"The dramaturg is, first and foremost, a resource." -- Jonathan Marks FILM-NORTH & VIRTUAL THEATRE [ advertising space : webmaster ] text LINKS Backwards and Forwards: A Technical Manual for Reading Plays by David Ball; Southern Illinois University Press, 1983 : - Part One: Shape - 1: What Happens That Makes Something Else Happen? - 2: And What Happens Next? - 3: But Do It Backwards - 4: Stasis and Intrusion - 5: Obstacle, Conflict - 6: Ignorance is Bliss (or: the Very Cause of Everyone's Lunacy About Hamlet) - 7: Things Theatrical - Part Two: Methods - 8: Exposition - 9: Forwards: Hungry for Next - 10: Missing Persons (character) - 11: Image - 15: Families - 16: Generalities: Mood, Atmosphere - 17: The Unique Factor - 18: Changing Eras - 19: Climax - 20: Beginnings/Endings - 21: Rereading - 22: What Next? Theory Page : New Drama and Revolution in Theatre (Directing) = script analysis + stagematrix meyerhord.us Go to... Film-North my mailing list Theatre UAF my shows plays The Possessed 2003 * one act fest What Is Dramaturgy? by Bert Cardullo; Peter Lang, 1995 "The goal of dramaturgy is to resolve the antipathy between the intellectual and the practical in the theatre, fusing the two into an organic whole." -- Leon Katz The Work of Living Art: A Theory of the Theatre by H. D. Albright, Adolphe Appia, Barnard Hewitt; University of Miami Press, 1960 - Adolphe Appia and "The Work of Living Art" - Preface - 1. the Elements - 2. Living Time - 3. Living Space - 4. Living Color - 5. Organic Unity - 6. Collaboration - 7. the Great Unknown and the Experience of Beauty - 8. Bearers of the Flame - Designs - Adolphe Appia's "Man is the Measure of All Things" (protagoras) Drama / Theatre / Performance by Simon Shepherd, Mick Wallis; Routledge, 2004 - Part One: A Genealogy - 1: Drama and Theatre as University Subjects - 2: Drama and the Literary Tradition - 3: History, Theatre, Society - 4: The Essence of Drama - 5: Women, Theatre and the Ethics of the Academy - 6: Performance, Art and the Avant Garde - 7: The Rise of Performance Studies - 8: Performance Studies: Some Basic Concepts - 9: Postmodernism and Performance - 10: Recent Mappings of Drama-Theatre- Performance - Part Two: Keywords - Action - Aleatory - Catharsis - Character, Mask, Person - Defamiliarisation and Alienation - Embodiment - Empathy - Interculturalism - Kinaesthetic - Mimesis - Performativity - Presence and Representation - Semiotics and Phenomenology Brecht: A Collection of Critical Essays by Peter Demetz; Prentice-Hall, 1962 - From the Testimony of Berthold Brecht - The Poet Bertolt Brecht - On Brecht's In the Swamp, A Man's a Man, and Saint Joan of the Stockyards - Contemporary Theater and Aesthetic Distance - Piscator's Political Theater - On the Artistic Originality of Bertolt Brecht's Drama - Brecht's Dramatic Theory - Brecht's Galileo - Brecht's Split Characters and His Sense of the Tragic - Mother Courage and Her Children - On Brecht's: The Caucasian Chalk Circle - Brecht: The Music - Brecht's