Dramaturgical Process Research Articles

Student Social Conflict Dramaturgy at Universitas Muhammadiyah Makassar

This research aims to analyze and describe the occurrence of student conflict dramaturgy at Muhammadiyah University Makassar, to analyze and synthesize the mechanism of the student conflict dramaturgy process at Muhammadiyah University Makassar, and to design solutions for student conflict dramaturgy Unismuh Makassar. This type of research is qualitative research with a case study approach. The informants for this research were 22 informants. Data was found through field observations, in-depth interviews, and documentation. These data are developed by giving meaning to the data, interpreting, or transforming the data into narrative forms which then lead to findings that nuanced scientific propositions that ultimately reach conclusions. Based on the results of the analysis, it was found that student conflict dramaturgy was developed by the interests of alumni actors, self-actualization, regional symbols, individual differences, and even clashes of interests. The dramaturgical process of student conflict was based on the front stage, then the middle stage continues to the backstage, then normal activities (of Stage) and forms of conflict dramaturgy including, inter-individual conflict, inter-group conflict, political conflict, and the last one is the dramaturgical solution to student conflict at the Muhammadiyah University of Makassar through an emotional approach, mediation, and providing space for actor actualization.

В поисках подлинной реальности: специфика жанра и драматургии в опере Пера Нёргора «Сиддхартха»

The article focuses on the peculiarities of genre and dramaturgy of the opera Siddharta (1974‒1979, revised 1984, libretto by Ole Sarvig) by Danish composer Per Nørgård. Its plotline is based on the story of young Buddha, his birth, growing up and encounter with human sufferings, from which the prince had been artificially shielded by his father. The author of the article connects the opera’s singularity of genre with its character of modulation from a mystery to a drama, which is confirmed by the changes occurring in the libretto’s lexical structure, in the chronotope of the composition, which reflects consistently the various models of time (the mythological, the artistic, and the psychological), in the choice of different opera forms for each act, and in the dramaturgical process directed from the outward eventful plane to the inward psychological dimension. The article reveals the compositional strategies that helped Nørgård manifest the conflict between the genuine and the inauthentic world on a musical level: the rhythmic transformation and the metric reaccentuation of the themes, the combination of the overtone and the undertone pitch sets, the rejection of the hierarchical system at the end of Act III, symbolizing the main protagonist’s estrangement from the world of his past. In connection with the artistic crisis experienced by Nørgård after he composed Siddharta, the author presumes that the opera may be interpreted as a self-reflection of artistic activity.

Dramaturgi Pekerja Anak Dalam Pengelolaan Ekonomi Sebagai Bentuk Pemenuhan Interpretasi Keluarga

Children are part of the family who have rights and obligations through the process of growth and development. The purpose of this study is to uncover and understand the dramaturgical process involved in the role of child labourers as they are involved in managing the family economy. This research will examine how child labourers choose certain characters or roles in carrying out the profession. The research was conducted in Alun- Alun as a public facility that is often used as a location for child labourers to carry out their activities every night. This research uses a qualitative approach by using data collection instruments directly in the field. This research was analysed from the observation, interview, documentation and data presentation process. The theory used is Social Dramatugi theory to find out the character shown by child workers in their profession and Interpretation Fulfilment theory to find out the experience of child workers in helping families. The results of this study show that the behaviour patterns of child workers from the frontstage show the attitude of child workers in the internal and external character of children. The backstage part of child labourers is also able to show the life of child labourers in the family. So that the pattern of responsibility owned is the basis for their encouragement to continue working every day even though there are children's time that must be sacrificed.

