreamers Often Lie
by Jacqueline WestLiar meets Romeo and Juliet in this Shakespeare-inspired young adult novel about whether to trust yourself when everyone is telling you your instincts are wrong--for fans of Holly Black, Laini Taylor, and Black Swan, by New York Times bestselling author Jacqueline West. Jaye wakes up in the hospital, disoriented, and beset by a slippery morphing of reality into something else. She repeatedly sees a boy who she feels like she knows--but that's impossible. Determined to get back to school and back to A Midsummer Night's Dream, in which she's starring, she lies to her sister, her mom, and her doctors--she's fine, she says. She's fine, she's fine, she's fine. But then on her first day back, she takes a seat in class . . . next to the mysterious boy. Queasy with anxiety ("I can't see you," she hisses at him, "because you're not really here"), Jaye realizes this boy is, in fact, real. And he has no idea what she's talking about. Caught between this fascinating, empathetic new kid and her childhood friend turned recent love interest, Jaye begins to notice unnerving similarities between her circumstances and those of some of Shakespeare's most famous plays. Tingling banter and clandestine meet-ups give way to darker, muddier incidents. As things escalate to a frightening pitch, how much of what's happening is real, how much is in Jaye's head, and how much does it matter as she's hurtling toward a fateful end over which she seems to have no control?