Dramaturgy and performance

Enhanced descriptions from Syndetics:

There is a growing interest in "dramaturgy" as a critical concept and as a practical process.The book outlines different perspectives on the terms "dramaturgy" and "the dramaturg" and aims to introduce both concept and practice to those encountering the subject for the first time. Using case studies drawn from contemporary practice and suggesting areas of further study, the authors provide a strong insight into contemporary debates and new directions for the future.

Table of contents provided by Syndetics

• Acknowledgements (p. x)
• General Editors' Preface (p. xi)
• Introduction (p. 1)
• Dramaturgy (p. 4)
• The Dramaturg (p. 7)
• Why Now? (p. 9)
• The Structure of the Book (p. 11)
• Part I
• 1 What is Dramaturgy? (p. 17)
• A Slippery Term (p. 17)
• An Historical Perspective: Shaping a Dramaturgical Practice (p. 19)
• Dramaturgical Analysis: Form and Content (p. 25)
• The Weave of Performance (p. 29)
• Dramaturgy and Context (p. 34)
• 2 Brecht's Productive Dramaturgy: From Emblem to 'Golden Motor' (p. 38)
• The 'radical transformation' of the Theatre (p. 38)
• Brecht's Dramaturgy: Re-contextualizing the Theatre (p. 42)
• Brecht and the Dramaturg (p. 55)
• Brecht as Dramaturg: Early Dialogues (p. 57)
• Brecht's Dramaturgs: Later Dialogues (p. 62)
• 3 Names and Identities: Political Dramaturgies in Britain (p. 70)
• 'Radical Populism' or 'Carnival Agitprop' (p. 72)
• 'Brechtian Dramaturgy' and 'State-of-the-Nation' Plays (p. 76)
• 'Socialist Feminism' and a New 'Dialectical Dramaturgy' (p. 80)
• 'Radical Feminism' and the Discussion of a 'Women's' Dramaturgy (p. 82)
• 'Cultural Hybrids' (p. 85)
• 'New Dramaturgy' (p. 90)
• Part II
• 4 The Dramaturg and the Theatre Institution (p. 97)
• What is a Dramaturg? (p. 98)
• Politics and Artistic Policy (p. 103)
• The Dramaturg as Programmer (p. 110)
• The Dramaturg as Educationalist and Go-between (p. 113)
• The Freelance Dramaturg (p. 116)
• The Multiple Roles of the Dramaturg (p. 119)
• 5 The Dramaturg and the Playwright (p. 121)
• Definitions and UK Working Practices (p. 121)
• The 'German' Dramaturg and the New Play (p. 124)
• The Literary Manager and the British Playwright (p. 127)
• The Dramaturg as Mentor or 'Buddy' (p. 134)
• Writer Development and the Theatre Industry (p. 136)
• European Influences on UK Practice (p. 140)
• Conclusion (p. 143)
• 6 The Production Dramaturg (p. 146)
• In Between (p. 146)
• From Theory to Practice (p. 149)
• Creating a Context (p. 150)
• Pre-production (p. 154)
• Attending Rehearsals (p. 156)
• Casting - Shaping a Dramaturgy (p. 159)
• The Dramaturg as Intermediary and Collaborator (p. 160)
• The Production Dramaturg in Dance: An Emerging Field (p. 165)
• Conclusion (p. 166)
• 7 The Dramaturg and Devising: Shaping a Dramaturgy (p. 168)
• An Emerging Role (p. 168)
• Beginnings (p. 173)
• The Dramaturg as Map-maker and Compass-bearer (p. 176)
• On-the-Spot Dramaturgy (p. 180)
• Conclusion (p. 181)
• Part III
• 8 Millennial Dramaturgies (p. 187)
• The Real and the Represented (p. 188)
• Getting the 'now' into the Text (p. 190)
• The 'spatial turn' (p. 195)
• Interactivity and New Technologies (p. 198)
• Conclusion (p. 202)
• Bibliography (p. 204)
• Index (p. 219)