Related Papers
Contemporary Theatre Review Dance, Dramaturgy and Dramaturgical Thinking
Bewer ev
Contemporary
On Dance Dramaturgy
2019 •
Guy Cools
In 1994, Marianne Van Kerkhoven, the Flemish godmother of dance dramaturgy wrote a short, seminal article on the subject – Looking without pencil in the hand – of which the title alone is already a manifesto. This contribution builds further on Van Kerkhoven insights’: how the dramaturge has to stay necessarily invisible in the creative process (s)he is supporting; how in order to capture this invisible role, a lot of metaphors have been created. It continues with looking at the different roles I take up in my own practice: that of somatic witness, dialogue partner and editor. It concludes reasserting the practice of the (dance) dramaturge as a creative practice in which the whole body is involved and in which somatic proximity to the creative process is as important as critical distance. Key words Dance dramaturgy. Somatic witness. Dialogue partner. Editor.
Documenta: tijdschrift voor theater
Dramaturgy in the Curriculum. On Fluctuating Functions, Dramaturgy as Research and the Macro Dramaturgy of the Social
2018 •
Christel Stalpaert
In this contribution, I present Van Kerkhoven’s foundational redefinition of dramaturgy as an open-ended and necessarily flexible process, which has proven to be highly influential not only in Belgium but also in other European countries. As I will argue, her view has important implications for the study of dramaturgy in university curricula, while it also laid the groundwork for some of the more recent developments in the field of dramaturgy that I trace in the course of this contribution.
Station service for contemporary dance
The feminist p*rnscapes, on feminist dramaturgical thinking in dance and performance practice
2021 •
Ana Dubljevic
Transactions of the Charles S. Peirce Society: A Quarterly Journal in American Philosophy
Pragmatist Philosophy and Dance: Interdisciplinary Dance Research in the American South by Eric Mullis
2021 •
Aili Whalen, JD, PhD
Nordic Theatre Studies
In-between Figure Working in a Precarious Field
2019 •
solveig gade
This essay is preoccupied with a notion that is often embraced in theatre and performance theory: that of the dramaturge as a flexible, in-between figure. Taking into consideration, however, the precarious working and living conditions that freelance dramaturgs are typically subjected to as well as the structural parallels between the flexible dramaturg and the ideal of the agile post-Fordist employee, the article sets out to critically investigate the concept of inbetween-ness. Theoretically, the essay draws on theory formations from theatre and performance theory on new dramaturgies as well as theories from political theory and performance theory concerning the precarious working conditions experienced by a majority of cultural workers today. Empirically, the essay builds on two surveys conducted amongst dramaturgs working in the field of Danish theatre and dance with a view to shedding light on their working conditions, particularly with regards to wages and credit policy. The da...
Dance Dramaturgy in Theory and Practice
Ariel Nereson
Research and "Anatomy of an Afternoon", Brolga: an Australian Journal about dance, No. 36, June 2012
Amanda Card
Much as been written about the relationship between a choreographer and their collaborator, contributor, artistic advisor, outside eye, dramaturg or researcher. These relationships have been variously described as benevolent, supportive, slightly odd and occasionally fraught. This article explores the authors research role in the development of Martin del Amo's "Anatomy of an Afternoon", a solo work for Paul White, which premiered at the Sydney Opera House in 2012.
EUropean Dance: The Emergence and Transformation of a Contemporary Dance Art World (1989 - 2013)
2016 •
Gurur Ertem
The dissertation is an empirical investigation of the development of a contemporary dance art world as a distinct field of cultural production at a transnational level. I argue that this art world came to being organized around the recasting of dance as a field of knowledge production. I contend that the aesthetic transformations within the artistic realm became successful due to the confluence of wider political and organizational factors. The transnational networking movement that began in the independent performing arts field in the late 1970s and 1980s were given an additional boost by the “cultural turn” of the European integration process since the end of the Cold War. I analyze the impact of EU programs on dance networks for the dissemination of the aesthetics and production models of dance throughout Europe. In other words, I investigate the process through which contemporary dance made in Europe became European contemporary dance.
TkH (Journal for Performing Arts Theory)
Dance / Theories - Reloaded
2010 •
Misko Suvakovic