«Новая драма»: pro et contra

At the end of the 20th – the beginning of the 21st century there were serious changes in the poetics of drama, defining the strategy of artistic forms and features of artistic consciousness. This gives the right to single out the history of the “new drama” in a separate period of the literary and theatrical process. A new book by the Belarusian researcher S.Ya. Goncharova-Grabovskaya “Modern Russian Dramaturgy (late 20th – early 21st century)” is devoted to generalization and comprehension of this period, which is considered and announced in the presented review. The book examines the main trends in the development of the Russian drama at the turn of the 20-21st centuries: the history of the emergence of the “new drama” movement, aspects of poetics (hero, conflict, chronotope, language), genre-style vector (social drama, documentary drama, monodrama, remake plays, drama of the absurd) – all that defines the specific features of the modern dramaturgical process. The focus is on the plays of famous playwrights, which have been staged in theaters in Russia and Belarus, have received positive reviews in criticism. The peculiarity of the reviewed book is that it analyzes modern Belarusian drama, traces its connection with the Russian. The book includes overview chapters reflecting the genre and style parameters of drama, a list of plays, information about playwrights, control questions and assignments. The scientific and methodological publication under review is expected to be in high demand not only in the philological environment, but also among theater critics and theater historians.

Tiny Sparks Everywhere: Birch Bark Biting as Land-Based Dramaturgies

In this article, Lindsay Lachance reflects on her term ‘land-based dramaturgies.’ Land-based dramaturgies may involve physical interaction with land and waters or may be invoked philosophically in developing the process’s framework, and/or practitioners may look to creation stories and language structures as land-based resources. Through defining and highlighting some land-based processes performed by Monique Mojica (Guna and Rappahannock) and herself, she demonstrates how some Indigenous theatre artists are exploding notions of ‘the well-made play.’ As an Algonquin Anishinaabe theatre artist, Lachance looks to birchbark biting as a starting point when building a dramaturgical process. This article paddles down a river, exploring how individuals and collectives investigate and actually use cultural material, objects, familial teachings, and place as artistic collaborators when creating theatrical works. To conclude, the article describes how Lachance navigated working with land-based principles during an online play development workshop of Yolanda Bonnell’s (Anishinaabe) My Sister’s Rage during the COVID-19 pandemic.

Ukrainian drama and theatrical context after the Revolution of Dignity: where are we moving and what do we tolerate?

The article considers the vector of development of Ukrainian drama and theater after the Revolution of Dignity (2014-2021). Attention is focused on the fact that the Maidan has introduced new meanings into Ukrainian drama, which revolve around the design of a new post-totalitarian / post-colonial Ukrainian identity, which is manifested in the activation and new formats of design and fixation of modern dramaturgical process. with plays, a conceptually new stage of compiling dramatic anthologies – the “collection stage”, which is implemented by the Department of Dramatic Projects of Les Kurbas National Center for Theater Arts). Significant differences between the balanced “academic” version of modern dramatic dynamics, which takes into account aesthetic, ethical and civic criteria, and “non-academic”, based on non-selection and free access, a picture in which Russian language, culture, texts and texts are excessively tolerated meanings that in the conditions of the Russian hybrid war with Ukraine is a rudimentary colonial practice of culture. If we add to this the Russian / Russian-language repertoire of most Ukrainian theaters, both state and non-state, the participation of Ukrainian playwrights and theatrical top managers in the cultural actions of the aggressor country, the critical majority of Ukrainian theaters do not comply with the Law of Ukraine and the attempts of individual playwrights / actors / directors / theaters to defiantly broadcast frankly Russian meanings to the public, the overall picture is rather sad. On the other hand, there are many eloquent facts that demonstrate the attempts of the Ukrainian theater to come out of the colonial vices and acquire a new identity, and such attempts must be supported in every way. In general, the analysis presented in the article is the basis for serious professional considerations about the incompatibility of true tolerance with colonial narratives and cultural practices.

Teaching Our Town Through a Dramaturgical Lens

Abstract This article establishes the dramaturgical process as a means of teaching dramatic content in the secondary classroom with a specific focus on Thornton Wilder's Our Town as the core text. By utilizing a problem-based approach, students work through the dramaturgical process while reading and analyzing the play. Facets of the dramaturgical process are facilitated by students' use of self-scheduled activities and digital resources including a unit website to research past performances of the play, analyze primary sources, and make contemporary connections. The end goal of the unit is for students to create their own dramatic content.

