Dramaturgical Work Research Articles

Peculiarities of copyright in a theatrical production

The article examines the features of a theatrical production as a work of theatrical artthat is created on the basis of a dramaturgical work (literary, musical, choreographic, orother), has a single idea and a specific title.Ukrainian legislation does not define the composition of the authors of a theatrical production.The study proves that the authors of a theatrical production may include the authorof a dramatic work specially created for a particular theatrical production, directorsand the author of a musical work with or without lyrics specially created for a particulartheatrical production. Given the unequal nature of creative contributions to a theatricalproduction, the belonging of creative contributions to different types of art, a theatricalproduction is a complex work that is characterized by a synthesis of arts. The authors of atheatrical production enter into a co-authorship that is characterized not by the unity ofthe creative process, but by the unity of the result in the form of one coherent work. Despitethe fact that the content of each author’s creativity is different and may belong to differentareas of art, in the end, all these elements are combined in one work.The primary subjects of copyright in a theatrical production are its authors. At thesame time, a theatrical production is often a work for hire created by an employee underan employment contract. Under Ukrainian law, copyright in a work for hire is transferredto the employer from the moment the work is created, unless otherwise provided by contractor law. However, if the producer orders the creation of a theatrical production, copyrightin it shall be transferred to the producer. Thus, the right holder of a theatrical productionmay be determined in different ways.The main way of using a theatrical production is its public performance as presentingit to the public directly through the performance of roles (parts) and other presentation ofartistic images. A public performance is not a form of expression of a theatrical productionthat arises as a result of the creativity of its authors before its public performance, and itsexistence does not cease after the performance is over.The current legislation of Ukraine reflects the specifics of a theatrical production as anobject of copyright only partially, and therefore needs to be improved.

The Need for Embodied Dramaturgy: The Laramie Project and Generation Z

20 years after the murder of Matthew Shepard, I introduced The Laramie Project to a group of undergraduate students. Observing cast members' first experience of the characters, a troubling lack of empathy to the complexity of this tragic story became apparent. Of primary concern was that decades of progress made towards LGBTQIA equality stripped this story of its relevance. Geographic and generational bias is natural and expected but ultimately requires a new dramaturgical approach. We offer reflections on the methodology developed to address this gap: an embodied dramaturgical approach to our pre-production work culminating in a full cast and crew research trip to Laramie, Wyoming. Through photos, video, soundscapes and observations, we illuminate the impacts of using a place-based, psycho-somatic sensory approach to dramaturgical research. This experience created physical and emotional transformation in the participants that can inform future dramaturgical work particularly for stories that are deeply unknown and unfamiliar to the cast and crew. Together, we found that stories like “The Laramie Project” continue to be relevant. Although progress has been great, the threat of anti-LGBTQIA violence is still very real for many people. Employing an embodied approach can enhance storytelling and empower further progress with the benefit of today’s experience.

ЛИМИНАЛЬНАЯ НАРРАТОЛОГИЯ ДРАМАТУРГИИ АЛЕКСЕЯ СЛАПОВСКОГО

In the dramaturgical work of A. Slapovsky, realistic and unrealistic artistry is synthesized, revealed in a wide representational field of various stadium states and situations. At the same time, the balance between the different semantic and emotional components of the studied poetics is clearly visible. Heterogeneity of motivation and plot, “simultaneity” of characters, recursiveness of chronotope are signs of liminal narratology of A. Slapovsky. All the plays of the book “The Truest Love” are classified by the playwriter himself – “plays for large theaters” and “plays for small theaters” – which is due to their duration. However, it is the ambiguity and a certain illusory nature of what is happening on the stage that seems important. The material for this research is the play “The Poor Millionaire”, characterized by deliberate schematism and determinism. The unity of the “liminal” multicomponence is achieved, among other things, by the introduction of the integrating action of the leading character, which becomes an element of the paratext with the corresponding coordinating functionality and is usually correlated with the figure of the author. The general idea of isomorphism of language, text and the world in the process of analysis suggests the idea of a possible project comparison of representational systems of different, but related, dramatic epochs. Slapovsky’s oeuvre as a phenomenon is characterized by a complex of liminality in its binary, discrete and, at the same time, heterogeneous artistry. This complex correlates with the narratology of the image, with characterology, the study of which leads the author to generalizations of universal significance.