Language and Its Sources - Chronology of Important Dates The Theatre of Bertolt Brecht: A Study from Eight Aspects by John Willett; Methuen, 1959 Lukaacs and Brecht by David Pike; University of North Carolina Press, 1985 Ideology and Art: Theories of Mass Culture from Walter Benjamin to Umberto Eco by Robin Ridless; Peter Lang, 1984 Performing Brecht by Margaret Eddershaw; Routledge, 1996 [ Brecht Page ] * My webpages about DRAMATURG: Dramaturg in SHOWS directory Dramaturg in SCRIPT directory Dramaturg or Literary Manager Dramaturg vs. Script Supervisor (Film) Dramaturg from actor's cheklist * (overview) Directing 5. Genre Pages: Tragedy * Comedy * Drama * Tragic Comedy * Handbook of Educational Drama and Theatre by Robert J. Landy; Greenwood Press, 1982 Theatre UAF * Fall.06 Dramaturgy: Director & Dramaturg -- IS Theatre UAF Twentieth-Century Theatre: A Sourcebook by Richard Drain; Routledge, 1995 - Part I: The Modernist Dimension - Introduction - 1: Alfred Jarry - 2: Adolphe Appia - 3: Gordon Craig - 4: F.T.Marinetti, E.Settimelli and B.Corra - 5: Enrico Prampolini - 6: Tristan Tzara - 7: Guillaume Apollinaire - 8: Walter Hasenclever - 9: Valeska Gert - 10: Stanislas Ignacy Witkiewicz - 11: Ivan Goll - 12: El Lissitzky - 13: Sergei Radlov - Notes - 14: Oskar Schlemmer - 15: Daniil Kharms - 16: Gertrude Stein - 17: Eugene Ionesco - Note - 18: Allan Kaprow - 19: Robert Wilson - 20: Tadeusz Kantor - 21: Richard Foreman - Part II: The Political Dimension - Introduction - 22: Bernard Shaw - 23: Sergei Eisenstein - Notes - 24: Ernst Toller - 25: Vsevolod Meyerhold - 26: Erwin Piscator - 27: Workers’ Theatre Movement - 28: Bertolt Brecht - 29: Athol Fugard - 30: Ariane Mnouchkine - 31: Judy Chicago - 32: HÉlÈne Cixous - 33: Carolee Schneemann - 34: Suzanne Lacy and Leslie Labowitz - 35: Edward Bond - 36: Charles Ludlam - Part III: The Popular Dimension - Introduction - 37: Gordon Craig - 38: Vesta Tilley - 39: Vsevolod Meyerhold - 40: W.B.Yeats - 41: F.T.Marinetti - 42: Vladimir Mayakovsky - 43: Grigori Kozintsev - 44: Blue Blouse - 45: Vsevolod Meyerhold - 46: Karl Valentin - 47: Bertolt Brecht - Notes - 48: Jean Vilar - 49: Armand Gatti - 50: Peter Schumann - 51: Dorothy Heathcote - 52: Dario Fo - 53: John Mcgrath - 54: Armand Gatti - 55: John Fox - 56: Kwesi Owusu - Part IV: The Inner Dimension - Introduction - 57: August Strindberg - 58: Adolphe Appia - 59: Gordon Craig - 60: Vsevolod Meyerhold - 61: LoÏe Fuller - 62: Isadora Duncan - 63: Wassily Kandinsky - 64: Constantin Stanislavski - 65: Paul Kornfeld - 66: Evgeny Vakhtangov - 67: Federico GarcÍa Lorca - 68: Antonin Artaud - Notes - 69: Judith Malina - 70: Jerzy Grotowski - 71: Louise Steinman - 72: Rachel Rosenthal - Part V: The Global Dimension - Introduction - 73: Antonin Artaud - 74: Bertolt Brecht - Note - 75: Enrique Buenaventura - 76: Errol Hill - 77: Luis Valdez - 78: Peter Brook - 79: Wole Soyinka - 80: Ntozake Shange - 81: Honor Ford-Smith - 82: Augusto Boal - 83: HÉlÈne Cixous - 84: Eugenio Barba ...