Diffractive Dramaturgy

This article explores how aspects of posthuman theory, and in particular diffraction as theorised by Haraway and then Barad, can be used by theatre makers to develop the practice of being and making in company at this current moment in time. I begin with an analysis of the ways stories (including stories within plays) are shared in the rehearsal room. When framed as a diffractive practice that allows for the 'iterative (re)configuring', difference can be foregrounded both as a radical dramaturgy, and a process tool for collaborating, creating and developing performance material—new ways of being together. Donna Haraway, in Staying with the Trouble, references an essay by Ursula K. Le Guin, who calls for the need for new kinds of stories, that gather many strands together by a process of exploring the potential connections between all things: explorations of multiples and difference rather than egos and individualism. Here, I consider diffraction in the context of the work of Flute Theatre where Kelly Hunter MBE has developed a dramaturgical process for using Shakespeare's later plays when working with children with severe autism and their families. This diffractive dramaturgy explores the way we audience / perform work for each other. Subjectivity and objectivity for example, are experienced differently when explored from the point of view that all matter is entangled. There is the potential for a dramaturgy of agential cuts that manifest as a kaleidoscope of intra-actions and material manifestations: a myriad of entwined textures diffracted through and with the participants own experience and context. This is a new experimental, experiential landscape, where we feel for and towards (in a tentacular way) a collaborative making process that tilts the optic away from traditional expectations. It is a multi-perspective way of working; a posthuman process that finds form in difference.

Propuesta metodológica, principios teóricos y enfoques para el proceso de creación dramatúrgica actoral

El artículo presenta una propuesta metodológica para el proceso de creación dramatúrgica actoral, que es una fusión de distintas metodologías de práctica escénica, teniendo por base el trabajo práctico de una actriz/dramaturga, apoyándose en postulados teóricos del arte de actor/actriz y en procedimientos de creadores contemporáneos. Tal propuesta, resultado de una investigación cuya metodología presentó características de una investigación práctica en las artes, puede proporcionar a profesionales y estudiantes de las Artes Escénicas instrumentalización para dar voz a sus creaciones y autonomía en sus procesos.

The Time-Space Dimension in mass and multifigure scenes of “Manon Lescaut” by G. Puccini

The Time-Space Dimension in mass and multifigure scenes of “Manon Lescaut” by G. Puccini

Somewhere between Remembering and Forgetting

Inspired by Hamlet, The Middle (2013) was a one-man show devised for a theatre foyer - a liminal space between the outside and the inside, the real world and the theatre. Hamlet is a character caught in a limbo between ‘To be or not to be’ and by casting his father, Tony Pinchbeck, to play the title role, Michael Pinchbeck sought to explore time passing, staging ageing and the relationship between father and son. Tony studied Hamlet when he was at school so he is stuck in the middle between the fading memory of reading that play 50 years ago and reading it now.For this article, Pinchbeck reflects on the complex dramaturgical process of working with his father to revisit his performative memories. The contemporary dramaturg's job is to look for and after something that is not yet found. As David Williams tells Cathy Turner and Synne Behrndt, ‘you don't really know what is being sought’. As such, the dramaturg is in a limbo, or in the middle, between finding and looking, knowing and not knowing. The Middle (2013) speaks about the themes of liminality, ageing, stasis and mortality and the archiving of memory and explores this space in between generations, between stages, between ages.This article reflects on concepts of memory, time passing and ageing with Professor Michael Mangan, who explores these themes in his publication Staging Ageing: Narratives of Decline (2013). The article weaves together Pinchbeck's dramaturgical experience of making the performance with a father, and Mangan's experience of watching it through the lens of his research, and touches upon recent casting choices in order to explore issues of age and ageing and reminiscence theatre. The article is in two acts to be read without an interval.