"ПОЧЕМУ Я ОКАЗАЛСЯ ЗДЕСЬ?": ПРОСТРАНСТВО ПОТЕРЯННОЙ ИДЕНТИЧНОСТИ В ПЬЕСАХ "ТРИ СЕСТРЫ" А.П. ЧЕХОВА И "ЧЕРНАЯ ПУРГА" А.А. БУКРЕЕВОЙ

In the article, we make an attempt to study the interaction between the problematics of literary space and character’s identity in a dramaturgical work on the material of the plays “Three Sisters” by Anton Chekhov and “The Black Snowstorm” by Anastasia Bukreeva. The analysis is based on certain statements of chronotope theory developed by Mikhail Bakhtin. The paper considers the motif structure that in a certain way forms the literary space, in particular, the motifs of higher place and lower place, certain characteristics of the organization of space and time, such as isolation, “corpuscularity”, and cyclicity. An analysis is made of the complex interconnection between the place and the way of the characters’ self-determination, which is associated both with the structure of space and with the way the character perceives this space and himself within its boundaries. The nature of dramaturgy defines how the stage and off-stage spaces are organized, and the exploration of the significance of the off-stage chronotope may provide an additional perspective to navigating the character’s inner live determined by his perception of the place of acting. The purpose of this paper is to compare the approaches of the two playwrights to the existential aspects of literary space, as well as the problematics of the connection of a person’s identity with the world in which he finds himself for some reason.

«Красная ржавчина» vs «Желтая ржавчина»: метаморфозы текста советской пьесы на Бродвее

The study focuses on the adaptation of a politically engaged dramaturgical work from Bolshevik Russia — Vladimir Kirshon’s and Andrey Uspensky’s play Konstantin Terekhin (Rust) — to the specific requirements of Broadway, the commercial theater of the USA, and the textual changes of the Soviet original associated with it. The basic principles of the Broadway theater creative and organizational model, drastically different from the repertory theater of post-revolutionary Russia, are defined — the primacy of commerce over artistry, the absence of state support and censorship, a respectable audience that does not accept radical political ideas. On the American stage the Soviet play was produced in 1929, with the changed title (Red Rust), and the text subjected to changes and distortions. The paper considers these changes in the context of American socio–economic life of the Red Thirties. The discrepancy between the original dramaturgical material and the specific requirements of the American commercial theater is analyzed. The free handling of the text from Bolshevik Russia in the US theater is due to the absence of copyright regulations between the two countries. The process of exporting the play to the United States — via Paris and London — is being reconstructed. Three sources that have carried out the textual transformation of the Soviet original are characterized: the authors of the French-language adaptation from Russian (Fernand Nozière and Vladimir Bienstock), British translators from French into English (Virginia and Frank Vernon) and Broadway stage director who previously visited Moscow and sought to introduce into the text what, in his opinion, Soviet censorship would not allow (Herbert Biberman). The study is based on the materials from the Beinecke Library of Rare Books and Manuscripts collections (Yale University), as well as documents from the Houghton Library (Harvard University), the New York Public Library for Performing Arts, the Russian State Archive of Literature and Art (Moscow), and the museum of the Mossovet State Academic Theater (Moscow). The study is aimed at expanding the understanding of the stage history of the Russian drama in America.

