This essay, following Chantal Bilodeau’s call for new dramatic theories, investigates the patterns with which we are thinking about the world when (re)presenting it on the stage. If the Aristotelian ...form can be interpreted as hierarchical, conflict-led and expressing patriarchal values, what are those heterarchical dramaturgies in contemporary theatre that promote a more equal worldview? Looking at recent examples of drama, performance and contemporary dance, this paper draws up a parallel universe of new dramaturgies (including complex systems theory, game theory and musical dramaturgy) that are open, playful, dynamic, not binary, non-linear and promote a more complex worldview. It examines the emerging theory behind them and discerns what value and overall meaning arise from using these dramaturgies in theatrical composition.
ABSTRACT – The Conflict Element in Modern and Contemporary Dramaturgy: tool of analysis and creation – This article focuses on conflict as a dramaturgical element, with the objective of firstly ...performing a bibliographic review on this specific theme, besides showing its presence and relevance not only in more traditional dramatic works but also in dramaturgies of greater rupture from the dramatic canon in which epicization and/or lyricism stand out. It also proposes to consider conflict as a tool for analysis and creation based on the system of division into drives (intersubjective, extrasubjective and intrasubjective) and axes (intrafictional and extrafictional) that interchange.
Taking the recent relational turn in the discussion on care as a point of departure this contribution aims to ask: What are ways of a critical artistic practice that take care seriously as a ...challenge to the theatre apparatus, its aesthetic, its dramaturgy and to the way it thinks-with bodies, objects, materiality and more-than-human ways of existence? In which ways can performance find other modes of representation for that which matters within the theatrical frame but that usually exceeds its paradigm of visibility? By focusing on the performance Living Matters (2019) by German artist Eva Meyer-Keller, the article explores relational ways of thinking-with in the apparatus of theatre while interrogating its scopic regime for its exclusions and blind spots. In the performance, where grapes mutate into fluorescent deep-sea monsters under the eye of the microscope and where tampons perform cell division, scientific processes are interrogated rigorously as to their normative structures and presuppositions – but in such a way that consistently takes into account the theatrical peepshow apparatus in which the work unfolds. The article argues for a dramaturgy of response-ability which problematizes the purportedly ‘neutral’ frame of the black box, its objectifying gaze and the way it constructs objects and viewing subjects. Relationality is thereby understood not as a mere thought experiment, but as a theatrical practice of response-ability towards, with and by (more-than-human) accomplices.
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Este artigo se debruça sobre o conflito como elemento dramatúrgico, com o objetivo de realizar primeiramente uma revisão bibliográfica sobre esse tema específico, além de mostrar sua presença e ...relevância não somente em obras dramáticas mais tradicionais como também em dramaturgias de maior ruptura com o cânone dramático nas quais se destacam a epicização e/ou o lirismo. Propõe-se também pensar o conflito como ferramenta de análise e de criação a partir do sistema de divisão em pulsões (intersubjetivo, intrassubjetivo e extrassubjetivo) e em eixos (intraficcional e extraficcional) que se intercambiam.
Compared to many other neo-liberal, OECD nations, the Australian Federal Government has a tumultuous relationship to the funding of the organisations and artists that comprise the arts and cultural ...sector in Australia (Bennett, Stevenson & Myers, 2020). This article will chart the political commitment to the practice of national, peer-reviewed arts and cultural funding through the decisions of the Theatre Board of the Australia Council. Rather than "picking the patterns" (Turner and Behrndt, 2007, 8) of these decisions by sifting through the tables of successful institutions who were able to 'win' funding, the position paper seeks to examine the arts and cultural institutions who lost funding. The 'dramaturgy of de-funding,' was a brutal process of dis-entanglement from resource and status that demonstrated a forensically savage pattern of "dis-remembering" (Tompkins, 2006, 23), where the rising agendas of previous decades were carelessly erased, often to the lasting damage of the overall arts and cultural ecology. In particular, the histories of the first wave of First Nations theatre companies, multi-cultural theatre companies and regional youth theatre companies are pertinent to this analysis. In this way, the 'art of the subsidy' in the Australian context reflects the national distinction of Australian colonial dis-possession and exclusion.