The dramaturgy of theatre fieldtrips: studying cultural relativism in situ

ABSTRACTShort fieldtrips offer unique opportunities to teach cultural relativism in context. Through travel, theatrical practices can be experienced as nodes in complex social webs, where the material aspects of performance are inseparable from the people who make, sponsor and attend performances. The author reflects on his experiences organising theatre fieldtrips to Indonesia over a six-year period (2013–2018) to think about the implications of travel more generally for the pedagogy of theatre, using concepts from geography, anthropology and theatre studies. Thinking of field trips as dramaturgical processes provides a framework to better devise, conduct and evaluate such trips.

Odin Teatret’s The Tree: performing in the interstices

Abstract: This article aims to critically engage with Odin Teatret’s most recent addition to the repertoire, The Tree (2016), in order to investigate the ways in which Barba’s dramaturgical decision-making processes create a performance field that metaphorically comments on the status of the group today whilst critiquing contemporary geo-politics. Importantly, we argue that notions of interculturalism - which have often been employed by scholars to critique the Odin’s work - do not address the full complexity of the embodied concatenation of the group’s practice, and we employ the term interstitial to more effectively articulate the complex space produced by the group’s training and performances.

Digitalising the Shared Experience: Interconnected Dramaturgy and the Role of Media in the Tri-National Performance Phone Home

ABSTRACTPhone Home was a collaborative performance project between three theatre companies (Upstart Theatre, Pathos München and Highway Productions), across three countries (Britain, Germany and Greece), with performances taking place simultaneously in venues in three cities (London, Munich and Athens) from 21–30 October 2016. The telematic performance examined themes of home and technology in the wake of the ongoing refugee crisis and migration across Europe. Phone Home's broadcasted and connected scenes were made possible by video-conferencing, connecting the audiences both of the simultaneous performances across three cities and its live-streamed broadcast. This article investigates the use of technology in the research and devising process of this tri-national collaboration while examining the critical role media plays in live performance. In order to explore the implications of telematics in collaborative theatre-making, the author interviewed the collaboration's practitioners, examining the use of technology through the research and development process. The author argues that it becomes necessary to critically reflect on how creative teams negotiate technology and content—particularly when stories are inspired by real people's experiences of displacement—in the dramaturgical process in an effort to understand the effectiveness of telepresence in transnational collaborations, as well as the problems telepresence presents.

Dramaturgy of the Body: Marcello Moretti's Construction of Arlecchino at the Piccolo Teatro of Milan

In this article Gabrielle Houle examines the dramaturgical process that actor Marcello Moretti applied to his creation of Arlecchino's body in Giorgio Strehler's globally acclaimed productions of The Servant of Two Masters at the Piccolo Teatro of Milan between 1947 and 1960. She provides a critical analysis of Moretti's interdisciplinary and trans-historical research and creative process, including his study of iconographic representations of the commedia dell’arte, his observation of farmers in Padua in the mid-twentieth century, and the connections he made between his life experiences and his understanding of Arlecchino. She then examines Moretti's acting style, signature postures, and footwork, both as the international press described them and as she observed them in a video recording and in photographs of the productions. The article, based on extensive archival research at the Piccolo Teatro and on interviews with artists who knew both Moretti and Strehler, concludes with a discussion of Moretti's legacy within and beyond Italy. Gabrielle Houle is a theatre scholar, educator, and artist specializing in the recent staging history of the commedia dell’arte, contemporary mask-making practices, and masked performance. She has taught in several Canadian universities, and is a member of the Centre for Oral History and Tradition at the University of Lethbridge, where she is also an Adjunct Assistant Professor.