Felix Alexa – un „clasic” de la debut

Felix Alexa, theatre director and professor at “I. L. Caragiale” University of Theatre and Film, made his directorial debut in the early 1990s, during a time when the convulsive realities and energies of post-decembrist Romanian society were also producing radical changes in the artistic field. Theatre, for instance, was marked by the ascendance of a climate of effervescence, of quests, and of symptoms of hope indissociable from the sense of freedom and the disappearance of censorship. It is in this context that Felix Alexa has the opportunity to work in Paris as assistant director for Peter Brook, a moment with important consequences in his formative process. Alexa’s aesthetic discourse is characterized by his deciphering of a play’s content from the standpoint of certain personal themes and their present adherences, as well as by the equilibrium and formal rigour of stage composition. It probes the structure of the situations and of the characters’ psychologies. It does not experiment outside of the texts engaged, but within them, modifying their semiotics based on what it wants to convey and not on how it is conveyed. Its modernity arises from the substance of the dramaturgical work, whether classic or contemporary, from its value and message. “Theatre is tradition. Each generation climbs on the shoulders of the previous one”, stresses Alexa, claiming as his model Liviu Ciulei, who argued that “there is no irreconcilable contradiction between tradition and innovation, that everything can be grafted onto the predecessors’ legacy”. Thus, the “lessons” bequeathed by two remarkable personalities, Ciulei and Brook, assimilated creatively and not imitatively, define an authentic and original directorial universe in the Romanian theatre, establishing Alexa as a high-profile director.

ADVERBIAL REMARKS AND THEIR FUNCTIONS IN DRAMATURGICAL DISCOURSE

The article is devoted to the author's remarks as a constructive element of the dramaturgical discourse, namely to the adverbial remarks and the functions they perform in the paratext of a drama. The aim is to conduct a structural-semantic analysis of the adverbial remarks, to classify them on the basis of the functions they perform and to establish the role of this type of remarks in the development of the plot, creation of images and representation of the dominant meanings of the dramatic work. The material for the study is the adverbial remarks, selected by the method of continuous sampling from the plays of Tom Stoppard. The article defines such basic notions as "dramaturgical discourse" and "paratext" of a drama, and also gives the classifications of adverbial remarks, taking into account their functional range and the distinguished feature. Contentually and expressively rich, the adverbial remark enhances the dialogue, polylogue or monologue and develops the plot, often acting as semantic attractors of the play. Realizing such stylistic functions as descriptive, explanatory, and characteristic, the remark connects with the lines and creates a single "fabric" of the drama, thus transforming the text of the play into a multidimensional, complex, and ambiguous dramaturgical work.

Analysis of the dramaturgical work in parameters of the time (based on the material of Lesya Ukrainka`s "Martian Lawyer")

Analysis of the dramaturgical work in parameters of the time (based on the material of Lesya Ukrainka`s "Martian Lawyer")

FEATURES OF THE FORMATION OF KINOPOETICS IN THE FICTION DISCOURSE OF VLADIMIR NABOKOV

The article considers the manifestation of cinematography in V. Nabokov's fiction discourse. The analysis of the peculiarities of the origin and functioning of cinematography in the fiction discourse of V. Nabokov is important for understanding the place and role of cinema in the author's novel work and, in particular, for understanding some semantic, ideological and plot aspects. The analysis is based on the analysis of the author's English-language novels: «Laughter in the Dark», «Lolita», «Pale Fire» and «The Original of Laura». The article also aims to continue the research of cinema poetics in the novel work of V. Nabokov in general. The article examines the influence of cinematography on the life and work of the writer V. Nabokov. We update the essential role of cinematography in the Berlin period of the writer's work. We trace the implementation of cinematography through the author's dramaturgical work. In English-language novels, we note cinematic elements and trace their place and meaning. We turn to the script of the film adaptation of «Lolita» and the writer's epistolary with directors S. Kubrick and A. Hitchcock. We trace the reflection of technical, semantic, and aesthetic elements in the artistic discourse of V. Nabokov.

The problems of fulfilling the culture formation potential of modern russian theater

The article focuses on the essential components of the contemporary theatrical process. The problems of drama and its recessionary trends are identified. Special attention is paid to the issue of values and ideals in dramaturgical work and significance for the further activity conducted by theaters. One of the pivotal aspects in the improvement of theaters’ work identified in the article is the task of optimization of the interaction between these institutions with the audience. The authors also examine the problems of modern theater directing that matter in terms of fulfilling the cultural and creative potential of modern Russian theaters. The authors associate the prospects of further improvement of the system of establishing theaters as cultural institutions with taking advantage of the opportunities for creating a more effective interaction between theater professionals and specialists working in the sphere of education.

