Abstract
The Introduction outlines how this book elaborates an expanded approach to doing dramaturgy informed by today’s highly diverse field of theatre, dance, and performance. Key elements are (1) an understanding of making theatre as a form of thinking through practice; (2) an understanding of doing dramaturgy as attending and being response-able to practices of making-thinking; (3) the development of dramaturgical sensibility toward choices that can be made and decisions that can be taken in creative processes, as well as the implications of these choices and decisions, and (4) a dramaturgical mode of looking as a looking for how performances do what they do as a result of how they are constructed.
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Notes
- 1.
Katalin Trencsényi and Bernadette Cochrane, in their New Dramaturgy: International Perspectives on Theory and Practice (2014), observe that “new dramaturgy does not replace traditional dramaturgy: it incorporates it into a much wider paradigm” (10). With “traditional dramaturgy” they refer to dramaturgy as it is historically associated with Aristotelian poetics and understood as an attribute of dramatic text (10). My understanding of what new dramaturgy brought about in terms of a paradigm shift relates to, but also differs from, theirs in how it draws attention to the fact that the developments referred to as new dramaturgy not merely expand dramaturgical practice beyond its roots in Aristotelian poetics and theatre based on dramatic texts (and thus integrates these ways of understanding dramaturgy in a wider paradigm) but, more than that, involve a transformation of the very understanding of dramaturgy (including dramaturgy for text-based theatre) from this expanded perspective.
- 2.
The only exception is Kamp, created in 2005 and still on repertoire at the moment of writing.
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Bleeker, M. (2023). Introduction. In: Doing Dramaturgy. New Dramaturgies. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-031-08303-7_1
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