This study discusses the Dramaturgy lecture process using a direct acting practice approach in a theater performance project where the city is positioned as object material, then interpreted and ...articulated by students through the process of creating theatrical performances. The creation process went through collaborative learning from research on cities, script writing, to creation of works, while Dramaturgy is placed as a theoretical approach in theater creation. This research is an effort to provide empirical experience to students in creating teamwork as a basis for film and television work patterns. This study uses a participatory action research method where the author is involved in all actions taken by film and television (FTV) students. This study found that through project: 1) students gain an understanding of dramaturgy as a science of analyzing drama with all kinds of derivatives related to it, 2) it is more effective to gain empirical experience as a real provision when creating film and Television works, 3) students can create works based on real cases. This research is expected to be able to strengthen KBK in FTV study program and become a treasure trove of intellectual property particularly in Universitas Pendidikan Indonesia and generally become a strategy for developing dramaturgy learning for Indonesia Society
Tripney discusses the challenges and paradoxes of exploring utopian themes on stage. While numerous fictional Utopias exist in literature, film, television, and comic books, there aren't that many ...notable theatrical Utopias. On the whole dramatists don't go in for utopias. Dystopias, yes. It turns out it's impossible to have a conversation about utopianism in fiction without sooner or later arriving at Star Trek. The universe created by Gene Roddenbery in the 1960s has spawned numerous series, films, and novels. As well as being products of their time, Utopian fiction also necessarily reflects the preoccupations, struggles, and divisions of the country and culture in which they were produced. Even if a piece of theater is Utopian in its ideas, this will be undermined if those making it are struggling or hemmed in by a system that undervalues or is actively damaging to them.
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En el presente trabajo se pretende elabo-rar el análisis de la proyección espacial y plurisensorial relativa a la comedia mito-lógica cortesana El mayor encanto, amor, de Pedro Calderón de la Barca, ...representa-da en el Estanque Grande del Palacio del Buen Retiro el mes de julio de 1635, al servicio de los requerimientos escénicos y técnicos que una fiesta teatral de esta índole implica según las convenciones sociales y la categoría del espectador al que estaba destinada esta pieza. De este modo y, teniendo en cuenta la relevancia que reside en la construcción del espacio dramático en el teatro aurisecular español, se han estudiado de forma específica los di-versos significados simbólicos y sensoriales propiciados por el espacio dramático que el dramaturgo diseña a la luz, claro está, del texto teatral y del conjunto de elementos escenográficos, literarios e ideológicos con los que se configura una fiesta mitológica que funciona como el perfecto reflejo de la sociedad en la que se ha generado.
This article presents a study on the psychological violence suffered by the character Luana, in the dramaturgical book Um Judeu na minha cama (1976), by contemporary writer Lília Silva. Gad, a ...successful businessman with a traditionalfamily, has been in a relationship for almost twenty years with Luana, his lover, who spends most of the work isolated in an apartment, living submissively to her partner'sorders and humiliation. At each meeting between them, the couple discusses the existential dramas that occur in both their lives. From these dialogues, the objective is to analyze whether Gad's quest to be happy does not become psychological violence, experienced by Luana. Literary study is based on psychoanalytic and philosophicaltheories aligned with Literature, based on the theories of Pierre Bourdieu (2019), Ginzburg (2012), Freud (1986) and Schopenhauer (2005).
This article explores spatial dimensions in Lucía Laragione´s work Cocinando con Elisa (1993) and the way in which processes of representation of historical memory are inscribed as social ...reconfiguration. The point of departure is the theoretical framework that analyzes the language of spatial relationships as one of the fundamental means of interpreting reality (Lotman), pointing to the connections between space, power, and memory, as well as to the impact of their confrontation in the performative context of the play. In this study, the telos of torture is assumed as an alienated act of identity construction. Cocinando con Elisa is part of the corpus of Argentine dramaturgy that interprets torture in a symbolico-allegorical way as the essence of the domination device of Argentine dictatorship over the female body.