Reception of the holodomor motive of the 20s of the 20th in the dramaturgical work of O. Chuguy’s (on the material of play-dilogy “Red Tornado”)

Reception of the holodomor motive of the 20s of the 20th in the dramaturgical work of O. Chuguy’s (on the material of play-dilogy “Red Tornado”)

Vinho e pão quanto convém: referentes alimentares na peça quinhentista Auto das Regateiras

Using as reference the Auto das regateiras by António Ribeiro Chiado, this study aims to analyze the historical-contextual meanings of the food lexicon present in this dramaturgical work. The analysis will focus on a group of foods, previously selected, checking their consistency with the consumption of the season in question. The text reveals the society of the time and the popular language, taking the context from a wedding party for Alfama residents, allowing the reconstitution of the 16th century Lisbon environment, namely with regard to food consumption. The analysis of dramaturgical meanings is not taken into account in this approach to the author’s work and has been left as future work.

Designturgy, Being Queer: Taylor Mac Wears Machine Dazzle in 24 Decades

Designturgy, Being Queer:Taylor Mac Wears Machine Dazzle in 24 Decades Sissi Liu (bio) For the viewer-participants of Taylor Mac's legendary work A 24-Decade History of Popular Music (2014–16, hereafter 24DH), the scenic set-like and sculptural costumes designed by Machine Dazzle constitute the most provocative visual spectacle of the twenty-four-hour adventure. From wigs made of 3D glasses or champagne corks, to an antebellum freedom-river necklace, to four-feet-tall, six-feet-wide light-up butterfly wings in the shape of double vulva inspired by lesbians, to an AIDS shroud consisting of hundreds of cassettes, to a phosphorescent hooded centerpiece with ping-pong ball eyelets on Mars, Machine Dazzle arouses the wildest and queerest imaginations of those who experience the performances. His designs are not merely costumes; they constitute living sets that challenge chrono-normative ways of being and offer queer modes of unpacking and reenacting history. Without underestimating Mac's role as writer, co-director, and performer, I argue that much of the show's affective and transgressive efficacy flows from the designs. In this essay, I propose designturgy as a productive method for conceptualizing designs like those of Machine Dazzle that place design at the heart of a production. By analyzing Machine Dazzle's method and practice in 24DH, I highlight what designturgy—especially a queer one—looks like and how it functions in performance. Designturgy and Queerness I coin the term designturgy—short for "design dramaturgy"—to emphasize the connection between design (herein costume design) and dramaturgy, and to highlight the dramaturgical nature of design. Design is the process of conceiving and giving form and/or content to artifacts and experiences, to the purpose of solving problems and making connections among people, communities, time, and space. A designer's work in many ways parallels a dramaturg's task. Broadly defined, dramaturgy is a comprehensive theory of "play-making." In the Brechtian sense, dramaturgy "comprises the entire conceptual preparation from its inception to its realization" (Schechter 21). In contemporary theatremaking, dramaturgy has increasingly become an important skill that is, as Magda Romanska notes, "detached from the specific theatrical function" and necessary for the entire creative team to "employ in the process of development and audience outreach"; it also comprises tools to "cross artistic boundaries and gain applicability in a world outside of theatre" (8). Like a dramaturg, the designer conducts research on sociohistorical and vernacular contexts of the performance at the beginning stage of a production. Like a dramaturg, the designer develops a holistic overall concept for all the items in a performance based on research. Like a dramaturg, the designer then thinks compositionally and structurally throughout the rest of the phases of one's design work, building interconnections between the visual outcome and the messages of the performance. Why do we need this special frame—designturgy—if designers do dramaturgical work already? Designturgy is a concept, both dramatic and postdramatic, that highlights the central role design plays in stage productions and other performative activities, including performance art, concert, fashion runway show, gaming, and mixed reality experience.1 Designturgy refers to both a particular kind of design process/product from a practicum perspective, and, from a theoretical one, a particular [End Page 169] critical lens for analyzing designturgical results. As a design process, designturgy generates an overarching design philosophy that not only ties together a performance conceptually, but extends beyond a specific performance. In a stage production, a designer supports and realizes the director's visions; a designturg goes beyond the director's artistic expectations. Designturgs may work with directors, but their vision operates as a distinct element in conversation with a director's vision rather than being subordinate to it. Designturgy encompasses design, but goes further than the normal requirements of design. As a theoretical method, designturgy demands a new mode of analysis for the theatre/performance critic, historian, theorist, and the common viewer. A designturgical analysis explores both standard design questions and those extra ones that turn design into designturgy. Some standard questions include: How does the design represent the where, when, who (the race, class, gender, and sexuality of the who)? Are there metaphoric messages in the opening...