"Lieber Walter"—"Lieber Gerhard": The Dramaturgical Strategies for Including the Correspondence of Benjamin and Scholem in the Performance of Passport

This article describes my work as the dramaturg for a production called Passport , directed by the Israeli director Yael Cramsky, which premiered in Tel Aviv in 2013. The performance consisted of a collage of two dialogical texts: selections from Brecht's Conversations of Refugees , written in Helsinki in 1940-1941 and the correspondence between Walter Benjamin and Gershom Scholem focusing on the period after Hitler's takeover of power in Germany, when Benjamin was forced to leave Berlin while Scholem was establishing his scholarly career in Jerusalem; as well as an adaptation of the story of a survivor from the Second World War, who escaped the Nazis fleeing east from Poland. The three texts were interwoven in the performance, illuminating and illustrating the experience of becoming and being a refugee from different perspectives, presenting three aspects of homelessness. My discussion gradually leads up to a very preliminary discussion of Benjamin's theory of the theatre (which is a subject that needs to be explored in depth) and how it influenced the dramaturgical process in working on Passport .

Translating Knowledge: Promoting Health Through Intergenerational Community Arts Programming.

Intergenerational programs have been touted to address the generation gaps and isolation of older adults. Mutual contact alone has produced mixed results, but attention to the intergenerational program content demonstrates well-being benefits. This practice-based article examines the benefits of creating and performing ensemble-created plays to older adults' and university students' well-being and the key processes that promote well-being. This community participatory research project involved older adults as researchers as well as research subjects. Individual semistructured interviews were conducted by two trained interviewers with older adults (n = 15) and university students (n = 17). Professional dramaturgical processes of storytelling, reminiscence, and playfulness were key elements in participants' generative learning. They augmented older adults' and university students' ability to understand their situations and try innovative solutions. Skills such as openness, flexibility, and adaptation transferred into students' and older adults' daily lives. Participating in this intergenerational theatre group reduced ageism and improved intergenerational relationships. It increased older adults' and university students' well-being by building social networks, confidence, and self-esteem and developed a sense of social justice, empathy, and support for others.

Discorsi di Taverna

Discorsi di Taverna is a dialogue and the presentation of a dramaturgical process made by the artistic collective Babel Crew. Giuseppe Provinzano, author and actor, together with Gabriele Cappadona, economist and dramaturg of the play 1,2,3 crisi ovvero la crisi salvata dai ragazzi(ni), have written a dialogue that they themselves have had in the Tavern that gives the title to their contribution to the revue. The dialogue is to be read aloud. The play is singular, is focused on the economic crisis explained to young people, it has 28 possible story lines and 12 different endings. The final is decided by audience.

Borealis

Alejandro Ronceria, founding Artistic Director of the Aboriginal Dance Program at the Banff Centre for the Arts (1996-2001), is an influential figure in indigenous dance. This article examines Alejandro Ronceria's dance dramaturgical process as the artistic director for the Cultural Gala Performances of the Arctic Winter Games 2012 in Whitehorse, YT. The participants of the Cultural Gala consisted of sixty young performing artists representing twelve groups from nine regions of the Arctic Circle, whose disciplines ranged from contemporary to traditional indigenous styles in music, dance, and storytelling. This article describes how Ronceria's creative and dramaturgical process for the Cultural Gala was informed by his deep knowledge of indigenous worldviews and proposes that Ronceria's methodology stems from his extensive experience as a dramaturge with aboriginal artists.

Rewriting Distance: Bridging the Space between Dramaturg and Dancer

ABSTRACT: ”Rewriting Distance: Bridging the Gap between Dramaturg and Dancer’ examines a recent collaboration between Lin Snelling, Guy Cools, and Stefano Muneroni in which the three participants tested how writing can be an integral part of the dramaturgical process. During an intensive workshop in 2012, the participants explored the effectiveness of writing as a dramaturgical tool when writing develops simultaneously to dancing, and how the two activities meaningfully affect each other in the creation of a movement piece. The three collaborators took turns occupying the roles of ”performer’, ”writer’, and ”observer’ and in so doing they experienced how writing and dancing shape each other when they develop together during rehearsal, and, even more importantly, how they foster a strong interdisciplinary collaboration by blending the role of the dramaturg and that of the dancer. By bridging the gap existing between the functions of the dramaturg and those of the dancer, Rewriting Distance constructed a non-hierarchical space and showed new critical avenues to reconfigure the working relationship between dramaturgs and dancers.