Dramaturg and ... director

"Web Theatre" = dramaturgy.

That is what I do for many years already.

...

dramaturg and actors...

Definitions and links:

The Dramaturg's role in a production : list = www.dramaturgy.net

A production dramaturg is a consultant and an advocate for the playwright's intentions...
http://www.geocities.com/amylynnhess76/whatsadramaturg.html
http://www.geocities.com/amylynnhess76/Research.html

http://www.dramaturgy.co.uk

http://en.wikipedia.org/wiki/Dramaturg wikipedia

The Write Thing : The Dramaturg

The Dramaturg's Bookshelf

Literary Managers & Dramaturgs of the Americas

So? Dramaturg and Dramaturgy--What Is (Are) They?.. http://language.home.sprynet.com/theatdex/whaturgy.htm

Dramaturg or Literary Manager?

http://www.athe.org/resources/filearchive/ATHEtenureguidelines.pdf

Offstage Presence

Notes? Not yet.

Dramaturg?

A must:

1) A critical sensibility, together with the ability to write mature essays and reviews addressed not merely to professionals and scholars, but also to reasonably intelligent, generally aware readers and theatregoers.
2) A thorough knowledge, in depth, of the dramatic repertory based on a wide range of reading in dramatic literature, scholarship, and criticism in all periods and genres of drama, with special areas of expertise of his own.
3) The ability to do scholarly research, plus practical experience in tracking down scripts, options, copyright information, and publication as well as production histories of plays.
4) The ability to read and translate plays from, ideally, several foreign languages but as a minimum one, and the even more valuable ability to adapt the translated text into stageworthy dialogue in English.
5) The ability to read new scripts intelligently, and to write summaries and appraisals of them with professional competence.
6) The ability to cut scripts knowledgeably, with an understanding of how to do so without destroying their logic or losing their essential dramatic and theatrical values.
7) Experience in preparing a dramaturg's protocol--a fivepart pre-production study of a play-together with a glossary of the text, for the information of the director and possibly the rest of the company. The parts consist of (a) the historical, cultural, and social background of the play; (b) relevant biographical information concerning the playwright, plus a history of the writing of the play and an assessment of its place in the author's oeuvre ; (c) a critical and production history of the play, including a report on the textual problems (if any) of the original and an assessment of the major translations (if the play was written in a language other than English); (d) a comprehensive critical analysis of the play, including the dramaturg's suggestions for a directorial-design concept for a new production; and (e) a comprehensive bibliography of materials on the play: editions, essays, articles, reviews, interviews, recordings, films, videotapes, etc.
8) The ability to prepare useful background study guides-often a digested version of the protocol or parts thereof--to be made available to student or "group" audiences.
9) Experience and expertise in collaborating with directors and designers to create a production concept, or, if a specific "concept" is not to be employed, an approach to the play and an articulation of its goals in production.
10) Based on the dramaturg's intimate knowledge of a play, and on pre-production discussion with a director about his approach to the play, the expertise to contribute significantly to a play's casting and design.
11) Expertise in taking dramaturgical rehearsal notes (which can be of crucial value to a receptive director), knowing at what points in the rehearsal process his notes are of value, what sort of notes are useful at different stages of the rehearsal process, and what sort of notes have constructive value together with what sort do not.
12) A thorough awareness of dramaturg's rehearsal decorum. It is most important for the dramaturg to take notes during rehearsal as inconspicuously as possible. He must be aware that the very sight of someone vigorously writing notes can be unnerving to directors and actors, who may feel that premature judgment is being made upon them. What helps most in allaying this source of irritation is the dramaturg's creation of the feeling in the company, as early as possible in the rehearsal process, that he is part of the same team and anxious for the same, good result. The courtesies and parameters that guide the dramaturg are these: he avoids interrupting of his own volition the director's work or the rehearsal; he does not show his notes to, or discuss them with, any member of the company without the request or consent of the director; in manner and in conversation, he avoids exhibiting negative responses toward the director's or the company's labors. The dramaturg, as much as any member of the company, shares the responsibility for creating an atmosphere of mutual trust and respect during rehearsals.
13) Knowledge of the do's and don'ts governing the dramaturg's conduct during consultation sessions with the director. However discussion between the two occurs, whether regularly and formally or only occasionally and informally, the dramaturg suggests his opinion to the director but does not force it on him, and understands that the final decision on all matters raised in discussion is necessarily the director's.
14) In working with playwrights, the ability to break down a script, analyzing its structural strengths and weaknesses, and make constructive suggestions for revision.
15) Training and experience in appropriate writing styles and formats for program notes (which should reflect the director's concept of the play and production and provide audiences--even critics--with a relevant context for viewing the playin-production), newsletter articles, interviews, and publicity releases.
16) Experience in keeping notes for, and writing up, postproduction records: production logs, season histories, post-production critical evaluations.
17) The experience of an apprenticeship in a professional theatre, working within the framework of its particular procedures and policies, and gaining familiarity with its overall administrative and budgetary set-up.
18) Above all, to have developed his individual "idea of a theatre" out of which he would, if this earth were heaven, map out seasons of repertory to advance that particular idea; and even if this earth is not heaven, to have developed the determination to work tirelessly toward advancing such a theatre, or orienting a theatre in which he works toward his artistic goal. Concomitantly, to have developed enough common sense to recognize that a theatre in which he is employed will not normally adapt itself overnight to his particular aesthetic orientation, but to retain enough idealism to yearn and plan for the existence of his ideal theatre, some day, somewhere. For dramaturgy as a profession ultimately looks toward the shaping of the artistic policy of a theatre, the formulation of its artistic policy being evidenced in its choice of repertoire, its approach to productions, and the cultural and aesthetic orientations of the artists it employs. [1984]

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2005: new --

Dramaturg in script.vtheatre.net and Dramaturgue (list of functions) *

Don Juan: Dramaturgy

The Possessed: preproduction, rehearsals, post-production *

The Taming of the Shrew: Shakespeare tasks *

Oedipus: The Greeks *

Chekhov'05: farces (genre)

Godot 2006: Absurd + Beckett (research)

Notes on Directing amazon *

...

... anatoly.vtheatre.net/dramaturg

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