Vianinha e sua luta política no campo estético sob a ditadura

O artigo propõe uma breve análise de aspectos temáticos, formais e políticos da obra dramatúrgica de Oduvaldo Vianna Filho (Vianinha) em suas diferentes fases, com ênfase para seu retrato da classe média e os dilemas políticos enfrentados por esta. Também procura articular essa visão com a noção de um teatro “nacional e popular” que orienta a produção do autor em sua totalidade. A análise busca retomar alguns pesquisadores da obra de Vianna e articular como as concepções políticas do autor, enquanto militante do Partido Comunista Brasileiro (PCB), dialogam com as suas opções dramatúrgicas e de debates, tanto sobre a produção teatral do período, como sobre as estratégias políticas da esquerda organizada, tendo em vista as mudanças bruscas na situação política e os impactos diretos desta tanto sobre as condições de produção como sobre as opções políticas e de temática nas peças

O EXEMPLO DE UMA DRAMATURGIA PROSPECTIVA E DOCUMENTÁRIA PARA ÇA IRA (1) FIN DE LOUIS, DE JOËL POMMERAT

Este artigo propõe uma descrição e uma teorização do trabalho dramatúrgico realizado por Marion Boudier ao lado do autor-encenador Joël Pommerat para a criação de Ça ira (1) Fin de Louis (criado em 2015 e apresentado na Mostra Internacional de Teatro de São Paulo em 2016). Como trabalhar a partir dos arquivos da Revolução francesa para acompanhar um autor-encenador que escreve seus textos com a cena durante os ensaios? Marion Boudier apresenta o que ela denomina de « dramaturgia prospectiva e documentária ». Este acompanhamento da escritura se distingue das práticas clássicas da dramaturgia. Com efeito, para entrar na escritura, Joël Pommerat dirigiu seus atores em improvisações longamente preparadas e nutridas pour uma importante documentação histórica: em vez de esclarecer um texto prévio com a finalidade de transpô-lo para a cena, o trabalho dramatúrgico consiste então, nesse caso, em propor uma matéria documental pertinente para o tema escolhido e potencialmente rica para o teatro, então reagir a suas evoluções cênicas. Desse modo, a dramaturgia é uma espécie de investigação, levada à serviço do autor-encenador e de seus atores ao longo do processo de criação. Palavras-ChaveDramaturgia. Prospecção. Documentação (arquivo). Escritura de palco. Revolução Francesa.

L’EXEMPLE D'UNE DRAMATURGIE PROSPECTIVE ET DOCUMENTAIRE POUR ÇA IRA (1) FIN DE LOUIS DE JOËL POMMERAT

Cet article propose une description et une théorisation du travail dramaturgique réalisé par Marion Boudier aux côtés de l’auteur-metteur en scène Joël Pommerat pour la création de Ça ira (1) Fin de Louis (créé en 2015 et présenté à la Mostra Internacional de Teatro de São Paulo en 2016). Comment travailler à partir des archives de la Révolution française pour accompagner un auteur-metteur en scène qui écrit ses textes avec la scène pendant les répétitions ? Marion Boudier présente ce qu’elle nomme une « dramaturgie prospective et documentaire ». Cet accompagnement de l’écriture se distingue des pratiques classi- ques de la dramaturgie. En effet, pour entrer en écriture, Joël Pommerat a dirigé ses comédiens dans des improvisations longuement préparées et nourries par une importante documentation historique : plutôt que d’éclairer un texte préalable en vue de son passage à la scène, le travail dramaturgi- que consiste alors, dans ce cas, à propo- ser une matière documentaire pertinente pour le sujet choisi et potentiellement riche pour le théâtre, puis à réagir à ses évolutions scéniques. Ainsi cette dramaturgie est une sorte d’enquête, menée au service de l’auteur-metteur en scène et de ses comé- diens tout au long du processus de création.Mots-clésDramaturgie. Prospection. Documentation (archive). Ecriture de plateau. Révolution Française.

From Permanent Positions to Visiting Jobs

ABSTRACTThe transition to a freelance employment policy from permanent working contracts has had various repercussions on artistic practices in Finnish theatres. This article examines the changes that have taken place in the working culture of statutory funded institutional theatre since the early 1990s, focusing on the shifting roles and positions of directors, dramaturges, producers, and artistic managers. The research material consists of theatre statistics, interviews, and public discussions in the theatre field presented mainly in trade magazines and seminar minutes. Although the theatres still have a significant number of permanently employed artists, the percentage of short-term visits has steadily increased. This goes especially for directors and dramaturges, who mainly focus only on their own productions and do not participate in the long-term development of the theatres’ repertoires or artistic strategies as a whole. It is hard to create ongoing ensemble work and a spirit of a working community when a significant part of the artistic staff keeps constantly changing. In small and medium-sized theatres, the managers are now responsible for the artistic leadership without any collegial support of permanently engaged directors and dramaturges. They usually have to direct plays or undertake dramaturgical work without compensation, even if they do not have a proper education or experience in that field. In the changing economic conditions, the role of a producer has gained importance in planning and leading theatre activities and production work. This puts more emphasis on organizational, financial, and marketing issues than previously. Current priorities are now focussed on a high standard of artistic programming and the nurturing of public interest.

Editor's Foreword: Long Day's Journeys and Deposed Emperors

Might it be a register of our current cultural moment that several productions of Long Day's Journey Into Night—arguably O'Neill's darkest play—were performed this past year, four of which are reviewed in this edition of the EOR? Or that O'Neill's expressionistic portrait of a despotic ruler meeting his demise (The Emperor Jones) in the Irish Repertory Theatre's revival felt all the more poignant as our first black president left the White House after divisive elections? Or, when transferred across the Atlantic to the cavernous Armory, that Richard Jones's neon production of The Hairy Ape felt less like a period piece and more of a current snapshot of how the average Yank clashes with a culture obsessed with Fifth Avenue capital?It is precisely during times of tumult that we turn to great thinkers. With a country deeply divided since the election, works like 1984, The Handmaid's Tale, and It Can't Happen Here have risen to the top of best-seller lists. While O'Neill's dramas might not be among the must-read lists, they are certainly on the “must stage” list. For it is in the living room of Monte Cristo Cottage that we find insights into how families are torn apart; it is on the giant red throne that we find the possibilities—and limits—of tyrannical rule; and it is within the stokehole of a ship where we can see the sweltering labor for a chance to belong.Whether staged on Broadway, in Los Angeles, or within O'Neill's summer home in New London, Long Day's Journey Into Night was among O'Neill's most prominently performed plays this past year. Robert McLean recounts how the fine acting in the Palm Beach Dramaworks production resulted in one of the best Long Day's Journeys he has witnessed. The much-anticipated Broadway production of Long Day's Journey starring Gabriel Byrne and Jessica Lange delivered a raw and aching interpretation, with Lange giving a heart-wrenching portrayal of Mary Tyrone—and justly winning a Tony Award for Best Actress. On the West Coast, the LA production of Long Day's Journey featured a different—but no less stunning—pair of actors in the title roles: Alfred Molina and Jane Kaczmarek. With dramaturgical work by former EOR editor William Davies King, this production included projections of O'Neill's family and recordings of O'Neill reading poetry to bring the autobiographical elements of the play to life, as Jaime Leigh Gray's review reveals. But what could be more autobiographical than staging Long Day's Journey within the home in which Eugene grew up? Robert Dowling's review shows how the Flock Theatre for the first time brought the play to Monte Cristo Cottage, where the house itself became a character. Sitting just feet away from the actors, the audience felt the intimacy not only of the actors' work but also of references to New London life.New York's 55,000-square-foot Park Avenue Armory drill hall functioned as another kind of actor in Richard Jones's transfer of his London production of The Hairy Ape. With the “gritty and charismatic” Bobby Cannavale leading the ensemble as Yank, Ryder Thornton tells us, the production was significantly restaged to take advantage of the site-specific space. In contrast to the expansive Armory, the Irish Rep's tiny theater—not unlike the original Provincetown Playhouse on Macdougal Street—gave their revival of The Emperor Jones intimacy, demonstrating “that O'Neill is once again the playwright for another new American century, unmasking the appetites and transgressions that lie beneath the dream of empire,” as Kurt Eisen writes.Two deconstructed productions of O'Neill's dramas showed the desire to make new art and innovate, much as O'Neill turned away from the theater of his father. In an evening of one-acts (Recklessness and Now I Ask You) entitled O'Neill (Unexpected), the Metropolitan Theater Company subverted genre conventions, Zander Brietzke observes, playing the tragic Recklessness as comedy and Now I Ask You—O'Neill's only comedy other than Ah, Wilderness!—as tragedy. And Kurt Eisen describes the experimental nature of the Brooklyn-based Target Margin Theater in its fracturing of The Iceman Cometh under the title The Iceman Lab, in which different directors each took on one of the play's four acts.Whether deconstructing O'Neill's dramas with postmodern adaptations, enmeshing O'Neill's biography into the production, or casting Broadway stars in award-winning revivals, the slate of productions reviewed here reveals a need to wrestle with the challenges in front of us. We cannot afford to be crushed like Yank in a gorilla's cage, or be caged by the claustrophobic trauma of dysfunctional families. And we cannot afford to be complicit with despotic rulers. In this way, for our current moment, O'Neill is indeed unexpectedly relevant.

Entre Escola e Universidade: dinossauros e caderninhos por uma dramaturgia encarnada

Resumo: Este texto, escrito a seis mãos, insiste na não-dicotomia entre corpo e mente, ação e pensamento, objetividade e subjetividade, de modo a alcançar as férteis relações adulto-criança no âmbito da ficcionalidade. Defende o exercício da docência do teatro tanto na universidade quanto na escola, na chave de uma dramaturgia encarnada: modo de escrita e de uso do texto dramatúrgico no qual a corporalidade é central. Apresentando mais perguntas do que respostas, busca por um trabalho dramatúrgico que narra, dialoga, propõe performatividade e mudança nos mundos de vida dos discentes das Licenciaturas em Teatro, bem como os mundos de vida de seus futuros alunos, crianças e jovens brasileiros.

Learning from the Dramaturg: Suzan-Lori Parks’s The America Play in the Literature Classroom

abstract: This essay offers the strategy of “dramaturgical arousal” as a pedagogical model for engaging with drama in the literature classroom. Using Mark Bly’s ground-breaking dramaturgical work on Suzan-Lori Parks’s The America Play, including the theatre program he produced for its Yale Repertory premiere, as well as the play’s co-collaborative mobilization of text and performance, “Learning from the Dramaturg” offers a new way of rethinking the often fraught divide between text and theatre. Just as Parks’s jazz poetics performatively riff on the historical record, so too does Bly’s work co-performatively riff on the play, producing collaborative engagements that are more generative than evaluative. Fostering greater critical awareness of the ways in which the differing codes of textuality and performance produce their audiences, these collaborations model fresh encounters that fruitfully blur the distinctions between drama/literature and performance/theatre.